Bern Meagher stepped away from a corporate career to return to painting. Specialising in Surface Pattern Design (SPD), she has built an art business from her studio in Victoria’s Dandenong Ranges.
In this conversation, Meagher breaks down the path that led her into patternmaking, the milestones that shaped her studio practice, and the unexpected places her designs have turned up.
Where did patternmaking start for you, and when did you start taking it seriously?
I discovered patternmaking at a time when I was looking for a new direction in my life. I found a patternmaking course that used Adobe Illustrator – a program that I didn’t even know existed, and after that, I was hooked!
The idea of taking my paintings and illustrations, scanning them, and turning them into continuous designs that could live as digital products, reused across all kinds of industries, was very alluring. I’ve had a love of illustration and painting as far back as I can remember.
My patternmaking journey really began with curiosity: how could my artwork become a beautiful accent wall like some wallpaper in The White Lotus, or a romantic floral design on a summer dress?
Who were you inspired by at the time, and who inspires you now?
When I began, I immersed myself in books and the history of Surface Pattern Design (SPD), and discovered William Morris and his beautiful works that span mostly over the 1870-80’s. His work is still relevant now and in fact has recently had a resurgence of popularity with the antique vintage style making a comeback.
Whereas now, whenever I’m drawn to creating a new design, inspiration often comes from somewhere unexpected. For my recent heritage ‘Berries & Lace’ collection, I was inspired by a handmade lace I discovered in a small country town museum in Northern Queensland. Creating new art from keepsakes of the past felt meaningful – making space for a new generation to create their own.
Where did you start making your patterns into a business? What was your first sale?
I first turned to patternmaking after losing my mum to cancer. It became a creative outlet I could fully immerse myself in, and my creative self gladly took over. My early designs hold so many memories and features that were inspired by this amazing lady.
After a while, my love for this new form of art grew a life of its own, as it dawned on me I could leave my own personal story behind with the beauty of SPD and even build a business from something I enjoy – a far cry from the corporate world I had been in previously.
My first sale was small, but it touched my heart deeply. A bag-maker that followed me bought my “Sleepy Turtles” design on fabric to create a quilt for her one year-old grandson to play on and sleep under. She told me turtles were his favourite animal, and when she sent a photo of him on the quilt, it just warmed my heart. Precious keepsakes made from my art – words cannot describe.
I imagine that was one step in your journey, what were some other milestones?
Launching my website feels like a real milestone. It doesn’t yet showcase my complete body of work, but I’m in the process of bringing everything together.
I love that there’s a cosy room at a short term rental in New Hampshire with my ‘Playful Herringbone’ wallpaper. Families and couples can relax there, taking in the rustic charm and nearby woodland. Who knows how many people will enjoy the space without realising it was designed by someone across the world in Australia? That one felt really special.
What I love is how these cosy colors suit their “Cabin in the Woods” aesthetic, but because the digital product is changeable, this same pattern can be just at home in a coastal retreat setting somewhere else in the world, just by changing up the colors like in the Coastal Funky Herringbone version. Colour really sets the tone.
One thing I think is cool is how a pattern can be used for almost anything. What are some fun or unusual ways you’ve seen yours and others’ patterns used?
Although I often design with wallpaper in mind, the cool thing about having a digital end product is that it can be used on virtually any printable surface, from wallpaper, to bedding, curtains, upholstery, lamp shades, fabric or as gift wrap, cards, crockery, wall tiles, etc.
I think a world without Surface Pattern Design would be very dull – like a world in black and white! I love that you can now get scrubs covered in fun designs to make both nurses and patients smile. What a lovely way to brighten someone’s stay in hospital and help shift their focus or worries, even just a little.
I think the most unusual thing I’ve designed has to be fast drying, environmentally friendly, wee cloths for bushwalking women, meant to hang on the outside of their backpack. Cute idea, practical too!
There always seems to be new surfaces to breathe life into, which is part of the magic of this work.
What challenges does a surface pattern designer face that the average person wouldn’t know about?
One of the biggest challenges a surface pattern designer faces is the solitary nature of the industry. Most days are spent in the studio, either creating or working in Illustrator, or uploading to my chosen print on demand site. Days can go by without seeing anyone (other than my long-suffering husband who nods and makes the right noises when I talk about my day).
I’m so fortunate to have a small group of fellow Aussie SPDers – we video call regularly to talk business, share ideas, and have a good laugh.
Do you ever have a piece that you love, but can’t seem to make it work as a pattern?
Yes, that does happen and it is so frustrating! I might spend a couple of days painting an idea in my head, only to find when I put all the pieces together, it doesn’t work. I find now, that if I just put it down and come back to it another day, it becomes a lot more obvious what isn’t working and how to fix it. Sometimes though, you have to kill off something you love to make it work which can be a difficult decision.
Do you have a personal favourite pattern, and maybe an underappreciated one that you love, and why?
I think my personal favorite pattern would be my ‘Joy Everlasting’ bottlebrush design. Rooted in Floriography, the Callistemon represents Joy – also my grandmother’s name – and the Eucalyptus leaves represent everlasting support. Together, they carry personal meaning while giving off a welcoming, happy vibe. I often imagine it as cheerful wallpaper for an entryway, but it would be just as uplifting on a farmhouse tablecloth or even bedding.
One that I love but perhaps hasn’t had much attention yet, is my ‘Tribal Crabs’ design. It started as watercolour crabs but evolved into decorative crabs arranged in a line across the pattern. It has a playful, beachy vibe – like beachy space invaders for the retro games fan in me – timeless, fun, and full of character.
Do you have a dream spot for your patterns, like maybe the walls of Buckingham palace. Or to put it another way, where would you love to see your patterns out in the world?
I’d love to see one of my romantic floral designs on the walls or costumes in Bridgerton. Or one of my earthy, rustic designs on a blanket wrapped around a gutsy heroine in a Yellowstone spinoff. Or maybe an 80’s throwback wallpaper on a backdrop in The Newsreader. I could go on, but you get the idea.
Thanks so much for the chat, it’s inspiring to hear about how you’ve made your art part of your professional life too. Is there anything you’d like to promote or share?
Thank you so much for the opportunity to share a little insight into the world of a Surface Pattern Designer.
You can follow my latest work on Instagram and Pinterest, and explore my collections on Spoonflower. I’m also available for licensing and collaboration at hello@bernmeagherdesign or use the licensing enquiry form on my website: bernmeagherdesign.com.
Feel free to get in touch – I’d be happy to chat!