Printing on leather enabled the same subtlety in color and texture that I find on paper,” reflects artist Amber Khokhar. Designer Amber Khokhar with a version of her Decagram leather, developed around a 10-point-star concept.
A subtle, bauhaus-inspired gradation distinguishes Wander leather by designer Jonathan Saunders.
Printing on leather permitted the same subtlety in color and texture that I discover on paper,” reflects artist Amber Khokhar. “It enabled me to paint as I typically paint.” She is among five U.K.-based skills who have actually worked together with the British leather specialist Bill Amberg to develop a new collection of clearly patterned, digitally printed hides for Moore & & Giles. Designer Amber Khokhar with a variation of her Decagram leather, developed around a 10-point-star theme.
Helen CathcartRealized using natural pigments, her constellation of stars is joined by other geometric concepts: subtle, Bauhaus-inspired stripes by designer Jonathan Saunders and groovy graphics by designer Yinka Ilori. (The latters development, initially conceived in Photoshop for a cover of Jason Reynoldss very popular book For Every One, captures “what dreams appearance like as a pattern.”) A subtle, bauhaus-inspired gradation differentiates Wander leather by designer Jonathan Saunders.
Helen CathcartArtist Kesewa Aboah, meanwhile, covered a good friend in pigment and coconut oil, then pressed her body to paper, producing a vibrant, not-quite-figurative effect reminiscent of Yves Kleins Anthropometry series. And furnishings designer Bethan Gray painted rippling boat sails.
Helen CathcartAmberg, whose atelier has long developed bespoke aspects for designers and architects like Alexandra Champalimaud and Peter Marino, started checking out digital printing only a few years ago but considers it the latest advancement in the products long, abundant history. “Think of the lit up wall panels in Florence or the hand-painted hides developed by Native Americans,” he states.