The variables that affect colour in the digital textile printing process
(2019)
author(s): Becky Gooby
published in: Research Catalogue
The development of digital printing is a major change within the textile design process as a designer is no longer restricted to number of colours, repeat patterns, and may include photographic images and intricate detail. With digital print it is now possible to print anything between a metre, or hundreds of metres, at the click of a button.
However, there is a marked difference between screen-colour and print colour. A textiles designer using Computer Aided Design (CAD) to create a design will be required to experiment with a number of variables in order to feel more confident about the outcome when using digital fabric printing.
Pure Print Archeology
(last edited: 2023)
author(s): Gravura: I2ADS/FBAUP
connected to: i2ADS - Research Institute in Art, Design and Society
This exposition is in progress and its share status is: visible to all.
Pure Print archaeology (PPA) 1st research meeting aims to reflect on photomechanical printmaking practice and its research status.
THINKING IN LAYERS, WORLDING IN LAYERS: POSTHUMAN LANDSCAPES IN EXTENDED DRAWINGS AND PRINTS
(last edited: 2020)
author(s): Britta Benno
This exposition is in progress and its share status is: visible to all.
I am using the printmaking and drawing artist way of thinking as a method of creating artistic research. Thinking in layers becomes a way of creating both: the artefacts and writing. The emphasis of the artistic research is divided in two extending and overlapping categories: first, conceptually worlding the post-capitalist landscapes – this becomes the study-case of the second and most imporant focus: the innovation of formal indermedial method when creating hybrid art.
A Carnal Formula: Music, painting and the creative process
(last edited: 2018)
author(s): Matthew Noone
This exposition is in progress and its share status is: visible to all.
How do a painter and a musician make work together? What elements of creative process are shared between music and the visual arts? And perhaps more interestingly, what are the divergences?
This exposition focuses on an artistic residency in the Burren College of Art as a case study exploring theoretical frameworks for making and perceiving music and sound. It uses my own creative process moving between composing and print making as a dialogue between different forms of perception. Drawing upon phenomenology and deconstructionism, this exposition argues that aesthetic responses are paradoxical, in that both painting and music can touch a pre-cognitive body based knowing yet at the same time there is no absolute meaning. This conundrum is equated with Merleau-Ponty’s idea of a ‘carnal formula’ and I attempt to extrapolate this idea through outlining my creative processes.