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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Modernist patterns in the making

Over the last few months, actually for most of this year, I’ve been working on a commission with the Barbican Centre London to create bespoke patterns for products in their newly developed retail space, ready to launch in the Autumn. It’s been a fabulous project as I’ve developed the designs with plenty of dialogue with Head of Retail, Adam Thow, to-ing & fro-ing by email. The brief has altered only slightly since the beginning and I feel really proud of what we’ve produced. There’s a more detailed interview about the project over on their blog.

The idea was to explore the Barbican Centre, famous for its architecture, but to also include its activities as a cultural centre of music and performance. I explored lots of ideas and pattern compositions but settled on the idea of a sheet of music, and ended bottom right with the bold double bar lines. Within the patterns I referred to musical notation, and made links between the architectural features and those of instruments, including a violin and oboe, to create a sense of narrative, playing with strong negative and positive shapes. Each of the motifs were hand cut in paper, scanned in, and combined using Adobe Photoshop.

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Last week we shared the first images of the design work so I thought I’d share here too. The images here show my developmental design work above, and the final limited edition screen print and pattern for products. Visit @barbicancentre on instagram for more final product shots.

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pattern prints

I’ve been working behind the scenes, offline at least, making new prints, mainly lino prints, and developing repeat patterns with them. I’ve not wanted to show the progress until I’ve worked out where I’m going with them, but finally I’ve decided to go public, in a small way, revealing one of the new prints, hinting at the direction my new patterns are going in…

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I’m exhibiting at TentLondon again in September so between now and then I’ll show more on instagram, Twitter, Facebook and here on my blog.

passing on pattern passion

In my role of academic as well as a designer I am regularly required to enthuse about print and pattern, and to be honest that’s fine, as I love designing and teaching pattern for print. This last week has seen me out and about to pass on my passion for pattern, firstly to Wolverhampton Embroiderers’ Guild where I was invited to talk about my practice. It’s always interesting having to consider what bit of the last twenty years to focus on, requiring reflection and evaluation, and how to tell the most relevant story without missing the bits that might be the most informative to others even if they didn’t seem so to me when living them. The audience were really generous with praise, and were really interested in my creative process, so sharing my sketchbooks, and anecdotes felt very easy to such an interested group of makers.

Tuesday saw me overseeing a morning of filming at Birmingham City University (BCU) with Laurence Llewelyn-Bowen and TV crew, working with our third years and our fabulous Print Technician. It was a morning of celebrating the Arts and Crafts legacy, William Morris in particular, and the importance of understanding the value of drawing to the process of pattern making. It was a pleasure promoting our talented third years, in the closing stages of their time with us.

This leads me to yesterday when I and a colleague took a coach of second year Textile Design degree students to Manchester, specifically the Whitworth Art Gallery to see several exhibitions. On walking in to the first gallery and the exhibition ‘Revolutionary Textiles 1910-1939′ I noticed a number of pieces that I had featured in my Historical Textiles lectures when I had taught this group of students as first years, including Barron & Larcher, Josef Hillebrand and Omega Workshops. It was fabulous to see the students’ excitement on recognising patterns and names of designers that had, until then remained theoretical, and not ‘actually real’. Their knowledge meant something tangible, and I think was empowering to them. It was an honour to share that excitement of learning, and understanding.

Having worked on the Tibor Reich show at BCU it was great to be reunited with the collection, also on show at the Whitworth, and to see the different emphasis this exhibition made to an amazing and extensive archive owned by the family. The students really responded to the way Tibor worked to create pattern, and explored pattern through drawing with layers of colour and line. I couldn’t help but point out Tibor’s excellent use of a sketchbook to explore ideas.

Image below: top row from Revolutionary Textiles, bottom row Tibor Reich

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The room that wowed me most was the wallpaper gallery upstairs, and again, this exhibition was exciting and inspiring to the students, leading to some really interesting conversations. There is of course no comparison between seeing metres of wallpaper stretching skywards, to a small screen of Google images. We talked about print production, the scale of motifs useful to a domestic space rather than in relation to a sketchbook page, and why thinking big should be embraced. We admired the Lucienne Day patterns that are so familiar to us, alongside new discoveries, and that is why a curated exhibition, unlike an online search can be so beneficial; the selection provides context. I encouraged the students to question how they would make the marks, the shapes and patterns without computers, and why the variation of hand-made can offer something that digital software excludes. I include an example below to illustrate my point – beauty in the irregular.

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We did have time to enjoy the beautiful surroundings of the cafe but also took in a quick trip to see the newly opened Fashion & Freedom exhibition at Manchester City Art Gallery, one I really do recommend too.

So, more pattern inspiration for me, and hopefully some more people inspired by pattern too…

building / constructing / space / paper

I’ve been working on a new series of works on paper that have evolved from paper cutouts and manipulations I first created over ten years ago. Back then I was experimenting with sculptural paper engineering that aimed to convey meaning through the structural content as well as the printed image. This may sound very much like ‘bookart’ talk, and it is really, as I moved from artists book maker to something different, including public artist and surface pattern designer, see below.

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It’s a strange thing when ideas that had seemed so disparate appear to come together to form a ‘whole’ different idea – and feels right. I’m sharing the first of many new prints evolving along these lines here.

As a result of my design collection ‘construct’ I launched last year I’ve explored the idea of woven threads and constructed surfaces. This led me to explore the space and environment of a page, a sheet of paper, and what could constitute the printed page. I used embossing to create a sense of space and depth, and slotted the ‘print’ to the paper as if floating. I am keeping the ink a neutral Payne’s grey so it doesn’t conflict or distract from the structure. I explored several different printed patterns too, and this, a lino print provided me with sufficient visual noise, but allows the embossing to be seen too.

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So, what do you think? Does it make sense? I’m looking forward to exploring this further over the next few months.

How will these pieces link to the work I shall make in another ten years?

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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print progress

Recently I have been really busy with a variety of academic duties in Birmingham and further afield, taking me away from studio time, my freelance design practice, and of course blog writing. Also, in my teaching of Textile Design at Birmingham City University I have been leading a module of professional practice, assisting the students in learning about the life of a freelance designer. It’s definitely a double-edged sword, as the discussions between students and staff illustrated: It’s great to be your own boss, but you take all the blame when things don’t work out! You can get up when you want, but nobody pays you for just waking up!

The rhythm of freelance work is varied. Somehow it’s often the way of things that several deadlines coincide, and when you have a schedule to stick to, an urgent press request comes in. On the day you have time to make calls, those people are out of the office, and obviously you don’t get paid when you take a holiday. Yes there can be tough times, but I really like the variety of the weeks’ activities that freelancing gives me, certainly set in tandem with the academic life of very different demands. Each practice informs the other. Obviously there are freelance tasks I prefer and other ones I procrastinate over, lists are created, social media is checked and Radio 4 is listened too!

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With so much to-ing and fro-ing on trains this last month or two and with several commercial projects on slow-cook I decided to give myself time to make, test and resolve some ideas that I have been exploring, with paper and print. The activity of printmaking is a fabulous discipline to work with. I love the excitement of planning a new print, and composing the plate, often taking me back to sketchbooks and previous ideas. The physical process of cutting the block can also be absorbing, and therapeutic and I have to decide the paper stock, the ink colour, and edition size too. It is important to maintain an experimental, inquiring practice and my prints and drawings are the evidence of ideas that have sustained my creative practice for the last twenty years. Between the commercial constraints of projects shaped by clients, costs and repeat patterns, printmaking can seem so free from limitations. This is why I make sure I keep printing – the creative sort, not just the invoices!

both prints featured here are available to buy, at £46 each unframed.

Knit 1, edition of 15, lino print, 9.5 x 9.5 cm print size

Meadow Grass, edition of 12, lino print, 9.5 x 9.5 cm print size

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