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P r i n t e d T e x t i l e s & S u r f a c e Pat t e r n
Contents
In putting together this book we wanted to make something that embodied our philosophy for Printed Textiles and Surface Pattern Design. A snapshot taken in March, we try to show, in largely visual terms, the essence of what we do. Reflecting individuality, passion and curiosity within a professional context.
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Material Culture
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Drawing & Colour
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Historical & Conservation
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Ecology and Sustainability
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Slow Crafting
Being equipped for a career means being good at what you do and knowing your area of specialisation but also being flexible, open minded and responsive. The majority of our graduates are employed in design teams or studios in the wide range of industries our subject covers and others establish their own practice as designer/makers. Whatever the individual chooses our world of design is rich, exciting and fluid. It is forward thinking yet rooted in history and will always embrace innovation, new ideas and vision.
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Progressive Technologies
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14-35 Process 36-57 Material 58-79 Print 80 Students 82 Acknowledgements
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Introduction
Drawing & Colour
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Development and design through experiencing the relationship and physical ontology of process. As we communicate our ideas, experiences and ambitions visually, we engage in the origins of the haptic; to wit, the value of the honest labours of drawing, the process and tactility of direct intervention in its broadest contexts. We explore, narrate and resolve, through these the most experiential of processes, with colour and mark, gesture, space and theme, we bring joy, vitality and realised visual harmonies to an otherwise world of discord.
Material Culture Striving towards reified understanding, we engage in dialogue and investigation of the relationships between the physical artefact, process and contextualisation. Our journeys with material culture define and legitimatise new approaches and perspectives, from a centric stance, we broaden our considerations of consumption, history, the other, place or material avenues et alia as cognitive and empirical avenues of practice.
Historical & Conservation Acknowledging through an ebullient appreciation, our design heritage and history, we as designers identify and locate our practice. From such contextualisation’s we can navigate a journey which embraces and legitimatises our practice. We desire to treasure, honour and preserve this heritage through both the physical artefact and laboured interpretation.
Albers, in discussing the ‘Vorkurs’ spoke of the need that “Materials must be worked in such a way that there is no wastage: the chief principle is economy. The final form arises from the tensions of cut and folded material” Terms such as upcycling, sustainability, eco and design-futuring underpin the philosophy and considerations of our response to environment within design. Encouraged to explore these values, it is the intention of sustainable design to identify with wider contexts, globally and locally, to explore viable and sensitive practices, to create an aesthetic harmony, in which neither process, material or visual outcome is subordinate in concern.
Culture We speak of culture in design, its physicality, its modus operandi, its language. We define our physical environment in its constructed purpose-built spaces, cultures of success, we articulate as emerging from strong social and subject discipline values, our language, embedded in the visual recognition of abstraction, expression and reified forms.
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Ecology & ustainability
Slow-Crafting
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Xavier Girard referred to ‘... the intrusion of modernity into the everyday world…’, as society seems to ever increasing lean towards fast production, emphasis on mass, and cheap labour, we seek to reconcile beautiful craftsmanship with production. We denounce the mundane through a celebration, consideration and inventiveness to usher in a new, heralded philosophy of slow-crafting. We engage with a practice beyond mere concepts of ‘hand worked’ against ‘machine, or the time taken to produce an article. It is ephemeral, a respect for process, tradition and quality of craft, aesthetically realised with a richness of applied knowledge.
Progressive Technologies
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Tommaso Marinetti in his 1911 Futurist Manifesto spoke of the beauty in which “A race car is more beautiful than the victory of Samothrace� – Progressive and forward thinking, we strive as a design community, to embrace and lead new ideas, thinking and technologies, enabling designers to develop work with both speed and consistency, without seeing such tools as a hegemonic panacea. We develop practices and observations that tacitly explore embedded issues of distance, innovation, experimentation and craftsmanship to ensure an honest creativity in tandem with technology over the ersatz.
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PROCESS
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Amy Gibbons
Isabel Ford
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Rebecca Miller
Bryony Dewhirst
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Kat Oxley
Anna Taylor
Elizabeth Atkinson
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Stephanie Dodd
Lucy Haylett
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Lisa Martin
Emma Rose
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Elizabeth Lyons
Laura Kiteley
Hayley Crann
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Antonia Fowles
Joanne Diggle
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Emma Jane Soworby
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Kitty Forbes
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Ruth Lloyd
Amy Smalley
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Hollie McNeil
Chloe Morgan
Sophie Crawshay
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M AT E R I A L
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Daisy Waite
Rebecca Miller
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Daniel Bangham
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Daniel Bangham
Fergus Dowling
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Star Holroyd
Poppy Maxfield
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Leanne Robson
Monica Elliott
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Louise Dormer
Jordana Armstrong
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Daisy Pedersen
Jessica Carson
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Fergus Dowling
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Amelia Robinson
Eve Finlayson
Rebecca Loughlin
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Joel Wilson
Kathryn Fowler
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Lily Tomkins
Megan Flood
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Samantha Cockshott
Alanah Whittaker Thompson
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Lauren Beebe
Rebecca Skinner
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Emily Calland
Marie Parry
Amy Wright
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Emma Hallam
Jemima Rodwell
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Katherine Truong
Chloe Rotherham
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Star Holroyd
Laura Davis
Allison Marsay
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Laura Kiteley
Amelia Robinson
Beth Atkinson
Monica Elliott
Ruth Lloyd
Leanne Robson
Daniel Bangham
Eve Finlayson
Rebecca Loughlin
Jemima Rodwell
Jessica Barker
Megan Flood
Elizabeth Lyons
Emma Rose
Lauren Beebe
Kitty Forbes
Allison Marsay
Chloe Rotherham
Emily Calland
Isabel Ford
Lisa Martin
Amy Smalley
Jessica Carson
Kathryn Fowler
Poppy Maxfield
Rebecca Skinner
Samantha Cockshott
Antonia Fowles
Hollie McNeil
Emma-Jane Sowerby
Hayley Louise Crann
Amy Gibbons
Rebecca Miller
Anna Taylor
Sophie Crawshay
Emma Hallam
Chloe Morgan
Lily Tomkins
Laura Davis
Warren Hamzat
Rachael Louise Munnery
Katherine Truong
Bryony Dewhirst
Katrina Hankins
Nancy Newton
Daisy Waite
Emma Dicken
Lucy Haylett
Kathryn Oxley
Alanah Whittaker Thompson
Joanne Diggle
Star Holroyd
Marie Parry
Joel Wilson
Stephanie Dodd
Valerija Iljusenkova
Daisy Pedersen
Amy Wright
Louise Dormer
Fern Kendrew
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Fergus Dowling
For further information about the course, our values or the graduates showcased here then please e-mail: teamtextiles@leeds-art.ac.uk or visit our graduate designers webpages on artsthread which can be found at:
http://www.artsthread.com/c/leedscollegeofartdesign/printedtextilessurfacepatterndesignBAHons
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Jordana Armstrong
Design Paul Brandreth www.paulbrandreth.co.uk info@paulbrandreth.co.uk
Will Duffy www.willduffydesign.co.uk whd1990@gmail.com
Robyn Russell www.redpixeled.co.uk redpixeled@hotmail.com
Sai Uennatornwaranggoon
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www.designbysai.co.uk designbysai@gmail.com
Sam Wallbank www.sam-wallbank.co.uk hello@sam-wallbank.co.uk
Leeds College of Art, Blenheim Walk, Leeds LS2 9AQ / 0113 202 8000 / info@leeds-art.ac.uk