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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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.

my motifs in design

I consider everyday design to be important in shaping our lives for the better or worse, and that includes cutlery design. For regular followers of this blog you will know I like cutlery. My special relation with cutlery started as a child, I collect forks, particularly disposable ones and now as an educator I use cutlery to teach design thinking despite my subject being textile design. I’ve also designed several pattern designs using motifs of cutlery including a collaboration with David Mellor Design.

The first time I made a formal design using cutlery I won a prize! I entered Formica’s Design-a-laminate competition in 2005 and won the Retro category for producing “a skillful houndstooth pattern using knives and forks, a reference to Formica’s conventional use if Fifties’ diners and kitchens”, (Blueprint magazine, April 2005). (top left pattern – made by a rubber stamp – see my instagram feed)

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Many years later, in 2012, I launched a new variation of this pattern on gift and home-ware products including a tea towel, and moved the dogtooth check pattern on by incorporating a visual narrative into the design. At the bottom of the graphic I had garden tools such as spades and a rake, then in the middle I incorporated kitchen utensils such as whisks, wooden spoons and fish slice, before topping the design with cutlery – therefore illustrating the journey of plot to plate, (garden, kitchen, dining) using the tools that we use. This has been really well received and I sell through my website and have shown the design at several trade shows and exhibitions. Subsequently I updated the colours to Brassica green and Brassica purple in 2014.

Continuing my design journey of cutlery I approached Corin Mellor to suggest we collaborate on a design to celebrate his Chelsea cutlery in 2013, inspired by the production method of making cutlery and the beautiful shapes of the salad servers. Following the success of this I was asked to create a second design in 2015 inspired by his father’s winning cutlery design ‘Pride’. Both designs of tea towels sell incredibly well both online and their three shops and I’m delighted with the responses I receive – from as far away as Japan!

So why do I remind you of when I designed these patterns…?

With my pattern designs of cutlery out in the public domain since 2005 I received a message from someone I know telling me they had seen my cutlery design on a surface I hadn’t applied it to…., was it new?… alarm bells! I haven’t designed this product! The feeling of being cheated, of being violated, ripped through me leaving anger and frustration at the lack of other people’s respect to a fellow designer – that’s putting it mildly. Don’t get me wrong, I’m grateful for being told, it just took my day in a different direction from my plans. My afternoon was spent searching online to find examples of this product, and there it was… I am offended!

I could take to social media and rant, name and shame and get it off my chest – that’s one way but I’m in a difficult position if I can’t prove someone has copied my work. If I’m not careful I can find myself being accused of slander – hence I’m not telling you the product the design is applied to, but you can see my designs here which gives a clue. You can do your own searches and draw your own conclusions, but please understand why I’m not making wild and angry claims. In the world of design law this is something of a challenge to prove, and having already gone through this with a dear design friend, know it’s a nightmare that is part and parcel of our design careers. The thing is we need to promote our work and get it seen by people. I can’t have a design career while hiding everything.

The internet enables us to share our design stories but also leaves a trail – and at this time I’m grateful my designs are well documented. I pride myself on originality, and for creating high quality designs. The pattern that I believe is too close to mine for comfort lacks any sort of rigour, consideration and refinement compared to mine. If I was going to copy I’d at least make mine better than the original! Why record a cover-version that doesn’t compete with the quality of the first song?

It is always a worry that someone looks at your work and thinks they can ‘take inspiration’ from it. I’m not saying I should be the only textile designer using cutlery as motifs – no way! Both as a designer and academic I take the issue of imitation very seriously, stressing the importance of originality to my undergraduate students to a point they  clearly know my thoughts on intellectual property. If anything, I drive a very wide path clear of anything that can be seen as similar, knowing how damaging it can be to a designer of being accused of copying… there are enough case studies out there! My reputation matters to me.

How can imitation be flattery, as we are told in primary school, if it makes me feel so angry and violated? I’m having to think about what to do next, and also I am rather in need of some time away from a very busy last few months… but I shall seek advice and work out what to do next.

Season’s greetings, and thanks for reading… I’ll let you know next time I design a cutlery pattern! If in doubt, ask…

 

 

poster proud

Every designer is likely to have a goal or two, a particular ambition to aim for. Last week I reached one of mine… I have designed posters for London Underground. They are up on the system as I write. I’ve been bursting to share the prospect that this may happen for several years, and now it’s real!

The underground poster archive at London Transport Museum is full of great examples of graphic design, with work by my heroes such as Edward McKnight Kauffer and Abram Games. These designers have inspired me in my quest to explore visual communication through print and pattern for as long as I can remember and now my design work is on the network hopefully catching the eyes of commuters in London, as theirs did.

I was pleased to be given the brief of ‘Parks and Gardens’ and was keen to move the visual qualities on from my Plot to Plate collection of kitchen gardens and parterres, although you may recognise in poster 3, ‘Community Gardens’ some of my motifs from that time. I have continued to play with elevations and perspective, while giving a polite nod to one of the other poster giants, Tom Purvis, whose poster I’ve had on a wall in our home for more than a decade, enjoying it every day. His series for LNER, ‘East Coast Joys’ appears to be made from cut out paper, the picture is made from flat colour in bold shapes. Having used this method for my commission for the Barbican last year I was keen to explore this again. You can see in my first cutout sequence I did begin to connect each poster to the next, as Tom Purvis had in his 6 LNER posters but I found this limited the scope for each poster composition in this instance.

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I began by gathering lots of imagery by making drawings and taking photographs and considered four different approaches to parks in London, one for each of the posters, from traditional activities such as rowing, to pitch & putt and the formal model boating lake. I wanted to create nostalgic content combined with a contemporary aesthetic. I remembered a hot day rowing on the Serpentine with a friend, I thought of many visits to Brockwell Park and all the different aspects of the ‘rooms’ it has within it. Greenwich was also an obvious one, Clapham Common and Hampstead Heath too. The posters represent lots of different aspects of parks, not four specific ones, and only one suggests a particular skyline looking across at the city.

Once the initial ideas were set I began to cut out the posters as general compositions, as well as single details / motifs to add. I combine both traditional drawing skills and digital manipulation in my practice, and this is how I worked here, scanning in paper drawings (cutouts) and subsequently working in Adobe Illustrator for final compositions / print artwork. I was able to make changes as required, including colour and motif placement options.

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As a designer I’ve always loved working across different surfaces and products, working with the industry experts in order to learn the best approaches and pitfalls of each context. Posters are large, but someone may look at it for less than a second… it needs to grab attention without being noisy. Large areas of pale colour might encourage graffiti… edges are as important as the centre, and so on. For people who have known my work for many years the look of the posters might not surprise, but my more recent work has been much more graphic, and understated so maybe some of you may not see these as so clearly of my handwriting. Let me know what you think!

Once I was told the posters were going up I had to go and find one. Luckily I was in London for the Design Festival so with wide-open eyes I took to the system and eventually found my first one at Embankment. I’m not sure I can put in to words what that felt like – I wanted to point and shout they were mine! The ticket barrier chap kindly took a picture of me alongside ‘playing a round’. Later that day I came across two more at Euston, and friends have let me know their sightings too!

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Design projects can take a long time to get to fruition, it is not unusual for years to pass. This can be frustrating when you want to shout out and tell everyone what you’ve been doing in the studio each week. I am always mindful of what I can share on social media, respecting my clients who might want to have control over a specific product launch. Now the posters are up I’m delighted and proud to shout about it… let me know if you see one on your travels!

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You can also buy them from the London Transport Museum shop.

gardening spirit

As this is the start of National Gardening Week it seems appropriate that I reflect on how important gardening is to me. Growing up in a gardening family, with a self-sufficient attitude to growing vegetables I suppose it was inevitable that one day I’d have a garden of my own to tend. For years I’d visit mum and be walked around the garden having updates on the state of things, nodding but never knowing the names of things, but seeing the pleasure the process of gardening gives to her. Now I understand.

Here in Birmingham we have an allotment to grow the vegetables and fruit in, and we grow flowers in our garden. We have spent over a decade digging and harvesting plot 8; learning to respect weeds for their various ways of making their presence known – I still want to try weaving couch grass. The feeling of success when we pick the first strawberries of the year, or fill the rucksack with runner beans that can be filling the freezer for wintertime is certainly worth the hours of graft. Last weekend I picked over a kilo of purple sprouting, and we commented that the harvest would probably cost well over £10 in the shops, as organic produce – but with no plastic wrapping or air miles included. Of course our food tastes so much better too! Gardening spells out the seasons as we check for frosts, or pick the first fruits, and enjoy the harvest and flowers of each changing month. The beds of wallflowers make me so happy this time each year, signalling the excitement of the growing year getting underway.

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It was at the allotment plot that I first developed my pattern collection ‘Plot to Plate‘, launched in 2012. I had been drawing the allotment beds on the site, as well as National Trust kitchen gardens for a while, and a language of graphic pattern made from lino cuts evolved, firstly as limited edition prints, and secondly as motifs to explore repeat pattern with (for example: Plot to Plate VVV textile design – final image with the Auricula). The title design is slightly different in the fact that it was hand drawn, and is an over-sized dog tooth check featuring tools of growing, cooking and eating, such as garden rakes, spades, whisks, wooden spoons and cutlery as a visual narrative up the tea towel, celebrating the journey from plot to plate – available in Brassica green or Brassica purple. plottoplate_ttowels_katefarley150

This collection has evolved to incorporate more formal pattern compositions such as Parterre (below) and Hanbury, inspired by National Trust’s Hanbury Hall and Gardens in Worcestershire, featured on hand screen printed cushions and wallpaper, where I make links between pattern design for textiles and formal garden design.

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These days my design practice has moved away from the inspiration of the formal gardens but I continue to dig. Our potatoes are in the ground for this year and the greenhouse is working some magic. Gardening provides me with not only creative inspiration but also head-space – a highly valuable asset in today’s world. As a designer and an academic, juggling a young family too, things can be frantic and I’m often running for trains. Faced with two hours of hard clay to dig I’m actually very happy. I can focus on the job in hand while chatting to the friendly robins, making myself physically tired, seeing the result of the work, and at the same time having time to think and mull over some of the other stuff of life. There’s also the sense of community with other allotmenteers; we share the same weather and battles but also share the excess harvests. Every time we get to the point of questioning ourselves about the allotment and if we have time, I remember all that it does for me, how my hard work there actually keeps me well; gives me a sense of well-being I can’t imagine getting from anything else. I shall keep digging, and knowing, for so many reasons, why I do!  Happy National Gardening Week!

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Plot plants and design musings

It’s that time of year when the weeds seem to grow faster than the vegetables, and with so much rain this last month, the slugs have found it very easy to slide across the plot to our crops. The courgettes have started cropping but the peas lost the fight. This has got me thinking… This gardening game is very much like the designing game.

There are highs and lows with both, rewards and lessons to learn too. Progress can at times come easy, and with other situations hindrance can be everywhere, and not of your doing. There are also joys in the changing seasons, the changing pace, the focus of attention. Preparation is needed in both garden and design studio; good tools, knowledge of good practice, even ethics come in to both!  Experience and maturity can guide you, but even then, elements beyond your control can create a set-back. How the gardener, and how the designer copes and picks themselves back up also has similarities. Both disciplines demand attention, can’t quite be put down, often filling my mind with excitement of what is happening, what is growing in to something beautiful, edible, or with great potential.

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I hadn’t really thought of this before, but now I can see the similarities I can see the sense of purpose in both, as well as the patience required. Neither can be rushed if you really want quality outcomes. You can buy a box of plants ready to put straight in the ground but the satisfaction is never the same as when you nurture the seed in to a strong plant, eat the fruit, gather the seeds and start again. Isn’t that exactly the same with designing? You can start from the very beginning, and own the entire idea, or you can take a short cut, see someone’s beginning, and take it from there. Not at all as satisfying.

There’s many ways of being a gardener, and there’s many ways of being a designer. I think what’s important is that find the thing that feels right, and works for you. Then, tired from the tasks, you can sleep well, knowing the process will keep you strong.

For reference, sadly none of the flowers above were grown by me, but by my fellow gardeners at the allotment. I did take the photos though!

 

Springtime shopping of Plot to Plate gifts

My ‘Plot to Plate’ collection inspired by gardening is celebrating Springtime with a special offer in my online shop. For orders over £20 placed during March and April there will be free gifts included.

All products are printed and made in England. Tea-towels, bags as well Hanbury and Parterre cushions are screen printed. Greetings cards are printed with British paper.

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