å.

åse vikse

i am åse, an illustrator/designer based in aberdeen, scotland, originally from the western coast of norway.

i currently study communication design at robert gordon university, and find great joy in printmaking in particular.

please have a browse through my portfolio, and feel free to get in touch for any enquiries.

 
 
 

illustration

reductive linocut.
the first exhibition i went to see in aberdeen, just a week after i had moved here, was the short course student's show at gray's school of art. i hadn't plan to sign up for their printmaking course, but in retrospect i think it's one of the best coincidences that ever happened to me.

i found the love for printmaking, and can easily see myself doing that 24/7 now (or at least 7,5/5).
this print was the main project for the second part of the course.
5 weeks = 5 layers = a lot of cutting!
the motif is my red cabin up in the norwegian mountains on a snowy winters day.

reductive linocut.
i continued from the foundation course of printmaking on to the intermediate and decided to make a linoprint again for my second main project. this one does not contain so many layers as the previous, but a much more intricate pattern required a solid amount of precise and detailed cutting. the motif is from an old photo showing herring fishing in norway in the 1930's. i immediately fell for the dynamic in the image, where you can almost hear the men shouting at each other and the net being dragged up while the herring desperately tryes to get away.

i thought the composition was good for a linoprint, and i didn't want to interfear with adding more colour, so this is in black and grey only.

screenprint.
i had never tried screenprinting before i made this piece in a project at uni. the motif is from a sketch i made while sitting in 'hatch' in belmont street, looking out on aberdeen's granite buildings and roofs. the inspiration for making this into a repeating pattern was wallpapers with small houses with black roofs repeating and making a lovely pattern (one in particular was very popular in norway some years back). it's printed on cotton and i made it into a wall hanging piece by attaching it to a wooden stick.

linocut.

this was made as a front cover for a zine in a project to show what i had gone through and learned during the first semester. i chose to make a composition of handwritten words who each describe a motion, feeling, thought and note to describe –and remember as– a student.

reductive linocut.
i find the dandelions both beautiful and fascinating when they turn into these balls of cottony fluff. they're so fragile, and barely a touch is what it takes to make an explosion of small parachutes that blows into the air. it was this explosion i wanted to capture in this reductive lino, made up by two layers – one is a combination of grey and silver and the second a combination of blue and turquois. the colours makes the impression of a warm summer's night with the reflections of the moonlight, so the title simply became 'summer night'.


 

linocut, illustrated letters.
this was a project for my first semester as a third year comm des student. i wanted to combine typography and illustrations in one project, and found that illustrated letters might be the perfect outcome of this very combination. it was while researching common birds i found that the common denominator for nearly all of them was the name 'linneaus'. the swedish botanist carl linneaus or carl von linné made the binomial nomenclature 'systema naturae' in 1735, and i decided to base my illustrations connected to each letter based on his listed species. each letter is paired with a bird and a tree from his system. the three of them all share the same letter, pointing to the specific specie's name (not the genus name).

 

reductive linocut.

i read an article about the photographer severin malmin who was one of the first hobby photographers in haugesund (the town closest to where i grew up. there was one particular photo, taken around 1905-1910 that i could not get out of my head, and so i desided to base this four layer reductive lino on it. it depicts the harbour or 'sound' in haugesund called 'smedasundet', on a typical busy day, where the boats are eager to either load their cargo off or go out fishing. probably fishing for herring which was the main income and 'profession' many of the men in those day would label themselves with. i've titled it 'gamle haugesund' - 'old haugesund'.

reductive linocut.

for my husband's birthday i wanted to make something especially for him, something he could relate to, something that could tell something about him or his background. when i found an old photo depicting a typical scene from coastal norway, i knew i had found my motif. my husband grew up on an island in western norway and comes from a family of fishermen. it's also a motif depicting friends, it may even be childhood friends. people you have shared hopes and dreams with, but also disappointments and failures with. people who you might not see very often, but you know are there for you. here together in a boat called 'brilliant'.

linocut in three layers.

graphic design

logo made for the children's character 'trollala',

created by beate helen thunes and stig van eijk.

a great opportunity to use two different types of handwritten and playful fonts.

the logo is used on a cd-cover which i also made the background illustrations for, and various merch. trollala himself has –although still small– grown to be quite a wellknown caracter in the city bergen, norway.

www.trollala.no/en/

cd-cover made for beate helen thunes' single 'for real'.

beate wanted to time the release of the single paralelle to the bearth of her baby. when she suddenly went into labour, that meant i had to work fast!

the outcome was this -a beautiful peaceful moment captured by stig van eijk, combined with the title written by hand like an ornament, and the singer's name in a not-in-line bohemian style- and of course baby julian.

this was the first uni project i had as a communication design student. the brief was to make a logo for a creative corner in aberdeen, namely belmont street. my solution for this was to use the actual map of belmont street and its surrounding areas, because it kind of makes up the letter b. the petrol coloured b together with a lighter blue arrow that points in the direction of the art gallery makes up the main logo for the area. the same b but with a green arrow can be used when there are special happenings in the street -farmers market, christmas market or an open night event.

i also made an interactive version that is to be used on their website and on interactive billboards for the public to navigate around in the streets. my aim was also to create a greener belmont, to plant trees, make it more desirable for pedestrians to sit down or chill out and simply claim the street.

another uni project was this branding brief. what would the product look like if a given brand was to design a (random) given product. my given brand was the japanese consumer goods company muji, often reffered to as the 'brandless company' who designs by the philosophy: 'this will do!' rather than 'this is what i really want'. the product was fittingly enough cat litter. i can say fittingly because i've had cats almost all my life, so i´m reasonable familiar with this product. the outcome as you can see -a simple white paper packaging for the litter, in line with the rest of muji's design. tear off the lid, either pour it into you preferred litter box, place it into the muji cat litter box or simply place it on the floor (and the cat knows what to do). the packaging is in natural sustainable material, so it can easily be recycled.

redesign.

karin wanted a new logo for her cake baking business, but wanted to keep some similarities from her old logo. she wanted to keep elements like the cake napkin, the neutral colours, the italic font, but obviously the logo needed a fresher look. i combined my own handwriting with helvetica neue which made a good dynamic between the serious and the playful. the brown surrounding frame is still present but has become much darker, and the pistachio green has been changed to a more contemporary light turquoise. also added is 'karin' which makes it much more personal and creates that home-baked assosiation.

the å.
this was a part of the project called 'brand me'.

in fact everything you are looking at now (the website that is) was part of this first project in the second semester of second stage at communication design in gray's school of art. i decided to only use the 'å' and add a period, since this is my initial, i have an unusual name (in the uk at least), and the å as an element alone can be quite curious –it seems that using scandinavian letters in english words has become quite popular, although they to us scandis will make out totally different words (such as mønster). while sketching i noticed that the negative shapes made a really nice and interesting pattern, it could stand alone and still be visible as an å. i used my 'go-to' font helvetica neue which made up the best visual effect with this tecnique, and altered the shapes slightly.
i've used a red colour, although i'm not at all a 'red person', but when i visualise both the å and the name åse -well red is what comes to my mind. i decided to go with this strong colour.
the shapes might also give assosiations to marimekko patterns and in particular those of sanna annukka, and can even look a bit like a stylised tree. that of course suits the scandinavian nature lover who's name is åse.

book cover.
i entered penguin random house' student design award for 2018 with this book cover for george orwell's animal farm. i wanted it to show the plan or ideology that initially was good, but further on the line went into disrepair – represented by the picket fences that does exactly that. i also included two rows of tallies, which is pointing towards the feeling of prisonry the animals may have felt. george orwell is written in italic baskerville, and i wanted a font that could loosen the very pesimistic look a bit up and be more of a decorative element. the background has got a pig's flesh pink colour.

packaging.
in D&AD's design competition, one of the briefs asked us to reinvent a classic game. it could be a board game, activity game, or a card game – so i chose to reinvent my favourite card game 'shithead with fiji rules', and gave it the name 'BULA!' –the word for greatings in fiji.
i wanted the design to give you the feeling of a tropical island, mile-long beaches and crystle clear water, the colours of the flowers, sun and the colourful people living there. the package itself is 8cm broad times 11cm long, has playing cards inside and five small pieces with letters that makes up the name BULA! they're there to be handed out to the losers, and whoever gets the most letters in the end is the loser.

editorial design.
one of three projects in our first semester of third year in com des, i chose to design an article for an interior magazine, featuring my own interior.

we had spent almost the whole summer refurbishing our new home in aberdeen, and with a lot of scandinavian influences, it was only natural to call the article 'ScanDeen

-a Scandinavian make-over in the granite city'. i based the design on norwegian interior/lifestyle magazine 'nytt rom' (new room), and the article consists of five spreads, penned by me.

it features not only my interest for interior design, but also my love for patterns, colours and vintage furnitures –mainly mid century modern.

 

photography

photos shot with both iphone and nikon cameras

 

contact

i'm located in aberdeen, scotland and currently a student at
gray's school of art, robert gordon university
where i'm studying communication design.

follow me on instagram @asevikse