Since I started designing fabric not so many years ago, my go-to resource for keeping up with the past, present and future of pattern has been the four issues of UPPERCASE Magazine’s Surface Pattern Design Guide. Most mornings find me with coffee in one hand (for motivation) and a Design Guide in the other (for inspiration). Some days, I create a challenge like ‘favourite design on each page’ or ‘favourite rendering of a tropical animal I can identify’. Often, I browse the bios of featured designers and marvel at the roots and depth of their creativity. I also read, well re-read at this point, one of the in-depth articles by or about a featured designer with tips, tricks and insights into their work and lives. Other mornings, it's an article about linoleum or historic wallpaper or other subject that resonates with my broader interests like built heritage. I owe a lot to UPPERCASE for any skill I have in creating, living with, and understanding the business of pattern. Certainly, the pleasure of it too. Page by page, this guide is the best illustration I know of the pattern design community and why I’ve enjoyed being a small part of it.
The recent call for designers to submit work for the fifth edition of the UPPERCASE Surface Pattern Design Guide resulted in nearly 1000 entrants from all over the world. Only 100 designers are selected for publication. It wouldn’t be an easy task to review these for technical proficiency, rendering method, use of various design elements like colour and texture, point of view and position in the industry. This year, having more designs under my belt and gaining confidence in my design ability and range, I decided I would submit. One morning a couple of weeks back, just having finished my routine caffeination and inspiration process, I opened my email to find one from Janine Vangool, the publisher.
“I am pleased to inform you that you will be one of the 100 designers profiled in the UPPERCASE Surface Pattern Design Guide, in issue #57 April-May-June.” I jumped up from my studio desk and kept jumping up and down through the house to where my partner Chen was working. “What’s happening?” he asked. “You know that magazine I have in-hand every morning? I’m going to be IN IT!” He smiled and gave me a congratulatory hug which also encouraged my feet to stay on the floor.
Thank you Janine and UPPERCASE for creating such an important and truly evergreen resource for all designers and including me and The Quilted Stash in Edition 5 of your Surface Pattern Design Guide.
I am honoured to be a featured designer but maybe more than anything it reminds me of how fortunate I am to be surrounded by people who genuinely support my creativity. This acknowledgement extends to them.
My niece Sherri Dodge was the first I heard suggest a need for Newfoundland and Labrador motifs in quilting fabric. The first repeat pattern I ever designed- the Sou’westers- was her idea.
My technical design skills grew as Corey and I created the Scrappy Mummers panels for The Quilted Stash and his feedback has influenced every design that we’ve brought to market since.
Krista at Cotton Country in Clarke’s Beach has also supported us with ideas and her dedication to bringing our designs to the local retail market. Makers like Sherri, Ramble and others have used the fabric in bags and other hand-crafted products. Newbornlander uses the Colourful Neighbours print in their Come Home Blanket- the sale of which benefits the Home Again Furniture Bank and families in need.
For sure, Spoonflower also deserves much credit for giving independent designers another valuable community and venue for bringing designs to market.
