Browsing by Author "Blomgren, Lidia"

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Stolt som en tupp & rädd som en hare eller Snabb som en vessla & långsam som en snigel. En samling illustrationer baserade på liknelser med djuranknytning
(2013-02-20) Blomgren, Lidia; Göteborgs universitet/HDK - Högskolan för design och konsthantverk; Göteborg University/HDK - School of Design and Crafts
Why is the hare afraid? And what is the proud peacock so proud of? What does the sly fox do in the daytime and is the fast weasel faster than his friends? Who is that strong bear? !ese are the type of questions that inspired and pushed my creative process forward in the work with my collection of illustrations based on swedish metaphors that relate to animals. !e collection is aimed at children between two and six years.
Vita vingar och röda bär -en folkloreinspirerad mönsterkollektion
(2009-06-30T09:22:19Z) Blomgren, Lidia; Göteborgs universitet/HDK - Högskolan för design och konsthantverk; Göteborg University/HDK - School of Design and Crafts
The aim of this examination project was to work with the process of making a pattern collection for fabrics. The collection should consist of at least three patterns with report measurements suitable for screen print. I wanted the pattern collection to be a simple, mystic and colourful collection with a folklore spirit like the popular rural life I experienced during my childhood. The purpose of the project was that I during the working process would deepen my estethic background to enforce my personal graphic expression ability and evolve as a pattern designer. I wanted to try to mix my personal view of domestic graphic expression with another language that I gained in recent years. This I wanted to do in order to find the tools that could help me clarify and develop my pattern signature. A few of the questions that I had about this project were if the long scetching phase that I planned would help or damage the project. I also thought it would be interesting to experiment with colours in this project. I wanted to see how far I dared to go in matter of colours as well as how the patterns would be visually experienced if I for example reduced one colour or replaced it with the opposite colour. I thought it was inspiring to work with traditional techniques with the colours. It was only positive that part of the pattern story telling was developed in an unpredicted direction during the scetching phase. I also realised that a long scetching phase is not suitable as a working process for all types of patterns, it has to be decided on a case-to-case basis. White wings and red berries, Spring morning in the bog and A song for the mole are three patterns that all tell their own stories about my childhood and they are the patterns in the fabric collection that I have been working with during ten weeks.