Rebecca Pride
Rebecca Pride Course Leader MA Historical Costume Qualifications: BA (Hons) Drama and Theatre Studies, Higher Diploma in Fine Art (HDFA) Slade, PGCE, SFHEA, Doctor of Education (2019-2023)BiographyRebecca Pride graduated as a theatre designer from the Slade School of Fine Art, then in 2005, after 17 years in industry, Rebecca joined the Arts University Bournemouth as a lecturer, becoming course leader for BA (Hons) Costume and Performance Design in 2009. Rebecca became an Associate Professor in 2020 and now focuses full time on the MA Historical Costume course within The Graduate School. In 2018, the BA course she led was awarded a prestigious Queen's Anniversary Prize for Distinguished degree level education in Costume Design for the leading UK creative industries. Professional PracticeRebecca curated the Drawing Theatre: Pamela Howard installation in 2016 in The Gallery (2016), creating an illustrated journal for the event: exhibited at PQ19 as part of the ‘The Best Performance Design
Phone: 01202 363268
Address: Arts University Bournemouth
Wallisdown
Poole
Dorset
BH12 5HH
Phone: 01202 363268
Address: Arts University Bournemouth
Wallisdown
Poole
Dorset
BH12 5HH
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Papers by Rebecca Pride
Computer Modelling of Theatrical Sets
Authors Dr. Ian Stephenson and Rebecca Pride
Abstract
Here we discuss the design and implementation of a modelling tools specifically targeted for use by designers of theatrical sets. By applying domain specific knowledge and constraints to the design of the software, we demonstrate a system which can be used without signifigant training, by users with no previous computer graphics experience.We present initial end user experiences of using the tool in designing a real production of “The First Arabian Night”.
Categories and Subject Descriptors
(according to ACM CCS) : I.3.8 [Computer Graphics]: Applications
Talks by Rebecca Pride
Drawing: in stitches
A stitch in a line
In stitches
This exhibition seeks to redefine and examine the centrality of drawing as a conduit for creative expression in the work of textiles artists as well as fashion, costume and performance designers. We draw to discover and express ourselves. We use any manner of tools to do this; pencils, paints, a sewing machine, a needle or a CAD programme to solve and explore the puzzle that the work or creative problem forces us to examine and scrutinize.
A stitch in time and stitch in a line. The physical properties of cloth and the variety of fabrics that our work encompasses constantly challenge and astound us. The stitch that connects cloth, the stitch that draws a line, the elaborate stitch and the simple stitch, the connected and the disconnected stitch, the authentic stitch. All are valid, all are central to the creation of our work.
Books by Rebecca Pride
Computer Modelling of Theatrical Sets
Authors Dr. Ian Stephenson and Rebecca Pride
Abstract
Here we discuss the design and implementation of a modelling tools specifically targeted for use by designers of theatrical sets. By applying domain specific knowledge and constraints to the design of the software, we demonstrate a system which can be used without signifigant training, by users with no previous computer graphics experience.We present initial end user experiences of using the tool in designing a real production of “The First Arabian Night”.
Categories and Subject Descriptors
(according to ACM CCS) : I.3.8 [Computer Graphics]: Applications
Drawing: in stitches
A stitch in a line
In stitches
This exhibition seeks to redefine and examine the centrality of drawing as a conduit for creative expression in the work of textiles artists as well as fashion, costume and performance designers. We draw to discover and express ourselves. We use any manner of tools to do this; pencils, paints, a sewing machine, a needle or a CAD programme to solve and explore the puzzle that the work or creative problem forces us to examine and scrutinize.
A stitch in time and stitch in a line. The physical properties of cloth and the variety of fabrics that our work encompasses constantly challenge and astound us. The stitch that connects cloth, the stitch that draws a line, the elaborate stitch and the simple stitch, the connected and the disconnected stitch, the authentic stitch. All are valid, all are central to the creation of our work.