#lidel

[thefugitivesaint]

René Gruau (1909-2004), ''Lidel'', Vol. 12, #9, Sept. 15, 1931

[kvitasinelibris]

[lostchildonaisle3]

a break from cod stuff cause I love these two so much y’all

[donuts-multifandom-hellhole]

If I don't start seeing Li Mei x Sindel content I am gonna go crazy because they mad fruity bruh

[thefugitivesaint]

Bambola Lenci (Lenci doll), ''Lidel'', Vol. 9, #12, Dec. 15, 1927 "Elena König was born in Turin in 1886. When she was 14 years old she did what so many children dreamed of and ran off to join the circus. She returned home after a few months and later studied art and photography. In 1915, she married Enrico Scavini and moved with him to Italy. After the loss of her first child, Elena began creating dolls, using readily available felt and working with her brother to create special molds. In 1919, the Lenci factory was established. "Lenci" is thought to be an acronym from the Latin motto "Ludus Est Nobis Constanter Industria" (Play is our constant work), although some biographers state that it is also based on Elena’s German nickname.  The company's artistic felt dolls, typically dressed in beautifully tailored outfits of felt and organdy, became very popular and were widely copied by companies throughout Europe.  In 1928, Lenci also began a ceramics factory renowned for its stylized figurines.  The company created everything from small souvenir dolls and mascots to high-end play dolls to decorative boudoir ladies." (source)

[thefugitivesaint]

René Gruau (1909-2004), ''Lidel'', Vol. 12, #9, Sept. 15, 1931

[kvitasinelibris]

[kaaatearnooold]

Blog Prompt 4 - Photomontage

Symbolism and Intent!

My photomontage blends both personal symbolism and DADA principles, creating a dialogue between structured identity presentation and artistic disruption. My collage centers around a white cereal bowl from my Identity photograph, "Dinner", that I cut the middle out of to act as a frame for polaroids from my Identity photograph "Division of Time". These polaroids capture moments with my friends, family, and my boyfriend, commenting on how we "consume" and compartmentalize memories in this digital age. The bowl is surrounded by blue, pink, and purple hydrangeas (sourced online from Plant Addicts), representing more than the obvious symbolism of femininity along with blooming flowers as coming of age or coming to terms with identity and confidence. More personally, it is my favorite flower and references a scene from my all time favorite movie, It's a Wonderful Life. Like DADA artists' combination of different media forms, I integrated Italian, 1920's era fashion magazine illustrations from "Lidel" and a seashell closeup as the very background component from Getty images (credit: cheekylorns). In short, the seashell represents the beauty of naturality and the reoccurring, grounding presence of the beach in my life, fashion illustrations representing professional aspirations (product management within social or fashion communication/advertisement), and polaroids serving as "bite sized" contextual representation of self.

Design Process!

I created the photomontage in photoshop on 8x10 in dimensions and 300 DPI, sourcing images from my own Identity photographs, and online from cited locations. I removed all of my image's backgrounds to aid in cohesion, and allow for the seashell image in the background to create unity. I placed these in the document, cut out the middle of the cereal bowl with the lasso tool, and began rearranging the components. Once I did this, I added an oil paint filter to the hydrangeas, increased the saturation and vibrancy, and blended the fashion cut-outs and hydrangeas with a 3D magenta layer. The very background seashell component uses a "normal map" 3D layer that almost inverted the color/matched with all the purples and blues. I wanted to put the bowl right on top of the model silhouette's skirt portion of her dress.