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Ida-Maria Niikkonen Professional Portfolio 2018

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Contents CV 4 Costume and Concept Design Barely there. 6 Oikeusjuttu 12 The Night Circus 18

Finding and solving the problems

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Masters Thesis 25 Functional Clothing 26 Digital Sewing and pattern making

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Understanding usergroups 30 Menswear 31 Womenswear 32 Unisex 33 Children’s wear 34 Artistic Vision 36 Illustrations 37 Kuu/Moon Installation 40

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Ida-Maria Niikkonen Professional Portfolio


Ida-Maria Niikkonen Designer

Education

Skills

Master of Arts and Design graduated 2018 Major in Clothing Design University of Lapland

Programs

The Basic Studies in Art History graduated 2018 University of Lapland Bachelor of Arts Design graduated 2016 University of Lapland

and

Matriculation Examination graduated 2012 Kuusamo High School Art studies years between 2000-2012 / graduated 2012 Kuusamo College

Contact information niikkonenidamaria@gmail.com +358 408 412 101 Aino Acktén tie 1 D33 00400 Helsinki Finland

Adobe Bridge Adobe Illustrator Adobe InDesign Adobe Photoshop Kaledo Print Kaledo Style M a r v e l o u s Designer Modaris Lectra Modaris 3D Microsoft Office

Art Skills Exellent skills on Traditional painting drawing Digital painting Flat drawing

and

Basic skills on Sewing and pattern making Sculpting Mold making and molding Photographing

Languages Finnish native English B2 Swedish A2

I’m Helsinki based designer and artist who will always see herself as a “girl from North”. I was born and raised near the Southern border of Lapland. When you can not see more than a couple of feet ahead of you because of the Polar night or because of the trees, it is natural for one to grow up with an imagination which is...rather wild. My personal strengths in the design process are focused on artistic expressions, background research, and social interaction. I believe that the design plan is nothing without the ways to express all of the great ideas just like the pretty picture is nothing without the idea and design behind it.

Others B1 drivers license positive and “can do” attitude good imagination can build a decent camp fire Ida-Maria Niikkonen Professional Portfolio

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@idaniik


Work Experience Entertaiment business

Course planning and teaching

Displays and exhibitions

Dresser in Olen suomalainen movie

Character Design course

as a participant

25.8.2018 & 5.9.2018 Solar Films Inc.

Work contained dressing large amount of extras for Olen suomalainen movie.

Costume assistant in Risto Räppääjä ja Pullistelija movie 16.7.2018 - 20.7.12.2018 Solar Films Inc.

Work contained dressing large amount of extras for Risto Räppääjä ja Pullistelija movie.

Costume Department trainee in Bullets TV series season 1 12.3.2018 - 30.4.2018 Vertigo Oy

Training contained working with TV series called Bullets with costuming department. During traineeship I worked on set, dressed actors and extras and costumed some minor acts.

Costume Department trainee in Putous live TV show 2.1.2018 - 10.3.2018 Yellow Film & TV

Training contained working with TV show called Putous with costuming department. During traineeship I worked on ive show, worked as a wardrobe assistant, dressed actors and extras and costumed some minor acts.

Summer 2018 in Kuusamo Summer University of Northern Ostrobothnia

Post Modern Picture Book course Summer 2017 in Oulu Summer University of Northern Ostrobothnia

Summer 2016 in Kuusamo and 2017 in Oulu Summer University of Northern

Fashion Design course Summer 2017 in Kuusamo Summer University of Northern

Costume designer for Oikeusjuttu -play 1.10.2016. - 20.4.2017 at Kansantalo Wiljami

Oikeusjuttu was a play based on Franz Kafka’s novel The Trial. I worked as a costume designer in co-operation with Senni Kallio. The work assignment

contained

both costume designing and

costuming as well as making the costumes.

25.4. – 11.5.2017 at Hämärä Gallery

Ilmatar production 16.2.2015 - 22.2.2015 at Arctic Design Week 2015

3.12.2014 - 4.2.2015 at Revontulikeskus

Greative Kuusamo Exhibition of the generations

three

4. - 27.12.2013 at Kuusamotalo’s Polar Night

as the one of the organizers

Fashion Illustration course Summer 2016 in Kuusamo Summer University of Northern Ostrobothnia

Digital art course

Juhlakattaus : 20-year anniversary exhibition of the Department of Textile 15.9. and Clothing 30.10.2016 at Arktikum -

9.7.2014 - 10.7.2014 Kuusamo College

The Round Silence -window display, designer Miina Kaartinen 1. - 28.2.2014 at Muotoiluhuone

1.10.2017 - 21.12.2017 Tolin Fx

History

Kuu/Moon window display

Fashion Illustration course

Special effects apprentice

During my traineeship I worked with projects such as Mulligan TV movie 2018 (Directed by Steve Parys, written by Patrick Cannon) Haunt movie (Directed & Written by Scott Beck & Bryan Woods) Walking Dead TV series A “walk around” dinosaur suit for Pittsburgh’s Carnegie Museum of Natural

Barely there.

as a volunteer worker

Others

Arktisen palo

Research assistant Konola, Sanna 2015: Reviewing Requiremenrs for Arctic Functional Clothing. From the publication Konola, Sanna & Kähkönen, Päivi 2015: Arctic Wears - Perspectives on Arctic Clothing. Publications of Lapland UAS: Rovaniemi.

17.9. – 11.10.2015 // Gallery Valo, designer Marjatta Heikkilä-Rastas Arktikum – Museum and Science Centre

Store Cashier Koillismaan osuuskauppa Prisma 14.12.2015 - 3.1.2016 19.12.2014 - 8.1.2015 24.5.2014 - 31.7.2014 14.12.2013 - 3.1.2014 3.6.2013 - 28.7.2013 5

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Research based art installation

Barely there. 2017

Barely there. was a research based art project I did in co-operation with Elina Ahola. Theoretical part of project was based on broblematic connections between nature, recycling and clothing. As the artistic part of research result we created a clothing consept, which shows one way to re-think the role of designer in the aspect of recycling and sustainibility. Clothing consept is based on possible threats and visions of the future considering the four view points of sustainability.

Our unisex clothing concept is designed for some undefined dystopian future, where clothing must be possible to make from the materials found from the leftovers of the human sivilication. By changing the modules on top of the frame, and re-building both of them again time after time, clothing can interact with the cultural and enviromental needs of the user. When breathing and clean water become a luxury, it is wisest move to grow your own garden in the back of your clothing, carry your home with yoy where ever you go. In the future designer designs frames for the clothing but each individual builds their clothing from the materials of their choice. Clothes can change when needed and aquired like a living puzzle when all the materials adabt to each other. When buing a T-shirt from the closest mall isn’t an option anymore every useable piece of material is worth cherishing. When the world is falling apart around you the same can happen to your clothes, only with this cocept it is supposed to do so. Within garbage everyvere you only have to learn to see hidden gems. As social and cultural beings humans will need beauty and ways to express themselves also in the future.

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Moodboard 2017 Digital Collague

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Frame

Module

Flats for the Barely there. consept Elina Ahola 2017 Adobe Illustrator

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Barelyhere Elina Ahola and Ida-Maria Niikkonen 2017 Digital painting

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Barelywhere Elina Ahola and Ida-Maria Niikkonen 2017 Digital painting

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Barelythere Elina Ahola and Ida-Maria Niikkonen 2017 Digital painting

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Costume design

Oikeusjuttu 2017 Oikeusjuttu was a play directed by Seppo Rintamäki, and the play was based on the novel The Trial by Franz Kafka. The play told a bizarre story of the chief cashier of a bank, Josef K. The familiar story got its beginning when Josef K. was arrested for an unspecified crime. On the way to his freedom Josef K. has to dive deep in to the justice system of some unnamed police coverment. But when you finally have reached the bottom, is it even possible to break the surface anymore? Or can you even tell if you are finally free or not? Oikeusjuttu combined the both Kafka’s bizarre story telling and director Rintamäki’s morbid vision of the characters.

Script by Janne Rosenval, Seppo Rintamäki and Juha Karhu Based on The Trial by Franz Kafka Director Seppo Rintamäki, Jukka Aaltonen (co-director) Music by Joel Mäntyranta Sound by Tuomas Härkönen Lightning Veronica Mella Costume design Senni Kallio and Ida-Maria Niikkonen Cast Juha Karhu, Minna Taipale, Esko Ranta, Risto Olenius, Jussi Jokinen, Jukka Aaltonen, Miikka Saraniemi, Lasse Sankala, Karri Kallas, Aleksi Pesonen, Minja Mäntyjärvi, Milla Laakso, Alisa Syväjärvi, Joanna Jaakkola

Work Assigment I worked as a costume designer in co-operation with Senni Kallio for the play from October 2016 to April 2017. The work contained designing and producing the costumes for the child clowns Memento and Omen and for the judges Pattinaama and Klenkka. The costumes for rest of the cast were bought from the local fleemarkets and shops, and then carefully modifyed to fit for both the characters and the artors. The work also contained organizing the whole process behind the costumes from raw schethces to budjegting and instructing the cast.

Modifying the Fabric The clowns of our play were far from the clowns from the childen’s birthday parties. Director wanted them to be as scary looking as possible, and we did our best. To make costumes look like really old and damned we manipulated the fabric to look like molded, teared and bloody. For the coloring we used both fabric painting and tea and coffee dyeing. Even if all the details of the costumes couldn’t be seen in the back row, but for us every detail was the way to define characters’ personality and to tell their story.

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First mood sketch 2016 Pencil on paper and Adobe Photoshop

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Clovn Sketches 2016 Pencil on paper

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Photoraphy © Senni Kallio

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Photoraphy © Senni Kallio

Photoraphy © Senni Kallio

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Photoraphy © Senni Kallio

Photoraphy © Senni Kallio

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Isobel costume illustration 2016 Watercolour on paper

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Costume design

The Night Circus 2016 In 2016 I drew my vision of the Erin Morgenstern’s The Night Circus -novel’s (2011) main characters. In this costume design plan, I focused on defining the scenes which would tell most about the character. For each costume design I wrote open the main features of the character, and how these qualities can be seen in the costume. I studied period costuming from year 1884 to 1903 for the research. Next I would like to tell you a little about my design process.

Moodboard For me The Nigh Circus was all about impossible love, destinies told by Tarot cards, dreams, and the strength of will. In the novel time stops turning and freezes everyone to one exact moment. Outside the flowers keep growing, fading and dying, but in the circus time keeps still. In the world of black and white all the colours seem bright – they are like promises of the sunrises of tomorrow. Along the growing net of secrets, in hidden gazes and behind unspoken words the story travels around the Victorian era world. I wanted all that to be seen in my vision of the costumes. Visual mood for the designs came from the paintings of Adriaen Van Utrecht and Gustav Klimt and from the pictures of dead flowers. Because of the melancholy of the story, I didn’t want the costumes be too colourful. Also the period fashion didn’t favour bright colours. The pictures in the moodboard might be little bit dark, but like the story, the pictures in my moodboard are fundamentally about love, hope and light that shine brightest when the night is darkest.

Research I did the research by using the history and period costume books and from the museum catalogues. I studied and listed what and how people dressed up in the Victorian Era. I also took a critical look to Pinterest’s collage of the end of 19th and beginning of 20th centuries’ people. In my costume designs plan all the clothing were period costumes, so they would fit in the Victorian Era dress codes. But because the Night Circus is story about magic, stage costumes have some twist in them. If I would have designed the stage costumes for all the circus performers, I would have added some hints of the circus’ costume designer’s Romanian heritage.

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3D model of Celia Bowen 2016 Marvelous Designer

Prototyping In this spread I have illustrated the design process behind Celia Bowen’s costume design. My education doesn’t prepare me to be a professional dressmaker, so for prototyping I prefer 3D modelling or just draping. I had already used Modaris Lectra program for 3D prototyping, so for this costume design I wanted to learn how to use Marvelous Designer. In this costume modelling I patterned and modelled character’s jacket and skirt. For the next step I brought Celia’s outfit more structure and the feel of the linen material. Ida-Maria Niikkonen Professional Portfolio

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Sketches of Celia Bowen 2016 Pencil on paper


Celia Bowen costume illustration 2016 Watercolour on paper

Costume illustrations If I have enough time for a final illustration I like to paint the final design using water colours or acrylic paint on large paper. However sometimes digital paintings or just quick sketches can be the best way to catch the right mood. Final costume design illustration of Celia Bowen’s walking outfit is made with water colour on paper. On the right there is a few of the sketches for the Celia’s costume design.

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From left to right: Widget, Poppet, Bailey, Chandresh Lefèivre, Tsukiko and Mme Padva 2016 Watercolour on paper

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Finding and solving the problems In the University of Lapland design process is built around problem solving. Our goal is to see the problems where no one else does, then learn all about it and finally solve it – ultimately the goal is to make everything better. I believe that the design plan is nothing without the ways to express all of the great ideas just like the pretty picture is nothing without the idea and design behind it. In our university, the studies are balanced between academic and design studies, between theory and art.

Barn owl -jacket 2012 Adobe Illustator

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Master’s Thesis

Behind the Mask Connection between the representation of Superhero Costume and the Premise of the Movie 2018 This research concentrates on the connections between both movie costume, nature of character, and movie’s theme and style. The aim of this study is to define how visual forms of costume can be used as a mean to describe the inner world of the character and the premise of the movie. The case of this study is Batman’s superhero costume. I am analysing costumes and their features as codes to give verbal meaning to non-verbal communication. Analysing method is based on representation-based theory and semiotic visual analysis. The result of the research shows that the codes symbolizing the identity of Batman are stable and they haven’t changed between different Batman movie costumes. However, the codes that symbolize the nature of Batman’s character have changed during the movies. The nature of the character is built on his inner values but also on childhood traumas behind the origin of Batman. These codes are based on the theme and style of the movies, so in conclusion the costume, theme and the style are connected. Director’s individual style also naturally factors the visual style of the movie hence the overall mood of the movie. This can also be seen as two-way passage. Batman costume’s visual look is one of the key elements for the movie, so the costuming can stigmatize the whole movie. The modern trend in to show superheroes dark and grim. Movies tend to show viewers how the line between good and evil is not always clear. Batman’s costumes either used identification or distance to show the duality of Batman character. Movies use anthropology’s concepts of identity’s duality to show the meaning of the superhero costume. The visual language of the superhero costume is used as a mean to show the mood of Batman’s mental landscape. Batman costume can be used to show the madness of the character compared to Bruce Wayne’s appearance. Batman is based to contradictory of the two character. All the darkness built inside the Batman only makes the existence of the character more amazing. Batman manages to defeat his inner demons time after time and the costume symbolizes this battle.

Batman’s history

Director’s style

Superhero tradition

Inner contects of the movie

Director’s vision

Movie’s theme

Batman costume

Cultural Contects

Representation of masculinity

Codes

Meaning of the superhero costume

Identity

Meaning behind the costume

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Ida-Maria Niikkonen Professional Portfolio


Functional Clothing

KoskiKara 2016

I have been living here up in the north all my life and sometimes it feels like a constant struggle with the bad and harsh weather. But because of my studies in the University of Lapland, I’ve got special skill set for designing the clothing for the extreme conditions. When designing functional clothing the main purpose for the design is to create clothing that truly fits for its purpose. In outdoor wear and protective clothing outfit must be well fitting, comfortable, functional and warm, but most of all also waterproof and breathable at the same time. When all these properties must be included to one single outfit, good looks can easily be forgotten, and vice versa. Understanding how functional clothing should be build and made is a great help when designing any costuming, but especially when costumes should work and last during the action scenes.

Technical drawings Even though costume illustrations tell the most about the character and their personality, ability to make technical drawings is a great way to define technical solutions and to make communication easier between all the different departments.

Materials Besides studying clothing materials and fabrics and print design, I have concentrated my material studies into technical materials. I also know the basics about using leather and fur materials.

Functional clothing KoskiKara is the name of the rapid paddling outfit, which is designed for kayaking in cold waters and in extreme weather conditions. The design of the outfit imitates the lines of the dipper, so a kayaker would be as sleek and comfortable as a dipper in the rapid. Both Karanko-jacket and the Paroonitrousers work together as a one piece of clothing or as an individual garment. They both have taped seams and new-kind of waterproof zippers, so they are as waterproof as possible.

KoskiKara-outfit 2014 Watercolour on paper and Adobe Photoshop

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Malli, jona kaulus jatkuu hupun takana

Hupun kiristysnyöri (L6) ja kiristyslukko (L7)

Ventilaatio (L2), toimii myös hihansuuna, jos takkia halutaan pitää hihattomana

L6 ja L7

M5 M1

Tarrakiristys (L1)

M4

M2 L3 L2

L2

Kosteuslukon koko muoto, kappale ulottuu vyötärökappaleen alle

M3

L1

M4

Liukueste (L5) ja resori

L5

Muoto, jona kaulus jatkuu hupun takana M1

Hihan ja sauman muoto selkäpuolelta

M2

Hupun sivukuva

Vetoketjukisko (L2) kosteuslukon nurjalla puolella, ja jolla takki integroidaan housukappaleeseen

L4 L1

L1

Nepparikiinnitys (L4), jolla hihat kiinitetään toisiinsa selän taakse, jos ventilaatioita käytetään hihansuina.

M3

M5

M4

L2

Painettu logo

L10

Karanko-jacket Pictures made by using Adobe Illustretor L8

L9

Liukuva henkseleiden korkeussäädin (L8)

Printti painettuna

Tarrakiristys (L1)

L10

Integroitavat henkselit (L9)

L2

M3

L1

M3

M1

Vetoketjukisko (L2), jonka avulla housut integroidaan takkiin

L1

M1

M1

M2 M2

Printti painettuna

Ventilaatio (L2), joka helpottaa pukemista

L2

M3

Tossujen kiristysnyöri (L6)

L6

M3 M6

Parooni-trousers Pictures made by using Adobe Illustretor

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Digital pattern making and sewing In our university we are only taught the basics of pattern making and prototyping. In Lectra Modaris 3D the weight and the quality of the used material can be defined very precisely. You can change position of the model during the fitting, which allows studying the trajectories of the model more easily. Changes for the prototype can be made fast and without any material loss. Final patterns can be printed using Lectra Modaris 2D. Here is the prototyping proces of the Lights-dress from the Stripe Carneval -collection. All the materials, measurements and instructions are easy to find from the production card. In Lectra Modaris you have to be very precise about sewing order so the 3D-model ends up looking anything like intented.

Production card 2014 Adobe Illustration

Patterns of Lights-dress 2014 Lectra Modaris 2D

3D model of Lights-dress 2014 Lectra Modaris 3D

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3D model of Celia Bowens jacket and skirt

2D patterns for jacket and skirt

In Night Circus-project I learned how to use Marvelous 3D -program. I chose to model Celia Bowen’s walking outfit, because I wanted to start with something simple enough. My goal wasn’t to make funcional patterns but something that would work on 3D model. Next step would have been to make clothes look like more authentic with some after effects program.

Circus visitor with Hourglass-jacket and Lights-dress 2014 Acrylic paint on paper

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Artistic vision I have always loved making things with my bare hands. In the University of Lapland I have learned to use my artistic way of thinking as an advantage. I have always had a wild imagination and eagerness to create things by myself, but because of the organized design process there is no need to wait for the inspiration to hit anymore. It isn’t said in vain that genius is one percent of inspiration 99 percent of perspiration. I prefer drawing and painting traditionally with pens and paints but I can make digital art or concretized models from different kind of materials as well.

Illustration for Barn Owl-jacket 2012 Adobe Illustrator

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Shaman candidate 2017 Pencil and watercolour on paper

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Gufihtar 2017 Pencil and Soft Pastels on paper

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Think pink 2017 Watercolour on paper

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Nuuttipukki (Krampus) -placeprint for Surface Design Course 2016 Pencil and Adobe Photoshop

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High Afternoon Teatime 2017 Watercolour on paper

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Understanding users through the society During my studies and projects I have interviewed different user groups as a part of my research process. In my Bachelors thesis I studied what clothing can tell about the status of people and society around them. The clothing norms, both written and unspoken, define our way of acting and status more than we would like to admit. I think that understanding both the consuming habits of people and the way how clothing is connected to our normative sing language is important for the costume designer. I like to think clothing as a skin of human being, as the defining layer. The key element for believable costume design is to understand the nature of the character – the knowledge base about their personal history, society where they belong and the psychology behind their decisions. Next I show you some clothing designs for different user groups. In this portfolio I have concentrated on visual expressions, but all of the designs have wide research and design process behind them in separated portfolios. If interested, I am happy to show you more.

Illustration of Own Life’s Warrior collection’s user 2013 Watercolour and pencil on paper

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Menswear

Own Life’s Warrior 2013 Own Life’s Warrior menswear collection is designed for middle-aged men, who work indoors but who dream of danger and adventures. They want to think that they are ready for anything, even if it’s probably just a subway trip to the grocery store. Models are all functional looking but still camouflaged to fit in everyday life. I interviewed four men between the ages of 16 and 79 for the research. The interviewees were men who lived in cities but close to the nature which brought its own mark to the answers. Interview helped me to concretize the ideas and values they wanted to show through their clothing and what were the things they took notice when choosing their everyday clothing.

Two warriors of their own life 2013 Watercolour and pencil on paper

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Womenswear

Dragonfly 2012 These pictures are about women who have some twinkle in their eye and laughter in their lips. They are the people who remind us of carefree and little bit silly butterflies, but who are still as dangerous as dragonflies. Even if clothes might be seducing and bold the colour palette is borrowed from the warning colours of the wild life. During the summertime clothes must turn from the slow morning coffees to the colourful drinks of the night life just by adding a few accessories – and because insects don’t have time to worry, that kind of light-mindedness and playful attitude is the key of this collection..

Illustrations for Dragonfly collection 2012 Acrylic color on paper

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Trans womenswear

Amhiprion 2015 Amhiprion is a smart casual clothing collection for women but it is especially designed for trans women. The idea behind the collection is about wellbeing and classic shapes with twist and style. These clothes are for all women but they are patterned with keeping in mind the body types of both women and men. User group of the collection is transgender women who work in offices, because supply in that area seemed narrowest. I conducted an interview with a trans woman and a trans man. Interviews gave me some good points about how trans women want to dress themselves and what were the main problems when they were shopping for traditional women’s clothing at the stores. But the most important thing in the interview was to be reminded that at first I was concentrating too much on the word trans. I needed to stop thinking this collection as trans women’s clothing but a womenswear collection. Or perhaps the best label would be unisex, but when thinking of unisex wear all the associations goes to shapeless sacks. In this collection blouses and jackets have enough room for a wider shoulder line, and clocked hems and pleated bodices fit well with body shapers. All the clothes are feminine with floating materials and beautiful lines, but also quite sculptural and modern looking.

Illustrations for the Amhiprion collection 2015 Watercolor and pencil on paper

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Primadonna’s assistant with Seek and hide-dress 2014 Acrylic paint on paper

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Children’s wear

The Stripe Carnival 2014 This collection is inspirited by stripes of circus tents and by lifestyle of circus workers in the 1920’s. I designed this children’s wear collection for primary school girls. The design in all clothes is either loose or flexible, so even though clothes are suitable for a party and a festival, they are also a perfect fit for the playtime. Final years in primary school are the years when winds of teenage years start whispering. World is still full of magic and everyday wonders when you are a third-grader but when you are already thirteen, the silver linings of childhood have started to fade and the grey world of adulthood starts showing its face for the first time through the growing responsibilities. But not just yet! When you can still run and play and scream why not dress up and have a little chitchat with your old and almost lost imaginary friend. Everything is still possible.

Placeprint for Seek and hide-dress 2014 Acrylic paint on paper

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Installation

Kuu/Moon 2014 Kuu/Moon -window display was the final work of the Design Project and Product course in the University of Lapland. It was made as a multicultural and multidisciplinary student co-operation project. Display was built for the Rovaniemi’s Revontuli Shopping Center for the Christmas season 2014. Ilmatar-dress was an individual piece of the Kuu/Moon -window display and it was made with paper by using origami technique. I designed the dress in co-operation with Jonna Panula. Ilmatar-dress was also featured alone after Kuu/Moon -display in the Maker’s Lounge of Rovaniemi Arctic Design week 2015.

Working group: Anri Gorski Mariana Flório Ella Karttunen Riina Kittilä Antonia Koutrouza Ida-Maria Niikkonen Rita Pais Jonna Panula

Photography © Ella Karttunen

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Photography Š Ella Karttunen

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Special Effects

Traineeship at Tolin FX 2017 In autumn 2017 I studied how to make different kind of special effects for the entertainment business and museums. During my traineeship I worked with projects such as TV-series Walking Dead and movies Mulligan (2018) and Haunt (work in progress) alongside professional artists. I learned so many things from how to hold hammer in a right way to how to make a life cast from human body. During traineeship I built pieces of set, made moulds and learned how to mould artefacts from them. Now I also know what differences there are between clays, how to use different kinds of materials in moulding and how to paint them afterwards. I mainly worked at studio, but I also got an opportunity to visit sets of Mulligan and Haunt to see how blood effects work in action.

Zombie-mask was my first try in molding and painting latex.

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Tolin FX got an exciting opportunity to work with the Walking Dead series. Studio ordered a safe replicant of I got to make second set of arrow feather replicants for the Walking Dead series.

Studio had made in the beginning of year 2017 Anzu-dinosaur walk around suit for Carnegie Museum of Natural History. During my trainee ship we made once small repairs to the suit and in the second time we made new feathers with other trainees to replace the broken ones.

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Special Makeup

Sea Urchin 2017

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Sea Urchin was my own personal project I did during my trainee ship at Tolin Fx. My work process included scheduling the work, designing and carrying out the actual piece. My design process started with collecting moodboard pictures to Pinterest, so I could picture out the basic feel of the artwork. I had recently started working with painting series “Bastards of the Poseidon� and I decided to continue in this scenery. In to Pinterest board I also collected pictures of sea urchins and barnacles to use them later as references. For me sketching and drawing are natural ways to think about the design language, but this time I tried to challenge myself and try out a different method. I only made rough sketches which showed how the two piece face prosthetic could be placed on face, but actual design was formed alongside I sculpted the piece out of clay.

Sketches for Sea Urchin face prosthetics Watercolor pencils on paper 2017

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Ida-Maria Niikkonen Professional Portfolio


Savant-savesta muotoillut merivuokot ja rokot.

I sculpted sea urchins and barnacles on top of the old life cast. When sculpting it’s important to start from rough forms and slowly continue to fine details. Otherwise you might notice how perfectly polished details don’t fit in to overall look of the sculpture. I such a sucker for small, defined details and it felt like I run out of time while making them. Luckily, I had made also detailed schedule. It told me when to move on to next phase, so I could finish my piece before my traineeship ended. In making the mould I got help from Jackie Pickens who had specialized to mould making. The main reason for the detailed design of sculpting was that I wanted to make complicated mould, so I could practise how to avoid typical mistakes in mould making in the future. I made the mould from Ultracal so I could make my Sea Urchin face implant from foam latex. I had used foam latex already while I practised making the gun for Mulligan-movie. Foam latex’s benefits come from its cheapness and how well the material adapts to movements of the face. In the other hand many people prefer silicon over the foam latex because it is easier to make and doesn’t require oven. The face prosthetic came out well, but because of unexpected projects I didn’t have time to finish painting my piece and to apply it to someone’s face. But someday soon I’m going to buy the right materials and tools, so I can finish the project on my own.

Ida-Maria Niikkonen Professional Portfolio

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Kivimassasta valmistettu merivuokkomuotti vaahtolateksikasvoaplikantille.

Merivuokkojen värjäystä. merivuokkomuotti vaahtolateksikasvoaplikantille. Kivimassasta valmistettu

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Ida-Maria Niikkonen Professional Portfolio


Sources for Moodboard pictures s. 7: https://www.flickr.com/photos/me_and_my_works/10055174564/lightbox/ http://lavelaundry.tumblr.com/post/22058109036/roses-by-david-sims-forvisionaire-40

http://nuuro.tumblr.com/page/4 Gustav Klimt: Love, 1895. Willem van Aelst: still life

with fish, brad and a nautilus

cup, 1678

http://decor8blog.com/2014/05/26/fading-flower-prints-by-trine-hisdal/

Gustav

Klimt: Music, 1895. http://www.artlimited.net/image/en/209218 https://fi.pinterest.com/source/diyncraftsyou.com

https://fi.pinterest.com/source/signsaboutloveandlife.tumblr.com

Gustav

Klimt:

Tragedy, 1897

Ida-Maria Niikkonen 2016

http://decadediary.tumblr.com/post/11269716887/every-color-is-here-photo-bynick-knight http://moonshineandwool.tumblr.com/ Van Utrecht: Vanitas Still Life with Bouquet and Skull, 1642

http://beachplum.tumblr.com/post/17236764152 Katsottu 28.1.2016

Sivu 12: https://fi.pinterest.com/pin/473792823284805910/ https://fi.pinterest.com/pin/473792823285594878/ https://fi.pinterest.com/pin/473792823285594867/ https://fi.pinterest.com/pin/473792823285594910/ https://fi.pinterest.com/pin/473792823285594924/ https://fi.pinterest.com/pin/473792823284777983/ https://fi.pinterest.com/pin/473792823285594895/ https://fi.pinterest.com/pin/473792823285594873/

Ida-Maria Niikkonen 2015

Ida-Maria Niikkonen Professional Portfolio

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Adriaen


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Ida-Maria Ida-Maria Niikkonen Niikkonen Professional Professional Portfolio Portfolio

Professional portfolio  

Here are some of my M.A. level designs and other projects I have done during my studies at University of Lapland.

Professional portfolio  

Here are some of my M.A. level designs and other projects I have done during my studies at University of Lapland.

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