The identity for the Kolla! 2014 uses the Svenska Tecknare identity as a foundation. The theme for this year was ”Courage and Mistakes” which inspired us to create a layer where information got ”corrected”.
The strategic visual concept for Kolla!, the largest annual competition for Swedish graphic designers and illustrators, is to express a clear and integrated link to the Svenska Tecknare identity but at the same time function as a space for play and fun. The solution was to create a theme for every year which infused a curatorial and editorial approach as well as visual. This year´s theme is ”Navigate in a Professional Practice”.
Architectural firm founded by Oscar Sten and Christian Elinder that emphasizes collaboration and dialouge with client rather than a traditional linear architectural working process. ES wants to emphasise personal engagement, warmth and problemsolving, whithout the prestige. We created a solid straight forward identity accompanied with a set of images which could trigger ideas and creativity for everyone involved.
The identity for Svenska Tecknare, the association of Swedish Illustrators and Graphic Designers is derived from a quote by Paul Klee: ”A line is a dot that went for a walk”.
We designed a book for our friend Loove Broms. Story forming - Experiments in creating discursive engagements between people, things and environments.
In the late 1950’s, Marcel Duchamp became an important figure of the art scene that was evolving around Moderna Museet at this time. Pontus Hultén, Ulf Linde and soon also artists such as Per Olov Ultvedt and Carl Fredrik Reuterswärd were interested in the poetry of Duchamp’s works and saw the potential of his rich artistic universe.
This exhibition shows replicas of Duchamp’s works which have never been shown before, aswell as Linde’s geometrical studies of Marcel Duchamp – studies which have gone on for more than half a century.
In 1992 Anders Färdig founded Design House Stockholm The company have distinguished themselves as a publisher of design rather than a conventional producer, working in the same way with designers that publishing houses work with authors.
Together with DHS´s Art Director Erik Wäppling, we were asked to develop and rebrand their identity to clarify basic communication requirements aswell as revealing the story and intrinsic values of Design House Stockholm.
The identity for the Nordic Folk High School on Biskops Arnö on the countryside of north east of Stockholm is derived on its long and fascinating history with listed buildings dating from both the Middle Ages and the 17th and 18th Centuries. The 14th Century Gothic vaults are a must for every visitor to Biskops Arnö. The logotype and identity stems from the idea to create a contemporary “initial letter” inspired by medieval manuscripts.
Building Blocks is a result of a collaboration between an architect and a client, but in this case the clients are children between 5 and 16 years old.
Building Blocks is an exhibition that places children and their ideas at the centre of a new architecture – to challenge common assumptions and inspire new ways of thinking.
Children between the ages of 6 and 16 have been invited to take on the role of a client and commission a building. The results are presented in this exhibition in Färgfabriken’s main hall as large buildings to be explored by the audience.
The first exhibition was shown i Stockholm 2010 followed by an Oslo sequal version which engaged norwegian architects and children,
Building Blocks was initiated by Färgfabriken and Medium. (Jake Ford, Lisa Olausson & Martin Frostner)
Randi Fisher was one of the participating artists of groundbreaking exhibition of Swedish modernism “Young Art” in Stockholm in 1947, which in art history described as “the men of 1947.” However, the exhibition was also attended by the female artist Randi Fisher, who came to play a significant role in the Swedish art world.
Norrköpings konstmuseum asked us to design the catalouge for the Randi Fisher exhibition which rediscovers for the first time her work in all its rich breadth – painting, public installations, book covers, glass paintings, posters, stage design and self-portraits.
The first Afroart shop opened already in 1967 by Jytte Bonnier but is now runned by six textile designers and former classmates from Konstfack. Afroart’s business idea is to seek partnerships with crafts people in the Third World and actively work as designers to develop already existing as well as new products. We were asked to create an identity and a design strategy to capture Afroart’s personality and their fair-trade design & crafts culture. The identity echoes the original letterforms of the logotype from 1967 made by the swedish artist Elis Eriksson and included advertisements, labels, bags, invites, promotional material and signage.
Illustration: James Graham
Per B Sundberg’s work have been influential force in expanding the notion of Swedish crafts. The exhibition catalouge includes new work but also summarizes the recent development of his studio. In close collaboration together with graphic designer Lisa Olausson, photographer Märta Thisner and Per himself we decided to highlight the fantastic athmosphere of Per’s studio space to accompany product images by Märta Thisner.
Together with Lisa Olausson
The Tumult exhibition in began when the form historian Christina Zetterlund, went through the Röhsska Museum collection in Gothenburg. The collections, which range from the 1600´s to today with an emphasis on Nordic 1900´s style. She encountered crafts from 60–and 70´s which where discussing contemporary, politically challenging, left rhetoric issues and the idea was born to see if there is a link to today´s discussion on contemporary art and the decorative benefits. The found historic material were juztaposed with a site-specific work by the contemporary craft group We work in a fragile material. We tried to bring these two strands into a graphic language and spacial identity.
We were asked to design a book documenting two different exhibitions, One Day One Day / Une exposition à Marseille by the artist Carsten Höller. Together with Carsten Höller we decided to design a book with two front covers accompanied by a custom made font inspired by the optical illusion created by the astrophysicist Johann Karl Friedrich Zöllner.
Together with Johanna Lewengard
The Iaspis forum on design and critical practice has comprised an exhibition, an international seminar and now a publication on investigative, speculative and critically oriented design. The Reader is based on four conversations between graphic designers about various aspects of design relating to their practices. It also contains a number of interviews and other texts linked to these conversations, and a broader discussion about design and transboundary practice.
Together with Jonas Williamsson