Today I opened my Etsy shop. I had been thinking about this step for quite a while now. This morning I watched videos on Etsy about become a seller there.
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It was all about how to have financial success as a designer. As my recent projects were very expensive but were not for sale, I thought it might be a good idea to produce a series of products especially for the online store Etsy.
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These products are extremely well priced to compete with the other products on Etsy.
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Following Etsy’s rules means disregarding Nina Levett’s rules: NO SEX is one of their policies. So the products on Etsy will be different. This also expains the price difference between Nina Levett’s products and the products on the Etsy store.
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In the last weeks I was reading about how to blog and how to create online content. I hope that slowly I understand how it is done. It seems that it’s all about great photos, being authentic and also creating a story about the products you sell.
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I will be elaborating on this soon.

Here is the complete link to the Etsy shop of Nina Levett:

Etsy Shop Nina Levett : :  About Page Etsy Shop Nina Levett : :  First Item

Etsy Shop Nina Levett : :  First Item

New Tableware by Nina Levett
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I will be opening a small shop in Vienna this autumn, therefore I want to proceed with the production of products in the next two months. The main focus of the shop will be on handprinted textiles but there will also be tableware and wallpapers.
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In the last days I made some new tableware. The themes are the same as always: a doll-like woman, at the same time whore, wreck, princess, doll and supermodel (is or wants to be). She eats too much. She eats too little. She feels she should be like this or like this.
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These photos show the work in progress of the making of the porcelain plates. The yellow stickers on the plate are the silkscreen prints that will be heated in the kiln. I work with especially high temperatures. Normally the silkscreen colour is burned at 700 degrees Celsius. I double that heat (going as far as 1250) so that the colour sinks into the plates. I can put up to 6 plates in the kiln each day. The burning takes about 24 hours. The placement of the foils takes up to two hours per plate. Each plate is different.
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This time the plates will be blue (THE classic colour for tableware). I am curious to read your comments,…. cheap isabel marant shoes

Today in the morning I cleaned out everything to be able to work well with Nora and Tamara. It was the first day of their one-month internship.
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It worked really well. We discussed their talents and hobbies and tried to make them fit into the studio’s next projects. Nora and Tamara collected inspirations from magazines and books. They each made a personal notebook that they can keep for future projects.
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Nora has an education in product design with special focus on metal. She is now continuing her education and is doing a course in interior design and product design. I thought it would be great to ask her to work on the special Nina Levett packaging, that we will be using for the shop. She will be producing the embossing tool for the packaging.
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Tamara has just finished her degree in textile design and will proceed with a bachelor degree in London this autumn. Her talents are in the field of printmaking and ornament design. We will be printing loads of fabrics together!
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I will be showing more of the results of this cooperation in the next days. For now I can show you the state of the studio at the beginning of this internship month.
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Nina Levett Studio :: This is what it looks like today

Tomorrow two girls are starting to work for me. They will be working in the studio for about a month. So at night time I thought about how to organize their duties for them. I came up with the idea to design little notes that they can pick out of a box and where their work exercises are written.
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First I thought of the origami stars that I had seen on I found a video on Youtube, about making the origami stars. But when I tried to make an origami star, I saw that it wouldn’t open up. So I looked for something better to use instead.
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I found a guide how to make little origami notes and a video on Youtube that explained how to make a very simple origami star box. I then organized the work duties and designed little envelopes. All that was missing was a little box where to place the envelopes.
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I then designed the patterns for the box.
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Here you can download the patterns for the box.
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I hope you enjoy making it!

Enjoy the making of the box! Origami


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This is the complete text for the preface:

Here I am writing the preface for a book the first time. Probably you all know what it feels like to do things for the first time. It feels quite awkward. Especially for me – tending to be very strict against myself.
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I decided when I found out I should be doing this, to tell you the story of how I got to do this.
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One day I received an email from Artpower – the editor – of this series of books asking me to send some work of mine about typography design. The first thought I had when I received this was: o god- me? This is something that completely misses out on what I do. I create ornaments. I do illustrations. Why the hell is it me who is asked to accomplish such a task?

On thinking about it I decided to filter my work and see where typography had played a role and indeed I found out that typography is important in my work. It has always been. I have always been into illustration and also have been interested in thinking about objects in a different way. How to change the meaning of everyday objects by giving them a strange title.
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Or thinking of a strange title and then inventing a new shape for an object to fit the title. So in this way words came into the game. And still: my designs don’t work if the titles are not understood.

I developed my illustration skills and discovered ornaments because this most flattered my interests and my style. In this way I had the chance to put my titels and the words that suited the objects right onto them so that the customer would understand the context just by looking at the objects.

I must admit that being a very “flow” type of person my illustration style has always been more or less the way it is now. It’s like a machine: you sit down and turn on. I sit with the pen in the hand and with an objective or aim and I just “DO”. It’s like being turned off or on.

So my illustration skill just went into the typography style. I drew words as though I was drawing ornaments only that my handwriting style also came into this a bit.

My whole way of approaching type is spontaneous and fluid and not very “high tech”. So when I think of myself I ould say I am definitely very far from being an expert in typography. Yet here I am trying to write a preface to a book where (number of designers) and I have participated due to the call by Artpower.

Anyway first I would like to talk a little bit about how I work currently in respect to typography design and then I would like to shortly reflect upon wht I see others are doing in this book.

It took me ages to find out I was interested in patterns and ornaments. How I found out?

I had always drawn peope and things without backgrounds. They were always on white.
When I started to illustrate as a profession I researched into others people’s works and saw that I was most inspired by styles that would “flatter” my own style of drawing. The more I got into this research the more I knew I was attracted by old ornaments: roses, colourful kimonos, etc. I now think that there are shapes that attract the eye in a way we cannot resist. Beauty draws people in and to some becomes something like a physical need.

I think what is essentialy so interesting about typography is that it makes obvious what otherwise is not obvious: that we as designers can make a difference to the world with “little effort”. Just by applying an idea or a creative spark (something that is very cheap – and already present in our minds) to something as simple as lettering or type we make visible that things don’t necessarily have to be the way they are.

Letters are symbols that we are confronted with and made to “learn by heart” since our early childhood. When we are young we are taught the exact way to shape letters. We are taught where the pen has to go when you start each letter and where it has to finish. We are taught to practise this and to repeat the right way over and over again. In our school years writing nicely and as to a standard confirmation of rules is a way to show that we adhere to the rules. The neatness of writing becomes a way to show our effort and how much we strive to obey. To show that we care.
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Later in life some of us become designers perhaps because we were very good at writing neatly or drawing perfect symbols/letters/codes/meanings or maybe because we rebelled against this conformity but surely because in us there was a special spark creating ideas about how to do things differently.

What fascinates me most when I flip throught the pages of this book is that typography design is another way to demonstrate that design is about changing perspective. And when changing perspective leads to changed action essentially we can feel that with everything we do we change the world.

The world is created as a result of individual actions. Small change leads to big change.

Examples in the book go well beyond what is traditionally thought as typography design, i.e. the shaping of letters. This book aims to bring them together to create broader levels of understanding of how small changes can influence our perception.

This book should lead to evaluation, inquiry and discussion of the concept of typography design. It is a place to bring examples of completely new perspectives. We strongly encourage that you interact with the content of the book, as the publishers do not intend to tell you what typography design is, rather create a space for discussion. And a possibility to make a change. Continue reading “Nina Levett wrote the Preface for the book New Typography” »