Ariana Martin on Pattern, Print, and Timeless Design

What draws you to pattern and print as a medium?

There’s something about pattern that draws and enchants the human eye. I've always been very interested in the subtle art of composition and feel there is a big difference between a harmonious, balanced pattern and an off-kilter, unbalanced pattern; I love to find that sweet spot where the composition just ‘works’. And I am as interested in the print method as the design itself. Printing a design in a traditional method like letterpress, litho, or screenprint can elevate it hugely, especially in this digital age.

You studied Interdisciplinary Textile Design and later completed an MA in the History of Design. How has that shaped your work?

The Interdisciplinary Textile BA was more like a wacky Fine Art meets Product Design course - it didn’t actually involve textiles at all! For my final piece, I made lamps out of concrete, which were cast in giant weather balloons (so heavy I could barely get them out of the studio). Although I’ve gone a different direction now, it taught me a lot about materials, production processes and play. It was during the Design History MA in Brighton that my love of pattern and print was really ignited, as I was researching 1930s textiles. It was an academic course, spent in libraries and museum archives rather than a studio, and I try to keep this research element alive by writing articles on different mid-20th-century designers that I admire.

How would you describe your artistic style?

It can be hard to see it objectively! But I would like to think of my style as vibrant and lyrical, with a nod to mid-century charm. I tend to use a limited palette of 2 or 3 colours per design, which gives them a clean, graphic look.

Your work often feels joyful and optimistic. Where does that come from?

I’m glad to hear that. For me, experiencing aesthetic beauty is a source of joy. Whilst art can be dark and challenging, I'm personally drawn more towards art that uplifts and warms the soul.

You produce your own stationery and homewares, but you also collaborate widely. What do you enjoy about licensing your work?

I love to collaborate with like-minded creatives, like Lagom, as it allows me to apply my designs to a wider range of products in ways I might not think to do myself. I don’t consider myself too much of an ‘ideas’ person, so working from other people’s ideas is fun for me. It’s especially satisfying to work with brands that share a love of, and have expertise in, traditional print, as you know, the production is in safe hands.

What inspires you day to day in your studio?

I’m a magpie for obscure 20th-century graphics, textiles and illustration, so I spend (probably too much) time perusing Pinterest, online museum collections, and design books. The Cooper Hewitt and the London Transport Museum have many hidden gems in their archives, all available online. I also enjoy seeing what other makers are doing on Instagram - there’s an exciting creative scene in the UK.

How did your gift wrap collection for Lagom begin?

The Lagom design team asked if I could design four animal-themed patterns, which I was glad about, as I love illustrating animals. I try to draw the shape of animals fairly faithfully but with abstracted elements; drawing zebras and lions was a new challenge for me. They were happy for me to choose the Pantone colours, which is one of my favourite things to do. With Pantone, unlike digital printing, you know the inks will be rich and vibrant.

And finally… What do you hope people feel when they encounter your work?

I hope it brings them the same aesthetic joy that I feel when I see a beautiful 1930s book jacket or textile. It’s a small and simple pleasure, but one that can really lift the spirit.