learning to look

I’m fascinated with how artists and designers stylise what they see. It’s a creative journey that drives me in my work too. Look at this image below of a wood engraving ‘Butterflies’ by Enid Marx, 1939. The same sort of leaves have been executed in several different ways to provide visual interest, tonal variation and depth, communicating different information about the leaves.

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This is also a great example of how to use negative and positive shapes in printmaking / monochrome imagery, again to create visual interest and movement around the elements in the composition. I took this photograph from the fabulous Enid Marx -The Pleasures of Pattern book by Alan Powers published by Lund Humphries – I recommend it!

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Also, I’d recommend a trip to Compton Verney to see her design work alongside her Folk Art collection.

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final showing of Ambiguous Implements

I’ve been so pleased to have my Construct pieces in this touring exhibition, positioned alongside such fascinating and varied work of others. It’s interesting to see my own work in new contexts and I wrote about this previously here.

“The installation at Touchstones Rochdale marks the final exhibition in a series of shows displaying work by Rob Anderson, Aimee Bollu, Caroline Broadhead, David Clarke, Nuala Clooney, Rachael Colley, Rosie Deegan, Kate Farley, Daniel Fogarty, Joe Hartley, Kate Haywood, Jasleen Kaur, Julie Mellor, Maria Militsi, Rebecca Ounstead, Matt Rowe, Jonathan Trayte and Abbie Williams.”

https://ambiguous-show.tumblr.com/ExhibitionsEvents

21st April – 30th June
Touchstones Rochdale, The Esplanade, Rochdale OL16 1AQ

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special edition news!

If you follow me or Design for Today on social media you will have seen updates of the book we have collaborated on celebrating artist / designer Edward Bawden’s love of gardening. The book is titled ‘Gardening with Mr Bawden’. It’s been the perfect project for me as I also love gardening, have a background in making artists books and also love lino-printing.

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I’ve designed the book taking inspiration from some of the research I’ve found about Bawden, such as his preference for structural plants, his competitive growing of sunflowers, and the ongoing problems with snails. I’ve also made reference to some of the artwork made by Bawden and his dear friend Eric Ravilious, including the view under the tree with the table and tea things, as well as the bench Bawden designed.

All the motifs are my own but I’ve made reference to the sort of patterns Bawden was designing while living at Brick House, Great Bardfield in Essex. I’ve blended the idea of plants growing in the greenhouse, becoming wallpapers in the house. There is a pull-out greenhouse!

There are limited edition sets available to pre-order now which includes a signed book with four greetings cards and a collectors book explaining the project. Click here to order.

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woven landscape

It seems right to me that as someone keen to draw images I chose print as my medium of design rather than weave but I do think there is a strong sense of the spirit of woven cloth in how I see things, and for that I thank my upbringing in Norfolk. The strong horizontal line of the sky meeting the fields interrupted by vertical fence posts or reeds creating visual rhythms can leave me feeling utterly complete. Back in Norfolk this Easter, once again I breathed in the space, the horizontal and vertical of Horsey; one of the most perfect places.

I removed colour from this image as I wanted to clearly show the structure of the stripes, but colour is much of the joy in this landscape – the purples, greens, yellows, varying from minute to minute in the ever-changing light. I add them below. One day I will weave again.

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talking to myself through teaching

I’ve spent many hours over the last couple of years reflecting on my teaching career that stands at about 18 years, give or take a bit. In order to apply for Senior Fellow of the Higher Education Academy I had to write thousands of words that explain and reflect on the impact I have made on not only the students I have taught but the colleagues and peers across the industry I relate to in my professional practice. It has been a big ask to fit my diverse experiences in to the word count along with the cross referencing required, but I’m delighted to say my hard work over the ‘holidays’ and the work of my colleagues in writing supporting references has meant I achieved Senior Fellow and I’m rather relieved / proud. (I was however disappointed to discover that rather than receiving a fine water-marked, embossed and foil blocked certificate I had to download it! … I digress.)

I’ve written many times about how important it is for me to combine my design practice with my academic career and although it doesn’t make my life easier, it certainly makes it more fulfilling. They really are mutually supportive. The reason I am so driven to support the students in reaching their goals is because I know how rewarding a career in design can be. From having the confidence to draw in a different way, to picking up the phone to a new client, to realising your dream of seeing designs commercially available…, to be paid to do what you love doing… why would I not want to help others to do those things?

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It’s also important to hear myself saying these things to students. It’s as if I am telling myself as well as the students! Yes I must chase that lead, make sure I’m paid a fair rate or keep my website up to date! Each creative has different ideas about how and where to move forward with their ambitions and the art of teaching is to work out how to nurture, support, push and challenge positively. Being creative is not easy. You put your sensitivities on the line to be judged, sometimes by those with less creativity than yourself, but who holds the budget. There are certainly pages in my sketchbook I wouldn’t choose to share at a group tutorial, but the process of knowing you are not alone in learning the creative process is so valuable. It’s also the case that it’s often easier to critique someone else other than yourself! Would you listen? Maybe one mis-perception is that once you graduate you stop learning – I plan to keep learning forever! Each project I work on is an excuse to learn more, not only about myself as a creative, but new practical or technical skills to take on board for me, as well as sharing with colleagues and students.

I’m very aware the reality behind social media may be far different than the stories being told online. I make sure students are made to think about that, – use the benefits of social media while considering the stories they read and the stories they create. While I like the way we can find out so much more about what’s going on, and who we need to know (can you imagine only having the yellow pages?!) there are complications with so many aspects of our practice being shared. Copying, audience expectation, peer competition versus mutual support, networking and peer validation are ups and downs of today’s design world. I approach my teaching very much like my designing. Honesty, integrity, and fulfillment…. support, encouragement and creative ambition! Even writing this is like giving myself a tutorial! What’s my homework?

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garden cuttings

I’ve been working away in the studio on a wonderful project with Joe Pearson of publishing company Design for Today for a while and time has come for us to begin to share the results. It is a book inspired by Edward Bawden and his love of gardening. The content of the book has been informed by my research into his garden at Brick House, Great Bardfield in Essex. Bawden was a very keen gardener and I have researched and worked with anecdotes and visual references to build a picture of what his garden may well have been like and designed the artwork of the fold book with lino prints, a process he used many, many times.

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Keep an eye on social media for more updates as we lead up to the official launch in May.

evolution in practice

I’m thinking about different aspects of marketing and promoting businesses in textiles for a lecture tomorrow and I came across this image which got me thinking about how my practice has evolved and my priorities have changed since I took this picture only a few years ago. I’m so grateful for the opportunity to shape and alter the practice I have, to take on projects that suit me at the time. Hooray for portfolio careers! Right, what’s next?…

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