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A few of my favourite submissions for Marbelous Malfunction and why I think they are so great!



Carlyn has created what at first glance seems to be a series of updates on a traditional combed marble design. In actual fact these entirely digital prints were ingeniously created using displacement maps in Photoshop – proof of how a bit more information about the process can totally change your perception and opinion of a piece of work.
I am totally drawn in to the centre of the expanding design on the left and would love to see it visualised on a garment – perhaps a dress with the design sprawling across the front and back from the shoulder. View Carlyn’s entire submission.




These beautiful rich photographs depict a bit of an experiment involving wet PVA glue and Brusho dyes. When speaking with Alice about her glue paintings, she told me that she wasn’t really keen on how they looked once they dried. This is a great example of taking something from the process rather than obsessing over the end result. Often with drawing and mark making, it’s a tiny section of what otherwise might be considered a “bad” drawing that becomes a key element, texture or motif in a print design. Being able to extract the “good” bit is what makes the exercise worthwhile! View Alice’s entire submission.




These illustrated faces can be spotted a mile off as Lucy’s creations, and what I love most about Lucy’s work is how she always tries to maintain her design identity while adapting to different Patternmash briefs. A really great effort has been made in these designs to carefully replace the colour in a photographic stone marble texture to fit the Marbelous Malfuntion theme. The natural qualities of the marble pair really well with the pop of colour generated by the electronic glitch, the subtlety of which is really what I hoped to inspire with this theme. View Lucy’s entire submission.