Beautiful equations

It was while working in her garden during the first lockdown that designer Rebecca Kaye was struck by the number of birds flocking to her bird-feeder, and the variety of colours in their plumage. Inspired by her love of exploring the natural world through maths and design, Rebecca set out to discover exactly how much colour she was seeing through these avian visitors, and translate the data in a stunning piece of visual art…

Bird Colours Lithograph, by Ploterre

Mathematics, design and the natural world – what led to your harnessing these three things for creating your products?

It feels more like a long, scenic loop rather than a journey to somewhere new. I say that because when I was growing up, the three things I loved more than anything were maths, art and being outside. For various reasons (school timetables preventing you from studying both maths and art, and jobs being very much maths or art based, barely a combination of both), I had to veer off-course before finding my way back.

The loop essentially involved my studying maths, then working with data, then studying design before pretty much giving up my spare time to work in data by day and design by night. This was when I lost my connection with nature.

However, through perseverance over many years, I eventually found a way back to the place I always wanted to be.

What's been the most surprising part of your journey creating Ploterre?

It’s realising how much I love doing what I do. I’ve tried a variety of things in the past that involved an element of both maths and design, but I never felt satisfied. Since coming up with the idea behind Ploterre, blending both design and data – and only using environmental data – I’ve never been happier. It’s the perfect combination of spending time poring over data on a subject that’s really close to my heart, then having the privilege of bringing that information to life through design.

Tell us the story behind your Bird Colours Lithograph – what inspired it, and what was your creative process?

This was pretty much a result of lockdown. As with many people during that time, I found refuge in nature. I’m lucky enough to have a garden, and I set up a work space in front of the bird feeder. Watching the birds fly in and out of the garden made me realise there were so many colours darting across the sky. My mathematical mind wanted to know exactly how much colour I was seeing, and that sparked the idea behind the print.

Rebecca’s lithograph charts the colours from the top 20 most commonly sighted birds in British gardens

What is it about mathematics and data you find so compelling?

I’m very solution driven – both in my personal and my work life. I like the fact that maths always has a solution. This is similar with design. There may be a variety of ways of addressing and answering a problem, but you know when you’ve solved it, at least in your own way.

As an example, for the Birds Colours Lithograph, I set out to find out the most frequent visitors to UK gardens, which I found via the British Trust for Ornithology and their Garden BirdWatch survey, and the proportion of their body covered in specific colours (using illustrations from the RSPB). Once I’d decided on a formula to bring these two bits of information together, I’d solved my ‘problem’.

Do you have a favourite piece from your collection?

The Bird Colours Lithograph is one of my favourites because I spent a lot of time working with the data and bringing a variety of information together. It was the process I enjoyed more than anything else. It was also a slightly different output from my other prints – I allowed the process to lead the design and I didn’t set out with a rigid idea of the end product.

Are there any projects you're currently working on you'd like to tell us about?

There are a few new pieces I’m working on that are similar to the Bird Colours Lithograph in both style and process. Most of my work to date has been quite illustrative, showing mountain visuals to describe mountains and illustrating a bothy to communicate bothies. However, my new pieces are more abstract in design and more time-intensive in research. I really enjoy the lengthier research process, and allowing that process to drive the designs. It was the bird print that really opened my eyes to that way of working.

Where do you turn for inspiration, particularly when you're in a creative lull?

Outside! I often find I’m in a creative lull when I’m busy and feel like I don’t have time to go for a ride on my bike or spend time in the sea. But those are exactly the times that I need to be outside.

Without fail, I return from the outdoors refreshed, inspired and so much more productive with my time than if I’d remained at my desk, staring into space.

Tell us about your work space – how does it reflect you?

My studio is a room in my house with two windows, both overlooking trees. I’m based just far enough out of Edinburgh that it’s still easy to visit – for all the amazing galleries – but I also have a view of the Pentlands and close access to the sea.

Since moving to Scotland almost 20 years ago, I instantly fell in love with the country but I don’t think I quite appreciated how much variety of the natural world (from mountains to coastlines and rivers to fields), Edinburgh has on its doorstep.

What's on your bedside table?

Books and lots of them. Predictably, they nearly all revolve around the outdoors. My favourites over the past few months are Homesick by Catrina Davies, Afloat by Danie Couchman, Things I Learned When Falling by Claire Nelson and A Boy in the Water by Tom Gregory.

Discover more of Rebecca’s work at ploterre.com

Ernest in the wild: Igaliku, Greenland

To celebrate eight years of publishing Ernest, we ask contributors to share their memories of journeys undertaken for the journal, from seeking ancient burial mounds in the North York Moors to seeking wild bison in the Carpathians. Here, photographer Daniel Alford reflects on his first ever travel assignment – walking in the footsteps of Viking settlers in south Greenland

Photo by Daniel Alford

I have so many wonderful memories from my trip to Greenland with Ernest’s deputy editor, Abi. It was my first travel assignment so I was incredibly excited, as you can imagine. The first day of the trip stands out the most for me. I remember looking out of the plane window like an eager child as we flew over the ice cap; I was completely awestruck. At its fringes, huge mountain ranges towered over fjords, glaciers and icebergs. I couldn’t quite believe I was there.

We arrived on a surprisingly warm and bright day and made our way to the site of Eric the Red’s village by boat – the driver kindly stopping half way across the channel so that Abi could touch an iceberg. We then hiked to the village of Igaliku – an extremely picturesque place with brightly painted houses beside a brilliant blue fjord – where we would stay for the night. It was a mesmerising trail: green and yellow fields sloping down to a fjord that was teeming with icebergs. To me, they looked like giant slabs of polished marble shining through the crisp air.

We arrived at our guest house and celebrated with a beer. That night, the Northern Lights flickered and meandered above us in purple and green.What a way to start my first commission, and to kick off many more adventures for Ernest.

You can read more of these stories in the Collector’s Edition of issue one, available to order now.

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Ernest in the wild: Picos de Europa, Spain

To celebrate eight years of publishing Ernest, we ask contributors to share their memories of journeys undertaken for the journal, from seeking ancient burial mounds in the North York Moors to floating among thousands of jellyfish in the Salish Sea. Here, writer Ruth Allen reminisces on hiking the Asturian peaks and seeking wild bison in the Carpathian Mountains for issue nine

Photo by Ruth Allen

Over the years, I’ve been fortunate to do lots of work with Ernest, from illustrating birds and landforms to photographing mountains and writing about the art of solitude. By taking a chance on me, Jo offered me many firsts to both treasure and build on; firsts that have unfolded into all sorts of opportunities, including my first book.

Arriving in Asturias for my first ever press trip was a ‘‘pinch me’’ moment I still dwell on. It seemed that at every turn northern Spain held a new wonder. I will never forget the fleeting glimpse of Picu Urriellu as the clouds parted, which later made it as the article’s lead photograph.

As it turns out, ‘things I think I will never see, but do’ is a bit of a theme in my collaborations with Ernest. Like the iconic mountain of the Picos, Romania’s elusive bison also kept me waiting till the very last time I unzipped my tent one morning, while camping in their remote terrain. And did I ever imagine I would tour the Faroe Islands, let alone run the coast with a local hero? I was asked to recall one story, but the best I can do is say the feeling of wild wonder in all of them is the most memorable thing for me.

You can read more of these stories in the Collector’s Edition of issue one, available to order now.

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The Collector's Edition of issue one has landed

It's a bit later than anticipated but we're delighted to tell you the Collector's Edition of issue is one is back from the printers, smelling beautifully fresh and inky

The Collector’s Edition is on sale now

We'd like to say a big thank you to everyone who donated to our crowdfunding campaign and helped us send our Collector's Edition to print. The journal is freshly back from the printers and we're sending out copies to those of you who pledged for an issue or pre-ordered through our store page.

It’s been a real joy to revisit our first edition; to think back to the time and thought we put into crafting the Ernest voice, indulging our curiosity and allowing our contributors the space to share their stories.

We’ve had to carefully consider where to update features. Many of the independent brands have gone on to thrive, while others have closed or changed gear – bespoke bicycle makers have become flower growers – and so we often suggest alternatives or ways you can follow the makers in their new endeavours.

We have also added two new stories. ‘A Perfect Clutch’ explores the meticulous research that goes into crafting replica bird eggs, while in ‘Ernest in the wild’, we ask contributors to share memories of journeys undertaken for the journal, from breaking bread at a Greenlandic kaffemik to floating with jellyfish in the Salish Sea.

The sense of community that has grown around Ernest over the past eight years is remarkable, and we continue to feel buoyed by your support and encouragement. Thank you for being part of our journey! We're so excited to share our Collector's Edition with you – let’s take a look at what’s inside…

Inventory

Nautical slang, anatomy of a storm kettle, the Mechanical Turk, how to cook meat underground, the real Moby Dick, a map of shipping regions, summer cocktails and a timeline of forks.

Nikola Tesla

Mark Blackmore dons rubber boots and enters the world of the Serbian super-scientist, with 700 patents to his name and the power to make electricity dance.

Ernest in the wild

To celebrate eight years of publishing Ernest, we asked contributors to share their memories of journeys undertaken for the journal, from breaking bread at a Greenlandic kaffemik to floating among thousands of jellyfish in the Salish Sea. 

Last & awl

Meet John Lobb, fourth generation crafter of bespoke shoes, guardian of Frank Sinatra’s wooden feet and boot maker to the future king.

Sea monsters of the northern seas

Duncan Haskell wakens the mythical beasts that slumber beneath our oceans, including an island that drags sailors to a watery grave and a creature that collects human bones in his beard.

A perfect clutch

Editor Jo Tinsley enters the studio of Tony Ladd to explore the research that goes into crafting replica bird eggs.

The Westfjords Watertrail

Follow a trail of thermal pools in the Westfjords – an ingenious project dreamt up by architects and philosophers – focusing on the repurposing local materials, supporting communities and embracing Iceland’s natural resources.

If you missed the opportunity to pick up a copy of the Collector's Edition of issue one in our crowdfunding campaign, you can now order a copy from our online store.

Issue 1 (Collector's Edition)
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Ernest in the wild: Glen Nevis, UK

To celebrate eight years of publishing Ernest, we ask contributors to share their memories of journeys undertaken for the journal, from seeking ancient burial mounds in the North York Moors to breaking bread with strangers at a Greenlandic kaffemik. Here, writer Rich Baldwin reflects on the joy of finding shelter after a day’s hike in the Scottish Highlands for issue five.

Photos by Rich Baldwin

There can still be a good hour or so of walking left when a bothy comes into view. On a typical day, the approach to a shelter is usually completed in dwindling light or complete darkness. It’s during these last miles when the thought comes to mind, “Am I going to have this place to myself?”.

In years gone by the answer was almost always “yes”, though bothies aren’t the well kept secret they once were. The likelihood of having a shelter to yourself is now a rare luxury.

There are a few telltale signs that rule out an evening of solitude; a dim light in the window, a curl of smoke from the chimney. Sometimes it’s the smell of smoke that faintly drifts over in the evening air. Occasionally the sound of voices and conversation give the game away. Though more often than not, it’s the sight of a brightly coloured down jacket emerging from a shelter in the distance that shatters the prospect of a night alone.

Of course, this is no bad thing. Some of the best bothy nights have been those shared with strangers: the hilarious walkers from Cologne who’d fallen in a river in Glen Nevis and berated each other as they dried out by the fire, a shared meal overlooking the Atlantic, and the group of lads mountain biking coast to coast who I expected to be noisy and drinking all night but were all snoring by 8pm.

You can read more of these stories in the Collector’s Edition of issue one, available to order now.

Issue 1 (Collector's Edition)
£5.00 £20.00
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