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?…




telling stories

Each project I create is part of a longer narrative of my practice and as I look back over the years it is easy for me to see common aspects and joined up thinking spanning those projects. As I teach this year’s final year students on the BA programme I lead I am reminded of my own journey starting out in design, and the questioning I did to work out what sort of work I wanted to be represented by in my step beyond graduation. The challenge of the Final Major Project!

I understand the battle and pressure to work out your own style, the look or handwriting to be yourself, but funnily enough I don’t think that is the thing that holds my practice together anymore – you may disagree, and I’d be interested to know! What has become the common thread holding so many of my projects together has been the story, the narrative within each project. I could never have imagined this all those years ago, even though I was making books! I’ve made many artists books that contain single narratives, but I’ve also worked on large-scale projects that involve public toilet doors that act as pages of the book with a story across them. This is also true for the Queen Elizabeth Hospital in Birmingham where my designs are laid out in gravel across three huge roof-scapes. I’ve also been challenging how to place pattern within single designs, such as in my Plot to Plate tea towel design, telling the tale of growing, cooking and eating food. I’ve made series of prints, and a set of posters, all held together by a narrative. The more I look the more examples I can see.

If only the graduate me back then could have told me that the key aspects of my practice would work themselves out I would have worried less, but then again, it is the search for these answers that take you on the creative journey in the first place. Some people like to know what they are going to design, design it, then be pleased it looks as they planned. As for me, I like learning as I go, push myself that little bit more, find a bit of creative strength to step out of my comfort zone, and then be pleased I got somewhere I didn’t know existed. The creative process is a difficult thing to explain, but it’s all the more interesting for being that way.


Top left: artists book in collaboration with Wes White for Sherborne House, Dorset, 2004

Bottom left: visualisation for the roof-scape at Queen Elizabeth University Hospital, Birmingham, 2009

Right: Plot to Plate tea towels, 2014

Squared collection

It is no surprise to many that I collect things, some of those collections have even been featured here on the blog. When a colleague asked me last week if I had squared paper I was happy to delve in to my ‘squared paper’ drawer in the studio and share. This small act led me to rediscover this collection that features paper dated from the 1980s up to the present day, of grids, checks, plaids … of beauty. Printed in grey, blue, green, red or other, two-sided sheets, pages of books, tracing paper; the collection is also international in its reach. I’ve posted several on my instagram feed @katefarleyprint but here are some to get you excited!



projects in the pipeline

As a freelancer there are different tasks to do at different times. Some weeks my jobs are all about liaising with manufacturers, and others while launching and promoting projects I am far more outward-facing in my to-do list, picking up the phone, or running a trade-show stand and being sociable. Other times I just get stuck in to the work and have to keep quiet about what is happening. Now is one of those times.

I’m back in the studio working on a brilliant project that is right up my street. In some ways I’m on very familiar territory and in other aspects it’s a fabulous new challenge. This makes it very exciting in my world, but in the current climate of social media requiring stories to be told it’s rather difficult to remain quiet as it looks like I’m doing nothing, when I know I’m very busy! I’ve shown no design development work online apart from the odd glimpse of a piece of lino to be cut and I’m afraid that is how it will stay for the moment. Please be assured I’ll share as soon as I can, in the meantime I’m just popping my head up from the desk to say “Happy New Year!”


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)


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.


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.


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!


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!


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

Summer gold

As the weather turns I always feel a sense of sadness for the summer that is over. The start of term arrives and soon it is coat weather, and lights on to read in the evening.

I have taken many photos over the summer, some for projects that are taking shape and some for my archive, waiting for their turn. These two photographs go rather well together to remind me of the warmth of summer and the beauty that is East Anglia.


Top image is from inside the light house at Southwold, Suffolk, and the second one is a view across the marshes at Stiffkey in Norfolk. Each a special place in my heart.