From Flat Sheet to 3D Art
Paper, we use it daily in one way
or another; to scribble and draw on, to feed our printers or simply just to
read off. But this material is capable of a lot more. This is where paper
engineers like Lydia Shirreff come into their own.
"I guess I got a bit
bored of seeing flat things on walls," she says about her beginnings
in the design world. And luckily so, considering her already impressive, still
constantly expanding, client list - ranging from Tatler, Vogue, Grazia and Elle
magazines to De Beers, Harrods and Lush in the retail world.
Considering this, the
possibilities for paper art seem endless. Whether it's set design for a photo
shoot, stop motion animation for a website or seasonal gift packaging,
intricate, hand-made, three-dimensional paper design is the advertising
approach brands opt for in order to stand out to bring a touch of traditional
craft back into a predominantly digital industry.
It's the combination of
approaching a traditional medium with modern techniques and being inspired by
sculptural work of the likes of Jeffrey Koons that makes Lydia 's
self-taught craft exciting to look at.
A love for shapes, patterns,
textures, and an unconventional approach to design, results in her permanently
exploring the limits of working with paper.
"I usually start from a
sketch, and don't really plan that well, it's more trial and error,"
she admits, as she sits surrounded by the beautiful results of her apparently
uncoordinated work method.
For Lydia ,
as for every artist, bouncing ideas off someone else is essential. It therefore
comes as no surprise that she often collaborates with photographers and is also
part of Sope Studio, a design collective consisting of five young creative,
each with a different skill set ranging from textile design, illustration and
print to up-cycled product design.
http://www.huffingtonpost.com/cranetv/from-flat-sheet-to-3d-art_b_5952442.html
Direct Sentence :
1. "I guess I got a bit bored of seeing flat things on wall". she says about her beginnings in the design world.
2. "I usually start from a
sketch, and don't really plan that well, it's more trial and error," she
admits, as she sits surrounded by the beautiful results of her apparently uncoordinated
work method.


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