Combining a design career with an academic role often means my weeks are busy and varied, but I had a week at the beginning of this month that was very different to the rest! I’ve been lucky enough to be given an amazing experience as academic at Norwich University of the Arts – a trip to Armenia. The university was successful in securing a British Council bid to work with students at the Tumo Institute in Yerevan, Armenia to help students to create design work with the aim of making products to sell when they come to work at the university in a few weeks time. This is speed educating! A team of three of us, Will – a business mentor from the university, Mia – a graduate from the BA in Textile Design and me – the lead subject academic. Fortunately we all got on brilliantly, complimenting each others’ skills and all being very happy to adapt in order to make the most of the experience. I was only able to be there a few days, while the other two stayed longer.
The journey was long, transferring in Istanbul and we arrived in Yerevan in the middle of the night so it wasn’t until the morning that we could see what the city looked like. We had some time to rest, so we didn’t! … and instead got up and explored … of course! The architecture was a mix of Modernist Brutalism, Art Deco and Post-Modernism mainly and a pink stone was dominant. Many of the buildings featured wonderful carvings and at many points all three of us were heads and cameras up capturing the city. The food in Yerevan was a complete hit with us and I could have stayed far longer and become far wider. Everywhere we went there was wonderful fresh produce: cheeses and meats, pastries, vegetables and breads, all beautifully presented. Luckily we were all happy to share the dishes to ensure we could try as much as possible.
There was much excitement as we went to meet the team of students we were going to be working with, and we took examples of our work to introduce ourselves as well as a general plan, and open ears, so we could discuss with them all their own creative ambitions. These first few days were really important to get the project up and running before I had to return to the UK. Tumo studios was set up on the first floor of what was previously home to rather wealthy family and there were old murals on the ceilings alongside. The workshop spaces were really inspiring catering for print, ceramics, jewellery, sewing and more. Products made by students were available for sale too.
Everyone was very friendly and helpful, as well as really excited to get stuck in. We shared our ideas and thoughts about the project and Mia and I talked briefly through some of our previous work. The first afternoon went by quickly and then the three of us were off to explore the city again – I really wanted to see Mount Ararat – the mountain taller than Mount Blanc, that has in history been on Armenian soil, but is now behind a Turkish border, so we climbed steps, and more steps to the highest part of the city. With sunglasses on, when there was a break in the clouds we could just spot the snow and shady top, but sadly the view was not easily captured on camera – wikipedia has better pics!
The next day was a very long but hugely inspiring one. With our local guides and our researcher eyes in we set off to visit three fabulous places to gain inspiration. The city museum presented the history of Armenia. We learned about traditions, society, historic events and politics, and of course the section about the Armenian genocide was hugely upsetting. We were not allowed to take photographs there but we had other places to go so we crossed the city, including a short trip on the metro (it has one line) to get to the Folk Museum. This was a smaller museum but packed with so much beauty! Here we heard about and saw the traditional crafts and our guide explained the processes, tools and materials involved. I took many photographs! The lace and filigree were particular favourites of mine.
We were full of inspiration but needed energy so lunch was in a restaurant with our hosts helping us to navigate a menu of local dishes – I had lamb soup with pomegranate and mint – it was very good! Soon we were whisked off to the carpet museum / factory and the journey was a great opportunity to see more of the city and suburbs. Again, it was fascinating to hear the history of carpet / rug making in Armenia and I even had a go at learning the right knot but I was very slow in comparison – there is video footage somewhere – and in the picture below, top row, right hand side, you can see my four cream coloured tufts that they have no doubt got rid of once I turned my eyes!
The colours used to dye the yarns are still made from natural ingredients and it was right up Mia’s street! There were some secret ingredients of course! We were all inspired by the sights, stories and the motifs, border patterns and processes involved. What an amazing day. We headed back to the studio to think about what we had seen, captured some ideas on some post-it notes and discussed the plans for the next day. Another evening of foraging fabulous food in the restaurants of Yerevan did us well – we all ate too much again.
My final full day was spent in Tumo studios leading some workshops to develop the projects. Will, Mia and I planned the next week of workshops and activities, sharing all our different knowledge and experience, alongside talking through the individual ideas with the participants. I ran a session about motif and composition development and it was fascinating to see how differently these young people took on the challenge compared to the undergraduates in England I have worked with. These students were far happier to play with the process and not worry about it not working, and gave the testing much more time. Can this be the different schooling? Several attempts at the same thing, sharing and much discussion, lots of giggling and trying again got us to where we needed to be, lunch!
We decided to eat all together in the studio so we ordered in food, (I tried cheese soup – it really is like fondue) and as we sat together we tried to learn some of the language … we laughed a lot. We were also bought a local honey cake to try which was very good. In the afternoon I led a practical session about repeat patterns and design rhythms, and again we talked through individual ambitions for design ideas and product potential.The participants will be heading to Norwich next month to develop and resolve product outcomes to test in a commercial setting. We discussed differences between Norwich and Yerevan and about the next phase of the project. At times we had visitors popping in to see what was going on but we kept on track and too soon I was having to say my farewells and leave the group – with the silver lining of knowing I’d see them in Norwich in May.
One more meal, a final evening with Will and Mia, a supermarket sweep around a 24/7 shop to buy gifts, back to the hotel to pack up, a twenty minute nap and that was that, it was Thursday – I flew out of Yerevan in the very early hours, swapping ‘planes in Istanbul and on to home.
I was so sad to leave the people and city, and was so envious that Mia and Will had another week to learn and experience more. In only a few days I had experienced somewhere so interesting that before had felt daunting in the unknown. Everyone we met were so friendly, helpful and proud of the city and country. I had the chance to learn about a different country and textile culture while working on a really different project, testing my teaching in a very different situation. It really was a great opportunity, hooray for saying yes!
Thanks to Will and Mia for some of the photography!
I shared this photograph on instagram earlier this week and thought it appropriate here too. I have lots of collections and I’ve mentioned several on the blog over the last few years. Some are from certain times in my life, this being one of those.
During the 1990s I was fascinated by the post and all things related. In student holidays I worked in the Royal Mail sorting offices in Leeds & Norwich, sorting and delivering mail, day & night and was even offered a permanent job – but I went back to graduate in design! I still have my uniform belt & badge, I wore number LS394.
Much of this time I was a student and I was attracted to the graphic qualities of the imagery related to the system of handling post too. I loved the labels and sacks and used some of this language in my final major project on my degree course in Printed Textile Design. I also discovered the GPO Len Lye films etc and couldn’t believe money was spent on such avant garde films to encourage people to post early for Christmas. I love the fact I held in my hands people’s exam results, postcards and letters to Father Christmas and helped distribute them across the world. I liked working the nights with huge machinery that I fed with post as it sort. It was a great feeling to be part of the huge system. For my training I and a dozen others were trained to sort post without error and had to sit an exam to prove it, in order to work the shifts – I still remember too many postcodes, and my geography of Britain improved! My interest in everyday design around me was fuelled … and I’m pleased one of my design heroes David Mellor designed a box. I’d love to design a Royal Mail stamp!
I also loved spotting the different post box designs up and down the country and before knew it I had rather a few! These photographs include locations across Britain, France, Spain, Israel, Denmark, taken by me and loyal / tolerant friends. Some photographs are very poor quality but the prints on Kodak paper are something of my past. I used to wallpaper my student room with new additions as I got them back from the developers. Thanks to all those people who helped – I’m not sure what to do with them now but let me know if you recognise any of the locations! I have more than this image shows but it gives you an idea of the collection. I’m not sure I’ll start collecting these again but it was a nice trip down memory lane to discover them again.
Designing bespoke pattern for clients is something that I have made a key professional design interest. Communicating a sense of place, historic reference or activity as pattern is what I really enjoy and over the years I’ve been on many site-visits to interesting places to learn about what the client would like or definitely not like. This visit was no different.
Some of my previous design work was used as a reference for context images by the original architects, proposing my patterns and stating my details – note – never send artwork without your contact details attached! Phone calls were made, samples were sent, bids were accepted and then a call-up. Please come to the airport for a meeting. There’s a tight deadline, a budget, and something the client knows they want. In a nutshell the brief: Celebrate Birmingham’s buildings in a one colour, repeating pattern that works close up in detail and from a distance as a visual rhythm. Buildings need to be identifiable.
With any project I carry out research, ask the client lots of questions and evolve a design approach subject to the answers to my questions. Production methods, fabricators, material choices, colours, budgets, time-scales and of course client ambition for the project shape the design language and development of the project. I set off to take photographs of central Birmingham and climbed tall landmarks to get good views. I took photographs, made sketches as well as notes. I had some buildings in my mind I knew needed to be included but I also wanted to use others , less iconic ones, as visual rhythms to play with negative and positive shapes across the composition.
Back in the studio I chose paper cut-outs as a clear graphic way to create the buildings, as I have done for several commissions including for the Barbican and TfL posters. Once the individual buildings were cut out I scanned in the artwork and spent many hours moving everything around in Adobe Illustrator. I was testing rhythms in and out of repeat and shifting scale, proportions and pairings. This can send me back to re-cut something or add new details. To some people those hours of making subtle tweaks and changes wouldn’t even be noticed but to me it’s so important that every inch of the design works the best it can and it can be time-consuming – but it will be worth it. I can’t stress this enough to students embarking on their Final Major Projects at the moment! When you know what scale the final artwork will be produced at you need to check the correct level of detail as working at a computer screen can be very misleading for artwork several metres long!
A concept sheet and initial design piece was sent to the client for approval and at this point I had to label the buildings I’d included. Once approved I was able to continue building the full repeat, adding further buildings, and make test prints with the help of the team at the Window Film Company – who I already have award-winning work with! They really know their stuff and several phone calls later to check small details regarding file specifications and production issues resulted in the excitement of samples to sign off, both by me and the client. A couple more proofs for colour matching and scale of design was checked and then we were good to go. Quality is everything when it as your name on it, and making sure that everything about the design is right BEFORE it gets installed is rather important. Sleepless nights before installation of projects has been known!
This project originally came my way almost a year ago with some scoping phone calls and emails, and now I’m able to share photographs with you. I’ve had people let me know they’ve seen work that looks like mine at the airport – hoping I hadn’t been copied – but no, this time it is mine! When Birmingham Airport tweeted the pictures last week I was delighted that I can now share images of this project from 2018 – when I was Birmingham-based as it states, and now it feels rather a fine farewell to the place I called home since 2005.
Yes it is by the toilets, yes I have already worked on two commissions for public toilets (Colchester / Dedham many moons ago), and I can’t promise this will be my last!
If you are interested in textiles and haven’t heard about the Anni Albers show now on at Tate Modern in London, then a.) where have you been? and b.) get there fast if you can!
This has been a much anticipated show for me. Having been enjoying many other people’s pictures via Instagram since the exhibition opened I was most excited to get to the show and I’m so glad I did – I went round it several times and breathed in the history I had learned as an art student myself; typewriter patterns from Bauhaus lessons, the infamous diploma piece with sounds absorbing properties in the yarn, and those classic Bauhaus photographs, but there was so much more. Colour, cloth, pattern, rhythms, photographs, works on paper, products … The woven structures and yarns drew everyone in for a closer look – so much so that the alarms kept being set off and the guilty took a sheepish step back! There was a fascinating display of the research of historical textiles from Albers’ own collection that made perfect sense in how she interpreted and worked with the process of weaving.
Experimental, commercial commissions, religious pieces and jewellery are some of the aspects of this considerable show. As with most well-received shows, the audience conversations themselves were fascinating; lots of discussions about experiences of weaving, hours at the loom as well as working out what she must have done.
It has been the architects, the painters and the product designers, usually men, who have become far more well known from the Bauhaus, including Anni’s husband Josef Albers. The avant-garde German art school’s first director Walter Gropius stated there were equal opportunities for all when it was established in 1919 and yet women were generally encouraged towards the textiles workshop, a place and craft deemed more suitable. Anni never let this distract from her focus despite wanting to be a painter. Her creative output of a lifetime, as edited in this exhibition, goes a long way to demonstrate her will to explore both the context of design and the development of art. She will have no doubt inspired many who have been introduced to her as a result of the show and her legacy will continue to influence far beyond the context of textiles as a craft for women. I came away with many notes and a head filled textile excitement – happy weaving everyone!
You may have already heard about the fire that has destroyed a storage unit in Croydon that includes an irreplaceable collection of family photographs and research, as well as a precious collection of prints and books belonging to Joe Pearson of Design for Today. This includes stock of all the books that he has had published including our ‘Gardening with Mr Bawden’ published last May, as well as many other beautiful books.
There has been a gofundme page set up by Alice Pattullo and Joe’s family to raise money to get the collection re-established and the books reprinted. This will be a huge task but there has been an amazing wave of online support in the first 24 hours, and long may it continue.
Joe is fully committed to publishing beautiful books by illustrators, creating special publications that are often intriguing structures and subjects, with more than a hint of mid-century admiration! He is involved with all aspects of the book development and spends hours working to achieve. He researches, discusses design decisions, organises printing etc, and puts in the time folding and constructing books, packing them up, exhibiting at fairs and promoting the designers he collaborates with. He is an absolute joy to work with and I’m so gutted that this has happened. My sadness goes far beyond knowing that my own books are destroyed – as any collector knows, it’s the experience of building a collection, making choices, keeping an eye out and committing to the task. Joe has built a substantial following on social media as he shares his love of printed matter with the wider world and now needs our help to get things up and running again.
Check out his website if you’ve not done so before, and if you are a lover of printed matter and can spare some change do support the fundraising effort to get Design for Today back up in business and collecting again.
As I’ve had to move my studio I’ve put some products up for sale via social media in time for Christmas. Most of these products have been screen printed and made by me, and were the very first products I launched in the Plot to Plate collection. You can buy 3 items for £20, with free postage to UK addresses. All you need to do is decide which products in the picture you would like, head to https://www.paypal.me/KateFarley to pay the £20 or multiples of, list the letters relating to the items and add your postal address. I’ll notify you if any of the products are out of stock and suggest a replacement as appropriate.
Please note: if you would like to have the items before Christmas please order before midnight on Tuesday 18th December.
It’s been a while since I’ve written here, and it’s been a life-changing couple of months. Resigning from my academic role at Birmingham City University and relocating the family to Norfolk was a huge decision for us all, but we are out the other side, living in Norfolk, settling in and enjoying the change of scene. I’ve taken up a new role as Course Leader for both the BA Textile Design course and the BA Fashion course at Norwich University of the Arts, and I’ve received a warm welcome. I’m enjoying spending time back in central Norwich too and the campus is made up of some fabulous buildings, see below.
I knew the change in environment was going to be for the better but I’d underestimated quite how good it would be. Commuting to work on a bus rattling along the country lanes is a world away from the streets and railway tracks of Birmingham. We are making sure we are out in the landscape as much as possible and visiting new and old places to find our feet including Rockland St. Mary, Ranworth and Winterton. I feel as if I can breathe more deeply, and yes, their will be more photographs of reeds and the drawings may well feature horizontal lines!
If you follow me on any other social media channel you will be well aware I had an amazing send-off by my colleagues at BCU last week. After almost thirteen and a half years working on the BA Textile Design course as lecturer / senior lecturer, and for the last two and a half years as course director it is time to move on.
This staff team have been amazing to work with and it was a hard decision to go, but as I’ve written before, there’s more to life than work, and we want a change of scene for our family. I have worked hard to deliver five big lectures in my final three weeks and decided to end with a series of slides to remember (with the final slide copied below) – as well as hand-over the role to colleagues, empty an office and say farewell to dear friends and students. Here are some pictures from the last week.
I have been overwhelmed by the number of cards and gifts I have been given, some beautifully hand-made or carefully sourced – so thoughtful! I was also delighted to receive a table-top hand loom I had wanted for a few years now – an old 8 shaft Harris loom warped up by the amazing Sheila, and a beautiful chair, with printed upholstery featuring quotes from staff and students past and present that brings tears to my eyes as I read the kind comments. There is also an assessment sheet on the back of the chair – a tradition I started many years ago as I presented staff with their own as they left, so indeed it was my turn – I passed!
My final day was marked by a third year send-off I could not have predicted – a parachute ride for a textile mini-me from the third floor in Parkside. What precious memories! I send a huge thank you to everyone who helped make this a celebration and who have shared their appreciation of my efforts over my time at BCU. It’s a small world and I know I will cross paths with these wonderful people again!
This summer has been a funny one for harvest on the allotment. The long period of heat and lack of rain resulted in tiny potatoes and very late runner beans but somehow despite this, vast marrows! This year of gardening has been rather chaotic, with sparse visits fitted in around our working patterns and family life, but once I’ve made the time and put in the effort to get there I have always really appreciated the head space the plot gives me in a somewhat full-on / stressful academic / design career. An hour of digging is so good for my mind and body, far better than any gym visit. Connecting with nature helps me register the seasons, and home-grown fruit and vegetables are the best!
This year started off like any other: hoping for bumper crops, trying to stay on top of the weeds, while trying to clear old ground for new patches of earth to cultivate. Then an opportunity arrived and we made a big decision that has been in the back of our minds to make for a while, couldn’t work out how to do it, but is now coming true. We are leaving Birmingham and moving to the country – Norfolk to be precise (yes I was born there, no I’m not going home) – where I am taking up a new academic role, and it’s all-change! Anyone with a sense of British geography knows we will be nearer the sea, we will see more sky, and the horizon will be flatter! We are not moving up or down, we are moving across!
This process has been taking shape over the summer months and during this time I’ve had to come to terms with leaving plot 8, in an allotment site in south Birmingham that I’ve worked so hard on, dug intimately and harvested crops from since 2006. My children have slept in their prams in all weathers as I’ve carried on digging, they’ve chewed on runner beans when teething and learned to grow their own plants too – as well as digging large pits to fill with grass seeds, much to my horror! I’ve dug alongside friendly birds, untangled a hedgehog from the bindweed and been startled by a fox; it’s rarely lonely at the site. I’ll never tire of the first scent of sweet peas each year. Here are a few images from over the years:
I’ve written many posts here about the plot and the process of growing food, colours, harvests, the community spirit and the way it has inspired by first commercial collection of patterns: Plot to Plate, launched in 2012. I’ve made many editions of prints as a result of mapping the crops growing here. The joys of growing my own food was celebrated in the design featuring tools used on the Plot to Plate title design across tea towels. Without this space – this haven of nature in the big city, I would have struggled far more from living in the city. As I worked at the allotments I would often think of all the shoppers in the Bullring on a Saturday afternoon, wondering why they made their choice to do so, rather than garden like me.
This post is written to register the anticipation and excitement of change despite the vast upheaval, both physically and emotionally: saying good bye to friends and colleagues who have shaped the last 13 years of my life, as well as this plot, that has paid its part in taking care of me. We’ve handed back the keys, gathered the tools, taken our last harvest, and hope that someone else will feel the joy of plot 8 in years to come!
Sometimes themes seem to rattle around in my head, connecting with other dialogues I have had. Last week I attended a really interesting Study Day at the House of Illustration as part of the Women in Print series organised by Desdemona McCannon on the theme of Enid Marx and contemporaries. The subject of women’s careers, and specifically their profile compared with their male counterpoints was discussed – not a new idea, but as a recurring theme I thought it worth revisiting here. In the same week Stylist magazine featured an article about the price of artwork made by women compared to men. It was such a coincidence I’ll expand some thoughts here.
It’s not a secret that women often have a harder time gaining recognition in many lines of work in comparison to their male peers. I wrote in a previous blog post about Eric Ravilious and friends at Compton Verney that it certainly wasn’t lack of skill that kept the women such as Helen Binyon from comparable public attention, and therefore further opportunities through their careers. There are highly talented women in history who we are only just giving air-time to, but the fact is their careers may not have excelled in the way their male counterparts did, or if they did they may well have been paid less for the work because they were women.
Enid Marx chose not to take issue with gender-bias in her career, and got on with a multi-disciplined design portfolio with impressive outputs beautifully communicated through the exhibition at the House of Illustration (sorry it’s just ended!). I have heard people wonder why we need to make a point about this being a gender issue, but I would say that this has been said from a male perspective, and not from those being subjected now and in the future to selective opportunities due to gender. As a woman designer, and female academic training mostly women to have design careers where there is a history of undervaluing female contribution, I remain concerned.
It is sometimes the case that research can be discovered more easily about men because they were promoted more and as a result have a higher profile, whether through greater self-confidence, the social / commercial networks or marketing material, from family or company archives, past exhibitions or publications. During the study day in London the point was made that there was also a sense that women got on with the designing, often alongside raising a family or carrying out other domestic tasks. Did they lack the opportunity to promote themselves, didn’t see the need, or couldn’t find the time? Working in isolation at home can certainly challenge one’s self-belief compared to working in an office with colleagues who can praise you and your work as and when required. This reminds me of the freelance work of Sheila Bownas, almost accidentally discovered and collected by Chelsea Cefai, and brought to a new appreciative public in the last few years. The family knew little of the extent of her prolific output of designs as a textile designer until Chelsea pieced the jigsaw together, and thank goodness we know of her now!
There is another consideration here. Does the discipline these women are working in make a difference to their profile? Enid Marx worked across illustration and textiles, but her illustrations are better known. Is this because as an illustrator your name is usually on the cover of the book, even if it is on the inside, or on the poster? For freelance textile designers it can be quite different. The name of the company is usually printed as legend details on the selvedge, but historically not always the name of the designer. If this is the case we may never trace the designer. This remains the case today in industry when big name brands buy in freelance patterns and the designer’s name is not carried through.
The article in Stylist compares Mark Rothko and his fine art paintings to Anni Albers’ textile practice; the subject of a show coming to Tate this Autumn. When the Bauhaus opened its doors in Germany in the Twentieth century the founder, Walter Gropius, stated anyone could study any discipline, and yet the women were rather heavily steered towards the weaving workshop, considered suitable for women. That was where Anni Albers learned her skill, fell in love with the teacher Josef Albers, took his name on marriage and continued to live in his shadow; he led a fine art practice of painting while she made textiles. I can’t wait to see the Anni Albers show – and for Anni to have the publicity men with lesser creative careers have had before.
Craft, seen as a second-rate subject to Fine Art is part of the discussion throughout the article in Stylist, and it also makes the point that textiles is seen as a domestic activity, thanks to the increased leisure time during Victorian era. As an academic one of my biggest concerns is the lack of respect textile design currently receives as a subject in the education curriculum and agenda. It’s becoming one of my catch phrases but I really mean it – we all wear pants! How can textiles be seen predominantly as a past-time, a hobby – when we all wear textiles, sleep under textiles and protect ourselves with textiles? How dare this government puts at risk the supply chain of future textile designers because it doesn’t see it as important enough to be a GCSE? Fashion is nothing without textiles, and this industry is one of the big ones on the global stage – don’t get me started on that!
Refocusing back on the study day, we also discussed the nature of research carried out by women, and that the particular approach / nature of research writing holds a female voice that may not be considered intellectual enough; often relating to social networks, domestic arrangements and family life. Several female audience members agreed that they doubted their own confidence when finding their research voice alongside the traditional academic tone / content they believed was expected by their male counterparts. Are women undermining themselves and lacking confidence in their own abilities?
I don’t have the answers but this is not a conversation that should stop. More dialogues involving men and women about historical and contemporary design practice, craft and textiles are needed. There is not one way, this is not binary, but we need to make sure the different voices, approaches, strategies and practices in the creative subjects and beyond are given a platform. The diverse ways of being whatever it is we are should be valued, and represented by a diverse community. Wouldn’t it be lovely if talent and opportunity were really the key ingredients for building profiles, gaining opportunities, and writing about it!