design process

Gardening with Mr Bawden

/ katefarley / 2 Comments

So this is the week my book ‘Gardening with Mr Bawden’ is being published by Design for Today. It’s been many months in the making, so I’m very excited to be able to share the details and for other people to hold the book in their hands.

What began as a project brief for a book with interesting folds that celebrates Edward Bawden’s love of gardening has become a project I am very proud of and have thoroughly enjoyed for lots of different reasons, pushing me creatively along the way. I love a design challenge and returning to the subject of gardens has been a pleasure, having launched my garden-inspired Plot to Plate collection back in 2012 and being a keen allotmenteer. I’ve moved away from my usual diagrammatic visual interpretation of gardens, towards a more illustrative manner, following on from my Parks and Gardens commission for posters for London Underground last year. It has also been a joy going back to paper engineering and book art – having made many editions of artists books over the years following an MA in the subject from Camberwell in 1998.

The images below show some design stages of this project with Design for Today. There is an early paper maquette as I worked out the structural narrative in relation to the imagery. Several of these were posted between us to allow for discussion and deliberation. At one point there was a cut-out pond but I was unhappy with how it worked on the back of the page so I left that behind. I cut lots of lino, with each page requiring at least two blocks – one for each colour. Although I had an idea of the key focus and composition for each spread it wasn’t until I was cutting the lino did I tie precise detail down. Only a couple of times I decided to completely abandon a page spread and rework it – and I’m so glad I did! Each block was hand-printed and hung to dry in the studio before being scanned to make a digital file that could be prepared for the lithographic printing process of the final edition at Calverts.

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Once the final sheets were litho printed and die-cut / creased we have had to fold them one by one, sign the special edition and pack them up. We even decided to hand-cut out a window pane of the greenhouse in the edition of 100. We are delighted that the Special Edition sold out fast, well before the publishing date – thanks all! Those lucky people will receive the book along with a little booklet of the project and greetings cards, any day now!

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This collaboration with Joe has been a really positive experience as we are both passionate about doing a great job. He was always happy for me to tweak something one last time as we signed off proofs, and understood the reasons why I turned sentences inside out in the booklet, to say exactly what I wanted to. Joe and I have discussed page size, paper weight and the folded structure on several occasions as well as how you take inspiration without copying, and the issue of creating something in relation to, but not derivative of.

I am sure people who know my work will recognise my style in there, despite it being a little bit more illustrative. Pattern making relates to both Bawden, and myself, so it made sense to include a nod to wallpaper designs too, inside the greenhouse, as pots of plants become floral wallpaper. I wanted to use lino because both Bawden and I have used the printmaking process. I also wanted to create a light-hearted feel to the imagery, that is so often in Bawden’s commercial illustrations. As I wrote before in a previous post, we researched lots of snippets of information to guide the imagery and are grateful for there to be so much writing and research available at the moment, but it was never intending to be a guide to the garden at Brick House, more to express the pleasure Bawden would have got from his garden, as so many of us do. I also wanted to take the reader on a journey through a garden, rather than show you all in one go, so I hope the reader can navigate their way around!

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This book is the outcome of a great collaboration. (Thanks Joe!) So as the book is published today we celebrate this journey of designing and making, and can announce it will be stocked by some great places, including the Dulwich Picture Gallery, where a brand new Bawden show opens this week. Check out the social media accounts of Design for Today for updates. Final thanks ought to go to Mr Bawden himself, who has inspired so many of us, and who gave Joe and I cause to make this book.

learning to look

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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.

special edition news!

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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

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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

/ katefarley / 3 Comments

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?

KateFarley_grasslines_WIP_blog

 

telling stories

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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.

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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

window film wins gold

/ katefarley / 1 Comment

In my design practice spanning over almost twenty years I’ve been really keen to test my design skills in relation to different products and this has resulted in me working with some really great companies. I’ve learned lots and have got to test my pattern making skills for the different applications I’m working in relation to, learning from industry partners with their experience and expertise.

I’m really proud of my Construct collection as I set out to combine my interest in constucted cloth (weave in this instance) to inspire a print language, with the final surface designs being applied to hard surfaces. I was inspired by Augustus Pugin’s phrase “truth to materials”, in defiance against fake digitally printed wood-effect interior surfaces and I was interested in presenting a subversive outcome. My designs are not copies or imitations, they are a creative response to the material. I made tools to draw with; forks dipped in ink, relating to the threads of cloth and then manipulated the scans of the drawings in Photoshop to generate the repeat patterns.

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When the opportunity came to work with The Window Film Company I was really impressed with their willingness to sample a range of designs and to discuss what worked. We explored the scale of the designs and sampled a number of patterns, resolved the repeating artwork to create the final collection. The products are brilliant, the window film is so easy to install and looks great. The idea of placing the woven textile inspired patterns on the window relates to the idea of hanging curtains. The graphic patterns are soft and calm, and yet provide privacy at the window. I then went on to develop my Threads collection to extend this idea further but employed lino cutting as the visual process, also available at The Window Film Company.

I was delighted to learn back in September that we had been shortlisted in the Best home improvement category at the House Beautiful awards 2017, for both mine, and the designs by Layla Faye, and they were going to be held in central London in November. Last week I went along with some of the The Window Film Company team to the awards and we are delighted to have won gold! It was a complete surprise as the category had some stiff competition, but we are so pleased to have this work recognised.

In the words of Micky Calcott, Director of The Window Film Company, “We’re thrilled to have won gold at such a prestigious and well respected awards ceremony. We work hard to provide customers with products that are practical, but also inspiration and stylish. We’re incredibly proud of our designer ranges and are delighted that our Kate Farley collection has been recognised as delivering something that customers want, enjoy and appreciate.”

My designs have been created with lots of consideration to hand-generated imagery, and in relation to the material it is printed on. The patterns appear straight forward but have involved many decisions along the way, testing the combination of marks and the rhythms that are created, as well as the repeat structures and the positive / negative details. I know the customers don’t have to know the entire creative process to like the designs, but I’m delighted to have the opportunity to reflect on this collection. Winning with this great company is something I’m really proud of. Thank you to Micky and the team, as well as to House Beautiful!WindowFilm_awards17

limited edition prints from posters

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Following the success of my four posters for London Transport Museum, currently on the network of London underground stations, I have been asked by Michael, the commissioner, to edition the designs as screen prints. I jumped at the opportunity, and embraced the task!

This has been an interesting challenge because although the artwork for the posters was made using paper cutouts, one great joy of digital print production means you don’t have to separate each colour to print; CMYK does it’s thing. However, screen printing requires far more consideration of separate colour on each of the layers as well as registration – the accuracy of each colour layer when printing. Overprinting can result in muddy colours if not fully considered. For the editions of prints I made some artwork adjustments on Adobe Illustrator enabling me to create the positive artwork for each of the four colours in each print, ready to expose photographically on the screens. You can see in my composite image, top right, the black print on acetates which are the screen positives, that I used to expose the images.

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I love mixing colours to match my references and I take pride in not using colours straight from the pot, but to always see the nuance of hues. I make colours darker using purples and greens, rarely black. I used the final posters to get the right colours, and daylight is always essential. Ink and paper surfaces always give different qualities to contend with too. The final colours are certainly rather bright! Screen printing on paper is also very different to screen printing on fabric, so you have to get your head around the differences including remembering to flood your screen (pulling a layer of ink across) between each print, and using the vacuum on the print bed (to hold the paper firm).

However tired I am, when I am printing I am absorbed in the process – rarely noticing hours passing, and missing the need to feed. This is a good thing as my week as been ridiculously busy on all sides. Printing requires systematic thinking, and at least one clean hand. Preparing screens, mixing colours and registering each colour on the acetate first all needs to be organised. I love it when I’m in the rhythm of editioning.

A deadline to hand the first print from each edition to the commissioner this weekend focused the mind, and when trimmed, signed and wrapped I was really proud of the prints. I was even more pleased when I met up with Michael to give them to him. He appeared to be joyfully moved by the results – holding one print up to the fellow coffee drinkers in pride… phew! They are off to be framed and auctioned at a London Transport Museum event at the Victoria and Albert Museum later this week.

This whole project has taken so many months (years) to come good, but throughout the process I have felt trusted by Michael to do what I do best. He has great confidence in his choice of designers spanning the years, and allows us to get on with the job without interfering with the outcome. His twenty plus years of commissioning poster designers has led him to influence the direction of graphic artwork on London underground, creating the archive for the future through the choice of creative hands and minds, but not by telling the designers what to do. It takes trust and judgement on his part, but in turn I think I’ve created my best work yet. In the many conversations over these years I’ve had with Michael he listens, he wants to hear my opinion on things; we have good discussions – he knows about a lot of things. He also often gets carried away with future ideas and possibilities – I like that, we should all get excited by ideas. Thanks Michael!

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poster proud

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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.

time and sketchbook time

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At the moment I’m juggling lots of different projects; one has been years (really!) in the making, another much quicker, straightforward and some more ‘surprise’ projects. They all have different requirements of my time, and in each week there may be a telephone call to a manufacturer to discuss things with, an email exchange between a client and myself to clarify details of a brief, or a call to a stylist / marketing team to plan a scheme for the future with, and the usual trade show sales team call! This all takes time, and different skills to manage.

A different skill altogether is to maintain a practice that, at the heart of it, seeks to challenge, engage and inspire the creative self that was the reason I set off in this direction at the start, twenty years ago. The sketchbook is the place I go back to, the safe place I can explore those ideas in, old and new, that keeps the journey going, the continuum that is my creative practice. Ideas do evolve over time, and the sketchbooks are testaments to the ongoing inquiry that may lend itself to something commercial in due course, but is not the reason I do the drawing in the first place.

In my role of design lecturer I regularly explain the uses of a sketchbook, the hows and whys a designer may approach the mental and physical task of working in a sketchbook. Retro-filling the pages that have post-its in saying ‘research’ needing to be completed the day before a hand-in lacks rigour and purpose, a scrap-book mentality is not necessarily the best use of printer credits unless you really do look and reflect on the relationship between your work and someone else’s. Dare I say it, I enjoy the task of working on a new white page, and see the potential, not the fear. I don’t often share pages of my sketchbooks, but here’s one page from this week in the studio, having gathered new ‘material’ at the weekend, furthering my ideas for my Grasslines print series…

I say let’s celebrate the sketchbook, the real one with paper pages that doesn’t require likes, favourites of retweets to be justified, the one you do for you. Why / how do you use your sketchbook?

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