final year book

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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

08 Culture

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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PRINT


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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


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