UK Handmade Magazine Summer 2016

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The UK Handmade Members Gallery Come and join our growing Members Gallery! Founded on our successful online magazine, website and forum, our carefully curated directory brings together the best of UK Handmade and will allow viewers to search through our community of makers, designers and artists by location and creative discipline.

An effective and professional platform to promote your talent, choose from either a Standard Directory Listing or Premium Portfolio.

To find out more visit www.ukhandmade.co.uk/directory-application

Quercus Silver

Arati Devasher

Jane Paveley

Chrissie Freeth

Huiyi Tan

Pouch

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Contents...

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contributors: Summer 2016

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In this issue, we bring you exclusive interviews with designers and makers who combine wonderful colour and mark-making with craft and artistry. From vibrant textile design and illustration, to business advice and a bursary competition, we have something for you all.

Should the British summer not be up to scratch, we also have inspirational events to keep you busy and out of the rain, alongside our regular selection of fabulous finds, features and reviews.

finds: Editor’s Picks

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meet: Sarah Fennell

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meet: Adam Frew

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meet: Anya Kuvarzina

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live: Simple Summer Lunch

scene: Made In Clerkenwell

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scene: Selvedge Artisan Fair

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review: Garlic

review: Savour

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review: Summer Under the Tamarind Tree

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scene: Woolfest

business: Preparing for the Rush

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scene: Spring Fling

business: In It to Win It!

Bebe. x

Editor & Designer/Maker

FRONT COVER: www.sarahfennell.co.uk; BACK COVER: www.pixabay.com

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SUMMER 2016

Contributors.. .

Lisa Margreet Payne Craft Educator & Writer www.lisamargreet.com

Sarah Hamilton

Artist & Designer www.sarahhamiltonprints.com

Karen Jinks

Dawn Bevins

Creative Director & Artist/Designer www.karenjinks.co.uk

Deputy Editor & Designer/Maker www.dawnbevins.co.uk

Mich Yasue

Nicola Mesham

Finance Director & Maker

Designer/Maker www.meyouandmagoo.co.uk

UK Handmade Magazine, info@ukhandmade.co.uk, www.ukhandmade.co.uk • Copyright © UK Handmade LTD 2015. All rights reserved.

Reproduction or redistribution in whole or in parts without written permission is strictly prohibited. The editor’s decision on all printed material is final. Unsolicited work is accepted but does not guarantee inclusion into the final edition. The views expressed by contributors are not necessarily those of UK Handmade or the editor.

Creative Director: Karen Jinks info@ukhandmade.co.uk • Editor: Bebe Bradley editor@ukhandmade.co.uk • Design: Jo Askey design@ukhandmade.co.uk Deputy Editor: Dawn Bevins dawn@ukhandmade.co.uk • Advertising: advertising@ukhandmade.co.uk • PR: pr@ukhandmade.co.uk Events: events@ukhandmade.co.uk 4 | ukhandmade | Summer 2016

page 68 Meet: Adam Frew

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Summer finds

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JANE ORMES ‘Sea-gazing Beach Belle’ & ‘Sun-gazing Flip Flop Man’, limited edition screen prints from www.janeormes.co.uk

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BEATRIX BAKER Hanging Vessel, (right) enquiries at www.beatrixbaker.co.uk

KIRSTY ELSON Unique Multi-media Coastal Sculpture, (left) enquiries at www.kirstyelson.co.uk Summer 2016 | ukhandmade |

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FOREST & FOUND Hand carved spoons, enquiries at www.forest-and-found.com

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PIP WILCOX White Bud Vase, wheel thrown and hand carved, ÂŁ39 from www.pipwilcoxceramics.com Summer 2016 | ukhandmade |

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KREISDESIGN Fruit Tray, in white birch plywood and beech, ÂŁ45 from www.kreisdesign.com

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MEET:

Sarah Fennell by Karen Jinks

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Inspired by the boldness of Marimekko and the classic style of Lucienne Day, Sarah Fennell’s textile designs reflect a diverse influence which translate into original and refreshing contemporary screenprinted designs. Working from her studio in Birmingham and fuelled by endless cups of tea, Sarah spends her days feverishly drawing, designing, ‘Instagramming’ and dreaming about the future.

How did you get started in textiles? Is it something you have always been interested in?

Art and Design was always my favourite subject at school. During my foundation degree, I discovered screen printing and decided textiles was the route I wanted to take. I experimented with lots of different processes during my textile degree at Bath School of Art but I was fascinated with mastering the process of screen printing so I focused on that.

What is the ethos behind your work?

It’s about bringing fresh and bright textiles into the home, celebrating colour and the ancient craft of screen printing in a contemporary way. Screen printing brings an integrity to the textiles that I love. I am integrally involved by hand pulling the pigment onto the fabric and it means I can design and hone the process. By embracing stencilling

and misprinting into my design, I celebrate the serendipitous moments that can happen during printing.

Who or what inspires your vibrant, contemporary designs?

I’m inspired by the boldness of Marimekko and Anni Albers but essentially I’m interested in the playful conversations that colour and abstract shapes can have within the confines of fabric. I experiment with compositions because when the fabric is upholstered onto a chair, the confines change and so does the composition. The motifs and space interact in a new way and I’m really excited by that concept.

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Do you print your fabrics yourself?

Yes, everything is screen printed by me in my studio. It’s an ancient craft that I treasure.

Please tell us about your workspace.

My studio is based at the Maker’s Dozen, which is attached to Wolverhampton Art Gallery.

In the back room, I have a sewing station and my table which I use for printing long lengths of fabric. In the front room, there is a seating area where I meet with clients to talk all things fabric and design, and on the other side of the room is a sink and pigment mixing area. There’s plenty of light which is really important when I’m designing and mixing colours.

What are your favourite tools of the trade?

My 3 metre print table was second hand and used to sit in the print room at Bath School of Art (where I completed my degree). It’s lovely to have that little bit of history and connection to my past. It was originally 6 metres long and all in bits, but my grandad modified it and re-sprayed it and, with the help of my brilliant mum, we put it all back together in the studio. It’s been a labour of love that’s taken about 6 months but I know it’s been worth it to have such a piece of equipment.

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Describe your perfect day…

I love being in the studio on a sunny day when I can have the door open into the courtyard and there’s a breeze flowing through. The radio’s on, I’ve got plenty of tea on the go and I can just screen print to my heart’s content.

What advice would you give someone looking to start their own creative business?

Work out who you are and what makes you tick. Write out a list of your values and keep coming back to them when there are big decisions to make, so that you’re constantly reminded of what’s important to you.

What does the term ‘handmade’ mean to you?

First and foremost, I think handmade is about high quality and top design. When I look at something that’s handmade, I like to be able to see the maker’s mark on the product e.g. thumb prints in the clay or a purposely blocked area of a print. This is the language that connotes the handmade process to me, which you wouldn’t be able to achieve through more mass produced production.

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Do you have any new projects coming up? What are your goals for the future?

My newest collection of fabrics will be showcased at New Designer’s One Year On, in ‘Part 2’ which is on between the 6th and 9th of July, 2016. I’m currently feverishly designing and working as hard as I can on that. It’s great to have such a fantastic motivator to crack on with new work and I can’t wait to see the finished results. Looking further ahead, I’d like to run workshops in my studio; I love meeting new people and teaching skills. For the time being though, I’m happy focusing on developing my brand, getting to know other creatives - especially on Instagram - and really engaging with inspiring networks.

If you could learn a new skill what would it be?

I’d love to be able to make something on a potter’s wheel! I’ve just started a ceramics course at The Mac in Birmingham, so fingers crossed that I can get creative with clay soon.

Where can we find your work?

Visit my website or pop down to see me at New Designers. I’ll be in the ‘One Year On’ section so come and say hi, and see the new collection.

For more information, visit: www.sarahfennell.co.uk www.instagram.com/freckledfennell Images courtesy of Sarah Fennell

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SCENE:

Made in Clerkenell Spring Made in Clerkenwell is a bi-annual celebration of Craft Central’s resident designer/makers and network members. Held across two Victorian buildings, this is an opportunity for the public to see behind the scenes and explore the studios of its renowned design community.

You’ll find jewellery, fashion, interior products, ceramics, accessories and traditional crafts by over 100 UK designer/makers. Choose a gift, commission a unique piece, find a bespoke design service or just browse. Not just a shopping treat, it’s also a great opportunity to meet the maker.

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For Spring, Craft Central focuses on all things new.

Come and see prototypes and new collections, and be the first to buy pieces directly from the designer/maker before these ranges hit the retailers. To support its members in developing new, high quality collections, Craft Central is offering an award for Spring’s ‘best body of new work’, and the winner will be announced during the show.

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Working with Bezalel Workshops, this year Craft Central offers visitors the chance to sample specialist crafts, everything from weaving to calligraphy, for all abilities.

DAMIEN BOROWIK

A full programme is available with the option for visitors to pre-book workshops. Visitors can also discover Clerkenwell’s fascinating history as a centre for crafts and manufacture, and its contemporary creative scene, with a 75 minute walking tour led by a qualified Clerkenwell guide. Lansdown’s London presents “Made in Clerkenwell The Walk”, and you can use the exclusive promotional code CRAFT to get a 25% discount on tickets.

Venues: 21 Clerkenwell Green, London, EC14 0DX 33-35 St John’s Square, London EC1M 4DS Opening times: 17.00 - 20.00 Wednesday 18th May 12.00 - 20.00 Thursday 19th May 12.00 - 20.00 Friday 20th May 12.00 - 17.00 Saturday 21st May Standard Admission: £5; FREE for pre-registered ticket holders. Register HERE For more information, visit: www.craftcentral.org.uk Images courtesy of CRAFT CENTRAL Summer 2016 | ukhandmade |

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BUSINESS:

Preparing for the Rush by Mich Yasue Is it ever too soon to start thinking about Christmas? Key holidays and events can make up a significant element of designer/makers’ sales but also cause a significant amount of stress.

Three UK Handmade Portfolio Members discuss how they prepare for peak periods in their sales calendars.

Kirstie Perry is a textile artist who creates nature inspired handmade gifts and homewares, Su Trindle of Quercus Silver is known for her bold, colourful and geometric silver and resin jewellery, and Zoe Rampley of Spotty N Stripy offers contemporary, personalised, prints and cards for every occasion.

What are the key dates in your year and how do you plan for them?

Kirstie: The key dates in the year for me are Summer, when the fairs start, and obviously Christmas. I plan from as early as February and once I know how many of the larger fairs I will be attending, I set about building up the stock.

Zoe: There’s Mother’s Day, Father’s Day, June/July for weddings and Christmas. We start our Christmas planning in mid-April and upload new Father’s Day products about a month before that.

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Su: I apply for my major Summer and Autumn shows in January. Exhibition work, gallery shows and shops I like to pace across the year so that I can

Zoe: It’s really tricky for us to build up stock as everything is personalized but, a few weeks before, we order our materials (card, papers, lunchboxes,

dedicate time to them.

print mounts, packaging, etc.) and make sure we have plenty of frames made up and ready to go. In the lead up to Christmas, we also spend a couple of days sorting envelopes into cello packs to save time when the Christmas card orders start rolling in.

How do you tailor your product range and build up the stock needed for peak periods?

Su: Three months ahead of a show, I sketch out new ideas and what I need to make. It’s an opportunity to evolve my range. I’ve been developing statement pendants and brooches, for example, which takes time.

Kirstie: My products are all based on a countryside theme and the designs I have now are those that have proven popular over the last few years. I have regular pitches at some markets, which means I get great feedback from customers about what works and what doesn’t. I plan how much stock I need for each event, and then split the making into batches, aiming to make a certain amount of each product each week; I usually make each product in batches of ten or fifteen. Anything larger than that would be too much like a production line for me to enjoy.

My most popular designs are used for notebooks, greetings cards and, hopefully soon, tea towels.

This means I have a few items that can be ordered in, rather than having to keep re-creating them.

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Do you change the look of your shop and re-photograph your products to create a more seasonal feel?

Zoe: We re-photograph popular products, like our Wedding and New Baby prints, with Christmas styling as these sell well as gifts at that time of the year, and not just for the actual event. We usually change headers or adverts on our own website and on social media, like updating our Facebook header, for example. It’s currently styled for weddings and christenings but in a few weeks, I’ll change this to Father’s Day. Kirstie: I like the front page of my shop to have a seasonal feel, with some summery photos of groups of my products.

The actual product photos that are on the shop page don’t have such a seasonal feel so they will appeal to customers all year round.

Do you have specific, seasonal, marketing plans?

Su: I think the best marketing comes from fans and happy customers. My top tip would be to build a mailing list at shows, locally and online, and keep in touch! I send an occasional friendly newsletter to share my new work and what I’m up to.

Kirstie: I have a newsletter which is emailed out to customers who have signed up to receive it, and this occasionally has special offers just for them. I also use Facebook and Instagram as marketing tools, which can work well if you pay to get your post to a wider audience.

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And finally, in the run up to a busy season, what are your tips for managing your work and staying on top of everything?

Kirstie: Having a planner, or something where you can list everything you want to achieve for the week, is an excellent way to make sure you stay focused and on top of your workload. I keep a weekly planner on my desk and a whiteboard on the wall for the months ahead, so I can tick things off as I go along. When you work from home, it’s so easy to get distracted by everyday family life, so having goals for the day written in front of you can help this. It’s a good idea to know what your best sellers are likely to be over the Christmas period and so plan ahead as much as you can. My robin brooches are always very popular around Christmas time so I make a good batch up in advance.

Zoe: Do as much as is possible with things like packaging - cut bubblewrap to size, have postage labels and info stickers already attached to envelopes and boxes - so that you can just pop the item in, seal them up and send them off. Make sure your work space is tidy and in order so you’re not constantly looking for things - I can’t tell you how many hours I have spent looking for where I last put my scissors! Take regular small breaks - especially if you work on the computer all day like me - and avoid social media at your busiest times! I always get distracted and before I know it, I’ve fallen behind with the orders! Keep going because it will be over before you know it. It’s helpful to prepare meals in advance and freeze them but most importantly, ensure you have plentiful supplies of tea and cake!

Su: At busy times, I aim to plan carefully and stick to my schedule. The best advice I ever got was to take time-out for myself before a major show, then relax and enjoy it!

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For information on joining the Makers Directory, visit: www.ukhandmade.co.uk/makers-directory For more information on the Makers, visit: www.kirstieperry.com www.quercussilver.co.uk www.spottynstripy.co.uk Images courtesy of Kirstie Perry, Su Trindle and Zoe Rampley

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MEET:

Adam Frew by Nicola Mesham

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Based in Northern Ireland, Adam Frew is a designer who creates both functional and decorative ceramics. Alongside running his own pottery, he has exhibited his work extensively both in the UK and worldwide.

Adam combines traditional throwing techniques with expressive mark-making to create his contemporary look.

Adam’s first contact with clay and throwing was at Castlereagh Technical College in East Belfast.

He describes how those early experiences fostered his love for ceramics: “I left school when I was 16 and this was the first time I was excited about something I was studying. I stayed at Castlereagh for two years and then completed a degree in Ceramics at Belfast School of Art. Whilst at university, I took part in a scheme called a ‘Year in Industry’. First, I went to Winchcombe Pottery in the Cotswolds for 3 months and then to Finland for 11 months, to work for Judith Kuitunen. This taught me a great deal about production throwing and I got to know some amazing potters. After graduating, I secured an apprenticeship for two years in London with Lisa Hammond. This was the best training I could have possibly had, learning about the daily workings of a pottery and selling pots. It set me on the right path to start my own pottery”.

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Adam is also passionate about drawing. Many of his exhibitions combine pots with pieces of artwork and he believes there is a connection between the two disciplines. He explains that, “While studying at Castlereagh College, I became very passionate about drawing. I loved the skill of mark-making, and particularly the immediacy and energy of life drawing. I was torn between studying fine art and ceramics. So when I chose ceramics it was natural to marry the two disciplines and draw in to the clay”.

The preparation behind a body of work can be complex and multilayered, and here Adam explores his creative process. To him, “Form and decoration is often a continuation of another idea. There is a dialogue from one piece to the next, I think of how I might change some aspect of mark-making or colour and how that would work on the new piece. I am interested in new techniques, developments within ceramics and also general technological advances, such as 3D printers and laser cutters.

I am very open to trying new things and experimenting although, generally, the techniques I’m using have been around for centuries”.

Whilst Adam creates many pieces for art exhibitions, producing a range of ceramics that customers can use within their homes is important to him. Elaborating, he says, “Functionality is very important in making pots. I like to cook and therefore, I make pots that I would use”. Adam’s bowls, mugs and lidded jars all have a painterly feel and feature abstract marks influenced by the wild coastline in Northern Ireland. Alongside his own drawings and inspiration from the natural world, Adam also closely follows the work of his fellow ceramicists, particularly the beautifully simple, functional pots of Svend Bayer and the unique and playful pots of Takeshi Yasuda.

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Adam’s work is available to buy online and is stocked in a variety of galleries across Ireland and Britain. He runs a business that marries the creation of conceptual pieces with the production of commercially viable pieces. On the task of running a busy pottery single-handedly, he says, “The best thing is that I’m making all the decisions myself, whether it’s trying out new designs and experimenting with decoration or deciding which fairs to sell my work at. The worst thing is the financial uncertainty. However, I have been very fortunate in having a steady growth to my business, and I am also quite cautious in keeping my running and living costs low”.

Looking towards the future, we asked Adam to consider what the next five years will hold for him. “I hope to steadily grow my business.

My wife (glass artist Catherine Keenan) and I recently bought a small cottage with some outhouses in the countryside. Our plan is to turn this into our studios and I hope to take on an apprentice when I get set up there. On a personal note, Catherine is pregnant with our first child, so the next five years will no doubt be busy”.

With fatherhood on the horizon, a raft of solo and group shows under his belt and a range of ceramics that are both functional and beautiful, Adam Frew is a maker to watch out for in 2016 and into the future.

For more information, visit: www.adamfrew.com www.facebook.com/AdamFrewCeramics Images courtesy of Andrew Frew

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SCENE:

Selvedge Artisan Fair Celebrate the arrival of summer with the Selvedge Artisan Fair! On Saturday, 21st of May, the Selvedge team will go back to where they first launched their seasonal fairs, at their local church hall in Highgate, with a summer showcase of table tops, tea and cakes, and plenty of textiles.

Selvedge is the world’s leading textile magazine and since its launch in 2003, has become so much more than just a magazine. The Selvedge brand has flourished into a spring-board for makers and artisans, and a strong community of textile lovers, with workshops, seasonal fairs, and its own bricks and mortar and online shop.

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Taking place at St. Augustine’s Church Hall, the fair brings together a selection of 30 makers handpicked by the Selvedge team, selling everything from antique textiles and handwoven baskets to fine jewellery and vintage fashion. Visitors will be able to browse this range of handcrafted products and meet the talented craftspeople who created them.

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IN THE YURT 42 | ukhandmade | Summer 2016

Highlights of the fair include papier mâché sculptures from folk artist Julie Arkell, brightly coloured and patterned products and stationery from Cambridge Imprint, vintage fabrics from Rebecca’s Aix and classic pyjamas with a contemporary twist from Desmond & Dempsey.

Venue: St Augustine’s Church Hall, Langdon Park Road, Highgate, London, N6 5BH Opening times: 11.00 - 17.00 Saturday 21st May Standard Admission: £2.50, at the door & online Accessibility: No disabled access to the hall For more information, visit: www.selvedge.org Images courtesy of SELVEDGE

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BUSINESS: In It to Win It by Sarah Hamilton

Many people dream of the creative freedom and challenges of being an artist, designer, maker or running a design business. However, despite the myth, most successful people are not discovered overnight. Success takes sheer determination and is more often realised by setting attainable goals. For some, the aim is fame and fortune although for most of us, the most realistic goal - and arguably, the more subtly rewarding - is the joy of simply waking up one day and realising this is what you actually do. Achieving either is usually a heady mix of inspiration, slog, talent and hard graft, laced with a healthy dollop of good luck.

It used to be that artists, designers and small businesses could apply for grants from arts institutions, etc., but in these tough economic times, those days are long gone. People now need to be much more imaginative to discover opportunities which could give them a helping hand.

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MAX CAIRNS: 2016 shortlist

One such initiative is ‘The Confessions of a Design Geek’ bursary, brainchild of design journalist, blogger and magazine editor Katie Treggiden, whom I first met when she featured my home

SOPHIE SOUTHGATE: 2016 shortlist

and work on her inspirational design blog. Her annual bursary rewards the winner with a free stand at trade fair Top Drawer within the ‘Home’ section, mentoring with successful designers, a photo shoot and everything they need to launch their business right down to the business cards. Understandably, competition is fierce, and previous winners include Jessica Hogarth and Fanny Shorter.

Katie kindly agreed to tell us more about the bursary. Also, as a champion of emerging designers, she’s ideally placed to offer some insights on issues affecting designer/makers.

What motivated you to set up ‘The Confessions of a Design Geek’ bursary and how long have you been running it?

In my work as a design journalist, I constantly come across incredibly talented young people, and older people who are changing careers. I am acutely aware of how hard it is for new designers to get started in business and wanted to do something to help. Over my time in this industry, I’ve met some amazing people and I realised that it might be as simple as connecting new designers with some of those people. I am really lucky to have had incredible support from day one; Top Drawer donate the stand, all of the mentors give their time for free, and a whole host of partners donate everything from membership of The Design Trust Business Club to Moo Business Cards. The bursary is now worth over £10,000 and has been running for five years.

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JESSICA HOGARTH

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Can you give us an insight into how one previous winner has developed their career since their win?

Our first winner, surface pattern and textile

has the potential to make the most of what the bursary offers. Every year we get more applications and the quality gets higher and higher, so it’s often

designer Jessica Hogarth, has gone on to work on collaborations that have resulted in her designs being used in editorial (Wall Street Journal), on deck chairs and rugs (John Lewis), fabrics (P&B Textiles and Dashwood Studio) and stationery (Marie Curie).

In 2015, her work was included in a book entitled Geometric, published by the popular Print & Pattern blog, alongside acclaimed designers from around the world. She has become a member of the ASPBD team, as a masterclass tutor for module four of the ground breaking e-course, teaching students how to make the perfect repeat patterns.

really tough to whittle it down to a shortlist. Luckily, I don’t make the decision on my own and have a panel of the bursary team to help me. Artist and designer Jo Ham, designers Keith Stephenson and Mark Hampshire (co-founders of Mini Moderns), Top Drawer and David Gorrod (from Seen PR) are all regulars and last year, we were joined by Anthony Joseph (of Joseph Joseph).

On top of all that, her own range of products, which is mainly focused around colourful greetings cards, are available in a growing list of shops and galleries across the UK, including Oliver Bonas, Utility and Paperchase, and overseas in the USA, Canada, Australia, Germany, France, New Zealand and Hong Kong. She was shortlisted in both 2013 and 2015 for a Henries award, in the ‘most promising young designer/artist category’. Definitely a success story!

What are you looking for in a potential winner?

We’re looking for original designs and for someone who is both passionate about what they do and

What do you think are the toughest challenges facing recent arts/design graduates wishing to set up on their own, or those who are thinking of making a career change?

Setting up any business is hard. There is a long period of investment before you start to see returns.

For creative people, there is an additional pressure of space. Space is expensive and many creative endeavours simply aren’t possible without lots of it. It’s also difficult to get good advice on the more commercial side of creative enterprises. That said, in some ways the barriers to entry have never been lower. No longer do brands need big advertising budgets to get their name out there. The internet and social media have really changed the way people can get to market, creating a much more level playing field.

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How important do you think embracing Social Media is to emerging designers?

It’s incredibly important. It enables them to create a dialogue with their customers and receive instant feedback on new ideas.

More importantly, it helps to show some of the ‘behind the scenes’ work, which demonstrates the value of what they do. For example, people are much more likely to understand a higher price point if they’ve seen the skill and time that goes into making something by hand.

What top tips can you share with artists, designers and makers looking to develop a career in this highly competitive field?

Be yourself. I think it’s really important for artists, designers and makers to develop a unique and authentic identity that is genuinely based on who they are and why they love what they do. That is very difficult to imitate. Once you’ve got that clear, it’s just about working hard and being nice to people, to quote Anthony Burrill.

You kindly blogged about the ‘Just a Card’ campaign which encourages people to buy from designer/makers. How else do you think the wider public can be made aware of how valuable their support of those who design and make things is? Do you think people value provenance and ‘British Made’?

I think people increasingly value provenance and want to engage with the stories behind the products that they buy. I interviewed Newcastle-based designers Novocastrian recently and they put it perfectly: “Clients are becoming less concerned solely with price, and more interested in locally sourced, locally made pieces with a strong backstory.” Long may that continue.

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MARTA BORDES: 2016 COADG Bursary Winner 50 | ukhandmade | Summer 2016

If you’d like to consider entering the bursary then follow ‘Confessions of a Design Geek’ on Twitter @coadg and give it a go when applications open later this year. Remember that you’ve got to be in it to win it!

For more information on Katie Tregidden and ‘Confessions of a Design Geek’, visit: www.katietreggiden.com www.confessionsofadesigngeek.com For more information on Sarah Hamilton, visit: www.sarahhamiltonprints.com www.justacard.org Follow Sarah’s @JustaCard1 campaign on Twitter. This campaign aims to encourage people to support and buy from artists, designers and Independent shops.

Images courtesy of Katie Treggiden and Jessica Hogarth

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REVIEW: Garlic by Dawn Bevins

I’m a garlic lover so ‘Garlic’, by Jenny Lindford, was an ideal choice for me.

As the name suggests, this entire book is dedicated to the gloriously pungent bulb. It’s also a very beautiful book, awash with weather-worn pastel and natural shades, and delicate rustic-style photography.

Over 65 recipes are spread throughout six chapters, ranging from dips and sides to large joints of meat. Each chapter begins with a feature piece so that you can learn about different types of garlic; growing it, storing it, etc., whilst you cook with it. The chapters are divided into general flavours, such as Mellow, Comfort and Fiery. Most of the recipes call for everyday garlic (crushed, chopped or roasted) but a few also include Chinese chives, black garlic and smoked garlic. There’s an entire chapter on wild garlic too but I need to find out where this grows before I can try any recipes.

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I like to cook with garlic, so my first impression of the book was mixed. Recipes only requiring one clove didn’t look particularly special, but closer inspection revealed that there was actually a nice choice of both garlic ‘heavy’ and garlic ‘light’ meal ideas; I decided to try some out in order to appreciate them fully.

I coerced my husband into cooking Cider and Garlic Roast Belly Pork. We liked the idea of it containing 3 garlic cloves (recipe says 6 but we halved it for just the two of us) plus prunes with black garlic on the side (which we forgot to do). I’m told the recipe was easy enough to follow but due to halving the ingredients, the quantities weren’t quite right so there wasn’t enough vegetables left in the pan to make a gravy (it was more of a rich syrup). We still used this to make the gravy but with added ingredients. Unfortunately, I think this - and the braised cabbage we had on the side - overpowered the meat; the pork was absolutely delicious but I wasn’t tasting enough garlic. Fortunately, we had a leftover rib for me to nibble on and that was lovely and garlicky. I desperately wished we had more because it would’ve made a great sandwich!

Next time we’ll cook the whole quantity and not add any other strong flavours.

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The second recipe we chose was Smoky Garlic Baba Ghanoush. This was my first time making and tasting Baba Ghanoush and trying smoky garlic. Initially I found the mixture bland, and then I wondered if I’d added too much salt. However, when it was spread over some toasted pitta, I began to taste all of the flavours and the garlic came bouncing through. I continued to enjoy the smoked garlic flavour (which was pleasantly stronger than expected) for the rest of the day. Finally, we tried Garlic Peas a la Française. The book suggests serving it as a side but, harnessing my inner Nigel Slater, I decided that this would make a brilliant light and fresh lunch served with homemade bread to mop up the juices. As I looked over all the ingredients in the pan, I had my doubts; it looked like a LOT of peas! I apologised to my husband for what he was about to eat, but we were both then pleasantly surprised at how delicious bowls of peas and bacon could actually be.

To like this book, you obviously need to have a fondness for garlic, but don’t assume that you have to risk you or the house reeking for days in order to enjoy it. Although the Baba Ghanoush certainly has a strong and lasting flavour, the choice of recipes is perfectly balanced, with other options celebrating garlic in a far more subtle way and illustrating how versatile this ingredient is.

Garlic by Jenny Linford, is published by Ryland Peters & Small at £14.99 and available from all good bookshops.

Images courtesy of Ryland Peters & Small; photography by Clare Winfield ISBN-10: 1909342904 ISBN-13: 978-1909342903 Summer 2016 | ukhandmade |

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SCENE:

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Now in its 12th year, Woolfest will be featuring over 130 different stallholders alongside an exciting programme of events, demonstrations and exhibitions.

Tweed seems to be a theme among this year’s stallholders, who are coming from all over the UK. Fellow organiser Pam Hall explains, “As well as traditional Harris and Donegal tweeds, we’ve got businesses creating their own artisan tweeds,

“Woolfest still seems to be the one big event that every wool-related business wants to be at,” says Jean Wildish, one of the organisers. “Every year we have to turn people away and it’s quite a balancing act between familiar faces and new businesses, fresh approaches and traditional crafts. We’re also keen to promote British wool as much as possible and to keep a cross-section of different wool crafts, not only knitting and weaving but also felt making, crochet, spinning and other emerging crafts.

Hopefully, we’ve got the balance right for 2016 and visitors will have a great time.”

including Wool Clip member Jan Beadle, people designing and making accessories, clothing and soft furnishings with tweed and a couple of businesses using locally-sourced Herdwick tweed too. The Harris Tweed photography exhibition, at Rheged near Penrith, has been breaking all visitor records so the interest is obvious. At Woolfest, we have weaving demonstrations in progress and also show people the variety available. Visitors can meet suppliers and weavers to talk about the fabric’s origins and also learn about some of the unusual ways of using tweeds to create something unique.”

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One of the things that distinguishes Woolfest is its focus on the local and rare breeds, fleece animals and raw fleece that are at the roots of all things wool.

For the very first time, this year’s festival was oversubscribed by breed societies wanting to take part and the organisers have had to select the 23 breeds that will be on show. “Last year, we gave over more space to the livestock side of the event and several new breeds took part, including the very cute and popular Valais Blacknose sheep,” says Mary Bell, responsible for the animal area at Woolfest. “This year, we’ll have all three Leicester breeds at Woolfest – the Bluefaced, Border and Longwool – and Ellie Langley will be bringing along a few sheep from her crossbred flock, bred specifically for fleece that’s good for felt making.” She continues, “For the first time, all three traditional Cumbrian hill breeds of sheep will be represented at Woolfest. Alison O’Neil, aka the Barefoot Shepherdess who farms near Sedbergh, is bringing not only Herdwicks but also Rough Fell and Swaledale sheep to the show.”

Each year, Woolfest organisers give a free stall to a new business in memory of one of the event’s founders, the late Carolyn Rawlinson. Previously, this has been given to knitwear designers, artisan yarn dyers, accessory makers, tapestry designers and others but this year is a bit unusual and Liz Reed’s work should create a lot of interest.

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“I first came across Liz Reed via another Woolfest stallholder,” says Julia Neubauer, member of the Wool Clip and organiser.

“She’s based in the Northeast and creates wonderful driftwood characters, each one dressed in hand-sewn or crafted woollen clothing. Her work is not just about recycling and reclaiming but also about creating personalities and telling stories and I think visitors will love her figures and appreciate the skills involved in making them too.”

Venue: Mitchell’s Lakeland Livestock Centre, Cockermouth, Cumbria, CA13 OQQ Opening times: 10.00 - 18.00 Friday 24th June 10.00 - 17.00 Saturday 25th June Standard Admission: Friday or Saturday £8 2 Day Pass (Fri & Sat) £14 Friday Entrance with ‘Giant Knit & Spin In’ ticket £11.50 2 Day Pass (Fri & Sat) with ‘Giant Knit & Spin In’ ticket £17.50 ‘Giant Knit & Spin In’ £3.50 Accompanied chidren FREE For more information and further booking options, visit: www.woolfest.co.uk Images courtesy of Woolfest Summer 2016 | ukhandmade |

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MEET:

Anya Kuvarzina by Karen Jinks

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A lover of line and colour, Anya Kurvazina is a tutor and illustrator who creates fun, vibrant and quirky designs in a multitude of media. We find out what inspires her work and her passion for storytelling.

Tell us a little bit about yourself.

My name is Anya, and I was born in the Ural Mountains in Russia.

You would probably know my hometown as it was where the Russian meteor fell a few years ago. I came to Cambridge 11 years ago, lured by idyllic photographs that I saw in a National Geographic magazine depicting students in a luscious green park. I planned to study business initially, but the plan changed when I discovered graphics and illustration. I lived in London for a while but I’m now back in Cambridge, which feels like a second hometown for me. I work as a freelance illustrator and graphic designer, and also teach at the Cambridge School of Visual and Performing Arts (CSVPA).

How did you get started in illustration? Is it something you have always been interested in?

Actually, no. Illustration was not a very popular profession in Russia when I was growing up and I never even considered it a possibility. I came to the UK to study business. Graphics was one of the subjects that I took for my AS levels which I intended to drop after one year. However, I fell in love with graphics from the first lesson and I remember spending all my spare time doodling in my sketchbook, it felt like the most natural thing to me.

Eventually I decided to give up A-levels and did a Foundation in Art and Design instead.

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Looking back now, I realise that illustration was something I was always meant to do. I always liked making up stories and drawing.

My mum has a stationery and art supplies shop in Russia and she always brought exciting art materials home which I used to put to a good use.

Have you had any formal training?

Before the Foundation in Art and Design at CSVPA, I had never done any observational drawing and by the end of the year, I was a confident drawer. My tutors were incredibly supportive and I felt like I was part of a big fun family. I went on to gain a degree in Graphics and Illustration at Central Saint Martins, where I also studied the ‘moving image’ and printmaking, and I have an MA in Branding from Goldsmiths University.

What is your preferred medium?

I get excited about everything, so my tools keep changing all the time. In the last few months, I have been in love with acrylic markers. I like the flexibility of painting on plastic and glass, and layering my drawings.

For a few months just before that, I was really into coloured pencils. I can’t stay still. I like everything!

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You use sketchbooks a lot. How important is it to your practice?

A sketchbook is like a personal image bank and it can also be a creative diary. It’s an organised way of working, and it’s also handy to have a collection of your drawings with you. Flicking through a sketchbook is satisfying because you can see the progression in your work, and you can make new combinations out of old ideas.

I like making sketchbooks from scratch using recycled paper that students throw away, although I sometimes like working on separate sheets too - it feels liberating.

Who or what inspires your vibrant designs?

I love nature and I think that I can find all the inspiration I need in nature. There are so many diverse life forms, ranging from the obvious ones like trees, animals and plants, to microscopic organisms and natural textures. I also like native art of India, Scandinavia and Asia.

What are your favourite tools of the trade?

Currently it’s Posca markers and Tombow colour pencils. I’ve also discovered some interesting ways of using an office photocopier machine to create results that resemble lo-fi printmaking.

Tell us about your workspace.

There’s usually a cat on it! At the moment my workspace is spread around the house. I have a small table with a Mac and also a big table for drawing in the living room. Sometimes I like to doodle on the sofa or even while sitting on the windowsill with my feet hanging out of the window. It’s strangely productive as it makes me feel like a child again.

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Who are your favourite artists or designers?

I admire artists like Van Gogh, Picasso, Chagall, Monet and Eduardo Paolozzi. I love Japanese illustrators like Mogu Takahashi and Aiko Fukawa.

This year, I saw Laura Carlin’s solo show at Bologna Children’s Book Fair and it was really inspiring for me. I also like graphic designers who combine digital and traditional techniques such as Stefan Sagmeister and Braulio Amado.

Describe your perfect day…

I would like to spend a day in a perfectly equipped printmaking studio, experimenting and listening to music, followed by a swim in the Jesus Green Lido, an Italian espresso and home-made ice cream.

As a tutor, what advice would you give someone looking to start out as an illustrator?

The best advice I can give is that you must always listen to your inner self and do what you feel.

Nobody knows what you should do better than yourself. There is plenty of work out there for everyone and all the different styles will find their place. If you do what you believe in then you will always succeed. Styles will pass but if you are true to yourself, you will always make a place for yourself.

You need to do it because you enjoy it; don’t worry about what other people think. Illustration is a lovely thing.

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What does the term ‘handmade’ mean to you?

‘Handmade’ means honest and humane, with a touch of personality. I believe that all people are makers by nature.

I am excited to see the rise of independent designers and the ease with which they can connect to their audiences through the internet.

Do you have any new projects coming up? What are your goals for the future?

I’ve just had an exhibition in London’s Brick Lane Gallery and this month, my painted window is on display at the CSVPA campus on King Street in Cambridge. I’ll also be taking part in an outdoor exhibition at the Botanical Gardens in Moscow this September. It’s a new direction for me as the works will be made out of wood and they will have to hang outside among the trees. There’s a few children books ideas that I am working on too.

If you could learn a new skill, what would it be?

I’ve just started piano lessons but I would love to try woodwork and ceramics, and learn how to bake bread.

And circus skills.

For more information on Anya Kuvarzina, visit: www.treesforanya.com www.facebook.com/anyaspictures www.instagram.com/treesforanya Images courtesy of Anya Kuvarzina Summer 2016 | ukhandmade |

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SCENE:

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RURAL MURAL

ARCHIE McCALL

Widely regarded as one of the UK’s most successful contemporary visual art and craft events, Spring Fling covers the length and breadth of Dumfries and Galloway in South West Scotland. This year’s open studios event takes place from the 28th - 30th May when carefully selected artists and makers will open their doors to visitors, showcasing their work throughout the region.

In Autumn 2015, Spring Fling CIC evolved to become Upland CIC, a bold and ambitious, world-

class rural-based visual art and craft development organisation. Spring Fling is Upland’s flagship event. Dumfries and Galloway, inspiring, vibrant and buzzing with creativity, is well recognised as a haven for artists and makers and Spring Fling has helped put the region on the national and international cultural map. Between 2003 and 2015, Spring Fling attracted over 100,000 visitors who have made almost 300,000 studio visits. Over 13 years, £1.9 million of art and craft has been bought in studios and the event has brought over £8.5 million to the local economy.

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This year, 94 professional artists and makers will throw open their studio doors for three days over the late May Bank Holiday weekend, offering visitors the chance to get behind the scenes of artistic practice, experience artists and makers demonstrating and explaining their processes and inspirations, and have the opportunity to buy a piece of art directly from the artist. Each studio experience is unique and every artist is different but each will offer a meaningful insight into the inner workings of an artist’s life.

In addition to the core event, over the Spring Fling weekend visitors can enjoy a number of extra events and happenings with projects as Couch, Spring Fling Rural Mural (SFRM), Spring Shows (a series of local, national and international exhibitions), Spring Out (a series of evening music and performance events).

Visitors can ‘studio hop’ the green way on one of the Spring Fling Bus Tours, Bike Rides or Walking Tours.

Venue: Dumfries & Galloway, South West Scotland Opening times: 10.30 - 17.30 Saturday 28th, Sunday 29th & Monday 30th May (Evening openings available and subject to studio) For more information and ticket bookings, visit: www.spring-fling.co.uk Images courtesy of Spring Fling

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REVIEW:

SAVOUR by Bebe Bradley When is a salad not a salad? When it’s made by Peter Gordon. I know that the British culinary experience has moved on (hopefully) from depressed iceberg lettuce sadly garnished with deflated tomatoes and despondent cucumber, but ‘Savour’, Peter’s latest book, has genuinely made me reconsider the concept of the contemporary salad.

Born in Whanganui, New Zealand, Peter apparently produced his first cookbook at the age of four. At the age of eighteen, he moved to Melbourne where for five years, he lived, trained and worked as a chef in various restaurants. Since then, his travels have led him through Asia, back to New Zealand and finally to London where he is now based. Peter has restaurants in London (The Providores and Tapa Room in Marylebone) and Auckland (Bellota and The Sugar Club), and is also involved with London’s artisan doughnut company Crosstown Doughnuts.

He’s written seven cookbooks and contributed to numerous others, so from this you can gather that he is in possession of a prolific and prodigious talent, and has rightly won wide acclaim for his eclectic cooking style. Indeed, Peter Gordon is often credited as the ‘godfather of fusion’.

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Peter’s introduction to Savour covers the ‘elements of the salad’, stating that, “Today, the idea of having a salad as a main meal instead of just as a starter or side dish, no matter what the season, no longer seems as strange as it did a decade ago. We’ve come to appreciate that salads are not just for summer; they can be enjoyed all year round.” Indeed, although I think that this would depend on the age of the salad consumer (see my introduction).

Taste and texture are paramount and he gives us in-depth hints and tips on ingredients, quantities, seasonings, ‘crunch’, dressings and oils.

There are eight sections to this book, the first of which is Simple Salads. Easing you into this kaleidoscopic exploration of seasonal produce, we begin with Red Salad, White-ish Salad and Green Salad.

If these are literally too simple for you, other delicious recipes in this section include Watermelon and Feta with Sumac and Capers, Grilled Peppers with Dill and Orange, Pine Nut and Shallot. Section 2, Veggie Straight Up, features recipes such as Roast Root Veggies and Pumpkin with Creamy Minted Peas, Spiced Roast Cauliflower and Garlic with Tahini Yoghurt Dressing and Kohlrabi with Watermelon, Tofu, Mange Tout, Curry Leaves and Candied Walnuts.

As mentioned before, Peter is known for his eclectic style and these titles give you a good indication of just how varied and exciting the ingredient combinations can be. Admittedly, some of the ingredients may not be easily available in your local supermarket but alternatives are helpfully suggested in each recipe introduction.

For example, if they’ve ran out of green papayas down the Co-op, you can always replace them with cucumbers or apples.

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The third section focuses on Veggie Grains. There are the familiar, such as lentils and rice, alongside the perhaps less so, such as farro, millet and spelt. Here we have Chickpeas, Grilled Broccoli and Asparagus with Popped Chilli Grapes and Bagel Croutons, Green Lentils, Poached Pear and Chestnuts with Broccoli, Caramelized Onions and Currants, and Freekeh, Cumin-Roast Artichoke, Grilled Corn and Pomegranate, amongst others. At this stage, I should remind you to forget the ‘salad’ as a fluffy, barely-there garnish to a main course.

Whilst some of the recipes in this book are suggested as side dishes or starters, a few are certainly substantial enough to be served as main courses on their own, as Peter suggests in his introduction.

Or perhaps, I just didn’t pay attention to measurements …

Section 4 is Veggie Cheesy and can you think of a better combination?

Recipes include Butternut Squash with Coconut, Radicchio, Endive and Feta, Roast Parsnips and Celeraic with Smoky Apple Compote, Haloumi and Pistachios (one of my absolute favourites - I’ve been making the compote as a store cupboard essential!) and Baked Ricotta and Carrots with Figs and Smoky Almond Brittle (one for my ‘to try’ list). The fifth section focuses on Fish and Shellfish and gives us piscatorial delights such as Beetroot-cured Salmon with Grilled Artichokes, Shredded Cabbage, Crème Fraiche and Pomegranate, Chilli-chocolate Teriyaki Salmon with Samphire, Jersey Royals and Orange, and Salt and Sichuan Pepper Prawns with Miso-Roast Jerusalem Artichokes, Crispy Garlic and Umeboshi Dressing. Section 6 features recipes for chicken, quail and duck, including Roast Chicken with Kumquat, Black Garlic, Kale and Advocado and (one that I’m desperate to try) Twice-cooked Sweet-Chilli Quail with DeepFried Egg and Sweetcorn.

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Meat, the seventh and penultimate section, delivers delicious carnivorous concoctions such as Beef Carpaccio, Blackened Green Tomatoes, Peppers, Crispy Ginger, Sichuan Chilli Oil and Crispy Garlic, alongside Cardamom Lamb Ribs, Mango Cashew Rice and Red Onions, and Venison, Coconut-curried Pumpkin and Mustard Cabbage. Of course, with all these amazing salads, you will require salad dressings and this is where the final section steps up. From the relatively simple, such as Tomato and Basil and Sesame, Ginger and Miso, to the relatively unusual, such as Coconut, Tamarind and Star Anise and Condensed Milk Wasabi ‘Mayonnaise’, there’s a dressing for every salad situation.

Given the author, I had high expectations for this book and I wasn’t disappointed. Beautifully photographed by Lisa Linder and illustrated

by Here Design, Savour is a bright, bold and vibrant exploration of seasonal ingredients from beginning to end. The strapline is ‘A Salad for all Seasons’ and this book will enable and inspire you to use every single seasonal vegetable that you can get your hands on. Gone are the days when you didn’t know what to do with the Kholrabi languishing in the bottom of your veg box.

SAVOUR: A Salad for all Seasons by Peter Gordon, with photography

by Lisa Linder, is published by Jacqui Small at £20. Available from all good bookshops.

Images courtesy of Jacqui Small ISBN-10: 1910254495 ISBN-13: 978-1910254493

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A Simple Summer Lunch

by Bebe Bradley

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A light vegetarian lunch, best served in a hot, sunny garden with good friends, chilled wine and a dish of olives on the side.

Add the lime juice, tabasco and season to taste.

Chill for at least 30 minutes or for up to 6 hours.

2. Serve the soup in the small glasses or bowls,

CUCUMBER & AVOCADO SOUP

garnished with the remaining cucumber, chilli slices and a drizzle of olive oil. For extra texture and crunch, serve with tortilla chips on the side.

Serves 4 Ingredients 1 large cucumber, peeled and diced (set aside a couple of tablespoons for garnish) 1 avocado, stone removed, peeled and diced 1 lime, freshly squeezed A small bunch of coriander, chopped 1 or 2 spring onions, chopped 1 green chilli, seeded and chopped 1 red chilli, thinly sliced, to garnish

Refridgerate until required, although best served within a day or so of making.

200g of natural yogurt 200ml of cold water (or cooled vegetable stock) Tabasco (optional) Olive oil, for drizzling Salt and freshly ground pepper, to season You will also need small glasses or bowls for serving.

METHOD 1. Place the cucumber, avocado, chilli, spring onions, coriander, water (or stock) and yogurt in a food processor or liquidiser and pulse until smooth.

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SUMMER SPRING ROLLS Crunchy vegetables, soft noodles and aromatic leaves in a light rice wrap. Perfect to serve as an appetiser as well as part of a light lunch.

Makes 8.

Ingredients For the rolls: 1 pack of rice vermicelli A small handful of mint leaves A small handful of coriander A small handful of basil leaves (Thai, if possible) 4 chives, snipped into short lengths 1 carrot, peeled and cut into thin matchsticks Ÿ cucumber, cut into thin matchsticks ½ soft lettuce e.g. Butterhead, shredded 4 tbsp roasted salted peanuts, chopped 8 rice paper wrappers For the dipping sauce: 1 tbsp sugar 2 tbsp lime juice 1 tbsp soy sauce 1 small garlic clove, crushed 1 small chilli, finely sliced METHOD 1. Place the noodles in a deep bowl, cover with boiling water and leave to soften for 5-10 minutes, 84 | ukhandmade | Summer 2016

and then drain and rinse.

2. Fill a large bowl with warm water. Submerging one rice wrapper at a time, soak until pliable - but not completely soft - and then put the wrapper flat onto a clean plate or chopping board.

3. Arrange the noodles, vegetables, herbs and a sprinkle of nuts in the centre of the wrapper, leaving plenty of room at the sides.

4. Fold the bottom of the wrapper up and over the filling, then fold the sides in and roll up as tightly as possible. Transfer the roll to a plate and cover with a slightly damp piece of kitchen towel. Repeat to make 8 summer rolls.

5. To make the dipping sauce, whisk the sugar into the lime juice to dissolve, and then add the remaining ingredients. Serve immediately with the sauce or cover and refrigerate until required (for up to 2 hours).

Vary the recipe by adding avocado and other vegetables. If you are carnivorously inclined, add prawns, diced crispy pork or chicken and mango. Best served on the day of making.

Courgetti & Fresh Pesto Yes, I am one of those people who collects kitchen gadgets. Last year, I purchased a ‘spiralizer’ and this particular gadget has been in constant use.

If you don’t have one, carefully cut the strands using a knife or mandoline (watch those fingers!)

If you can’t be bothered or don’t have the time to make your own pesto, it’s definitely ok to use a good shop-bought one.

Ingredients For the courgetti: 6 large courgettes The finely grated zest of an un-waxed lemon 2 tbsp extra virgin olive oil, plus extra to drizzle Salt and freshly ground pepper, to season For the pesto: 1 fat clove of garlic, crushed 3 handfuls of fresh basil leaves, chopped 1 handful (about 50g) of pine nuts, lightly toasted 1 handful (about 50g) of freshly grated Parmesan 150ml of extra virgin olive oil A squeeze of lemon juice You will also need extra basil, pine nuts, parmesan and cherry tomatoes for serving.

METHOD 1. Using the mandolin, knife or ‘spiralizer’, cut the courgette into long thin ‘noodles’. Place the courgette in a colander set over the kitchen sink and toss with 1 tablespoon of salt. Allow the courgettes to drain for 30 minutes whilst you make the pesto.

2. Warm a small pan over a very low heat. Carefully toast the pine nuts in the pan until golden, stirring or shaking occasionally. Place the pine nuts in a food processor with the basil, Parmesan, olive oil and garlic. Whizz until smooth and season to taste.

3. Toss the courgette with the pesto, lemon zest, olive oil and extra pine nuts, and then season again if necessary. Pile onto plates and drizzle with a little extra olive oil. Garnish with a few basil leaves, halved cherry tomatoes and parmesan.

Best served on the day of making, although the pesto will keep for 5-7 days, stored in an airtight container in the fridge.

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SUMMER BERRY PUDDING Summer on a plate.

Makes 4.

Ingredients A large punnet of strawberries, hulled and halved A small punnet of blueberries A small punnet of blackberries or raspberries 80g caster sugar 6 – 8 thin slices of brioche Clotted or single cream, to serve (optional)

4. Spoon in the fruit and then finish with the You will also need 4 stainless steel baking rings (approximately 7.5cm in diameter).

METHOD

1. Gently wash the berries, setting aside a small quantity to use as a garnish. Place the remaining berries in a single layer in a large saucepan, along with the sugar and 3 tablespoons of water. Cook on a low heat - about 3 minutes - until the berries begin to soften. Remove from the heat.

2. Use a sieve to drain the berry syrup into a bowl.

Taste the syrup, adding more sugar if required.

3. Using one of the baking rings, stamp out 8 circles from the brioche. Set the 4 baking rings on a large plate (or individual plates) and put one layer of brioche into each of the four rings.

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remaining rounds of brioche. Gently press down and then spoon over enough of the berry syrup to soak the brioche top. Cover each ring with cling film and place a small weight (e.g. a jar of jam) on the top. Refrigerate for at least 4 hours or overnight.

Keep any of the remaining berry syrup to serve with the puddings.

5. To serve, uncover and very carefully push the pudding from the ring onto the serving plate.

Spoon the remaining syrup over the puddings and garnish with the reserved berries and a dollop of clotted cream or drizzle of single cream.

Best served within a day or so of making.

Images courtesy of Bebe Bradley and Pixabay

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REVIEW:

Summers Under the Tamarind Tree by Lisa Margreet Payne It appears that we’re no longer content with our recipe books containing just recipes. In this heavily branded and overcrowded marketplace, it seems that for a recipe book to be successful, it now has to have an extra element, some kind of theme, for example.

‘Summers Under the Tamarind Tree’,

by Sumayya Usmani, is no exception.

This book is a collection of over one hundred recipes, but also includes memories of Sumayya’s childhood in Pakistan. Growing up as the daughter of a merchant ship captain, Sumayya had an unusual childhood spent mostly at sea. It was only after she left Pakistan to come to the UK as an adult, that she began to explore this interesting element of her past. Through the process of writing this cookery book and the recollection of her childhood in Pakistan, Sumayya reconnects with the land where she grew up.

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As she says in her introduction: “When I moved to the UK, I was struck by the fact that despite a large Pakistani diaspora, our cuisine never found its individual voice.” It is this desire, to share her heritage and her passion for the food which she grew up cooking and eating, that inspired her to write this cookery book.

The book introduces us to the idea of cooking by ‘andaza’ (estimation). Sumayya describes andaza as, “sensory cooking: learning to taste, breathing in aromas, to find the recipe right for your taste buds.” Recipes are handed down through the generations from grandmothers, mothers, and aunts to daughters. Flavour takes centre stage in the recipes and as each new generation learns how to cook the recipes, they also add their own touches which they will then pass on. It’s an evocative book and Sumayya’s nostalgia for her childhood culinary experiences and passion for her country and its cuisine shines throughout. The diverse geography of Pakistan, from deserts and beaches to mountains and foothills, means that there is a wealth of natural resources and a rich diversity to the cuisine of the country as a whole.

There are seventeen chapters in total, covering everything from Pakistani cooking methods and spice notes, to a chapter on masala blends where we are given traditional family recipes which add spice to otherwise seemingly plain dishes of eggs or potatoes. Each chapter begins with a short introduction in which Sumayya recalls memories from her childhood, combined with some history and useful cooking tips. These introductions are well worth reading, even as a stand-alone without the recipes, as they give you a fascinating insight into the culture, geography and history of Pakistan.

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Pakistani food is a meat-based cuisine, so there aren’t that many recipes for those of us who don’t eat meat. Even in some of the recipes for the rice

her collection and created a book in which she passes on these recipes and techniques, not only to her own daughter but to a much wider audience.

side dishes, there is often a meat-based element.

However, I did try a recipe called Sindhi Karri, a yoghurt and turmeric soup with curry leaves and eggs. A simple dish with a subtle flavour, I ate it with plain basmati rice as suggested, and boiled eggs which were lightly fried then cut in half and dropped into the karri. There are also a few daal recipes which I want to try; daal is one of my favourite lunchtime dishes so I’m always interested in trying out new variations.

This is a successful combination of recipe book and memoir which will give you an interesting - and tasty - introduction to Pakistani cooking.

But as is often the case, it is the dessert section that tempts the taste buds. I have bookmarked two which I intend to make very soon. These are Peshawari falooda, a pistachio ice cream float, and Double ka meetha, a Hyderbadi-style saffron bread pudding. These dishes are infused with rose water, cardamom and pistachios which, having looked through all the recipes, I can see are common flavour profiles in the book. They also happen to be favourites of mine!

Pakistani cooking is about a combination of influences dictated by geography and history, which have been absorbed and turned into something uniquely Pakistani. Sumayya has reflected this in 90 | ukhandmade | Summer 2016

Summers Under The Tamarind Tree: Recipes & Memories from Pakistan by Sumayya Usmani, is published by Frances Lincoln at £20 and available from all good bookshops.

For more information, visit: www.quartoknows.com Images courtesy of Frances Lincoln Photography by Joanna Yee ISBN-10: 071123678X ISBN-13: 978-0711236783

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See you in the AUTUMN

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