Front cover

Inside front cover Dust Page

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

Introduction

Contents

In putting together this book we wanted to make something that embodied our philosophy for Printed Textiles and Surface Pattern Design. A snapshot in taken March, we try to show, in largely visual terms, the essence of what we do. Reflecting individuality, passion and curiosity within a professional context. 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.

PG ---Conservation ------/---/---/-Ecology and -Culture Progressive Technologies CONCEPTS DEVELOPMENT FINAL PIECES Sustanability Slow Crafting Material Culture Drawing & Colour Historical &

Drawing & Colour

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 contextualisations 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.

Ecology & Sustainability 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.

Slow-Crafting 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.

Culture We speak of culture in design, its physicality, its modus operandi, its language. We define our physical environment in its constructed purposebuilt 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.

Progressive Technologies 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.

PROCESS

Drawing/ Cutting/ Screenprinting/

M AT E R I A L

Materials/ Fabric shots/ Stitching/ Sewing/

DSCF0398

Daniel Bangham

PRINT

Paper Prints/ Rolls of wallpaper/ Cut paper/ Flat images/

NAMES

Jordana Armstrong Beth Atkinson Daniel Bangham Jessica Barker Lauren Beebe Emily Calland Jessica Carson Samantha Cockshott Hayley Louise Crann Sophie Crawshay Laura Davis Bryony Dewhirst Emma Dicken Joanne Diggle Stephanie Dodd Louise Dormer

Fergus Dowling Monica Elliott Eve Finlayson Megan Flood Kitty Forbes Isabel Ford Kathryn Fowler Anty Fowles Amy Gibbons Emma Hallam Warren Hamzat Katrina Hankins Lucy Haylett Star Holroyd Valerija Iljusenkova Fern Kendrew

Laura Kiteley Ruth Lloyd Rebecca Loughlin Elizabeth Lyons Allison Marsay Lisa Martin Poppy Maxfield Hollie McNeil Rebecca Miller Annabel Mirley Chloe Morgan Rachael Louise Munnery Nancy Newton Kathryn Oxley Marie Parry Daisy Pedersen

Amelia Robinson Leanne Robson Jemima Rodwell Emma Rose Chloe Rotherham Amy Smalley Rebecca Skinner Emma-Jane Sowerby Anna Taylor Lily Tomkins Katherine Truong Daisy Waite Alanah Whittaker Thompson Joel Wilson Amy Wright http://www.artsthread.com/c/leedscollegeofartdesign/printedtextilessurfacepatterndesignBAHons For further information about the course, our values or thhe 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:

Inside back cover

Leeds College of Art, Blenheim Walk, Leeds LS2 9AQ / 0113 202 8000 / info@leeds-art.ac.uk

Back cover