Tintin Lindkvist Nielsen (She/Her)
With colours and characters, I like to create worlds that look like ours whilst also being different. A lot of my work is connected to feelings. I work cross-disciplinary within the field of visual communication and storytelling. I spend my time creating short animations, bright gouache paintings, inky and loose drawings in blue, and sets and props for stop motion films.
Lollipop Tuesday
In the children’s book, Lollipop Tuesday, the main character, who is the owner of a corner shop, deals with feelings such as not feeling good enough. The book concludes with the protagonist realising that it is okay to ask for help and to remember to be kind to yourself. The book is also encouraging everyone’s feelings and highlights that it is okay to feel a lot and that we are all coping with things differently. The illustrations are hand-painted using acrylic gouache and edited with the digital software procreate.
Sanguine
Sanguine is a playful, hypothetical lemonade brand that celebrates the origins of its natural ingredients. Basing the brand in Murcia, Spain, we have drawn on the research of the area to connect the product with local narratives that adds character. The storyline of the animation aims to highlight the use of real fruit juice as a way to communicate the honest values of the brand. Working with Abigail Allen, this project has involved packaging design, art direction, product photography, and campaign creation for Sanguine to be promoted in-store and across digital channels.
Project Links
fifty ways to wank
Agnes Boman and I were commissioned by the poet Hollie McNish to make an animation for her poem fifty ways to wank, presented in her book titled Slug: and other things I’ve been told to hate.
This animation was used as a promotional video in connection with the release of Hollie McNish’s new book.
The poem is a celebration of female masturbation: aiming to remove the stigma surrounding the topic.
This animation was digitally hand-drawn frame by frame. Me and Agnes Boman worked carefully to merge our illustration styles together to make the scenes we animated blend well after one another. We decided on a mostly black and white colour palette to make our sparing use of colour stand out and hold focus.
