Blue print codes versus copies

Blue print codes versus copies

Michala Lipková

Seven undergraduates‘ projects illustrate the different approaches to the same theme, i.e., blue print. Alena Krčová has gone for the geometrical hexaflexagon structure in her innovative project – the Lantern lamp. She has applied minimalistic patterns on indigo dyed cloths with printed decorations which she has done in the context of the present-day technology.

Tatiana Turňová has drawn her inspiration from the blue print in her product FolkBag, a ladies‘ felt handbag, where she uses blue print for lining rather than showing it on the outside. Nikoleta Čeligová has applied the pattern originally taken from a textile to her seating furniture Indigo.

Radka Ščepánková, in her collection of jewels called Materialised Blue Print, interprets a specific blue print pattern. The geometrical structure of the jewel refers to the original regular patterning of textiles.

The simple garnment Repeat the Blueprint Past by Petra Huraiová is made of a combination of the original blue print textile and the white cotton knitware. The author was inspired by the folding of traditional pleated skirts in folk costumes.

Ján Jánoš interprets the blue print topic in a work bordering between applied art and object. The work deals with the topic of one’s own expression of opinion. The project works with blue print blocks as objects intended for repeated imprinting.

Jana Spišáková links the cultures of two countries with her design of postal stamps in transparent layers: the country where the consignment originated from and the one it aims for. To illustrate this concept, the author has chosen a blue print pattern from eastern Slovakia which she confronts with the decoration of a traditional Norwegian garnment.