9789185689224

NORDIC GRAPHIC DESIGNERS

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ARVINIUS FÖRLAG

NORDIC GRAPHIC DESIGNERS Editors: Frida Brismar Pålsson, Lotten Skeppstedt, Stina Sjöwall Art direction: Sandra Praun, Designstudio S Graphic design: Simon Renström ISBN 978-91-85689-22-4 © 2011 Arvinius Förlag. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, digital, photographic or mechanical or otherwise without the prior written permission of Arvinius Förlag.

Arvinius Förlag AB Box 6040, SE-102 31 Stockholm, Sweden Tel +46 8 32 00 15 / Fax +46 8 32 00 95 E-mail: info@arvinius.se www.arvinius.se

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NORDIC GRAPHIC DESIGNERS 3

contents

INTRODUCTION.......................................................................6

ESSEN INTERNATIONAL.......................................................112

KARI PIIPPO..........................................................................216

SAK DESIGN.........................................................................326

ACNE ART DEPARTMENT..........................................................8

FASETT.................................................................................116

KARL-MAGNUS BOSKE / HFDP.............................................224

SAKU HEINÄNEN.................................................................330

AIMO KATAJAMÄKI................................................................12

FORMGIVARE ANNA LARSSON............................................120

KATE.....................................................................................230

SCANDINAVIAN DESIGN GROUP.........................................334

ALL THE WAY TO PARIS..........................................................16

FRANKENSTEIN....................................................................124

KURPPA HOSK......................................................................234

SIMON RENSTRÖM & EREK STRÖMBERG...........................340

ANTI.......................................................................................20

GABOR PALOTAI DESIGN......................................................128

KVORNING DESIGN & COMMUNICATION.............................238

Stargate Designbureau.................................................346

ATELJÉ ALTMANN..................................................................28

HAHMO................................................................................136

LAURA SUURONEN..............................................................242

STHLMWHITE / SOFIA GRANDINSON RATZ..........................350

BADDY...................................................................................34

HALTE N BAN KE N.................................................................140

LUIGA DESIGN.....................................................................246

STOCKHOLM DESIGN LAB....................................................354

BLEED....................................................................................38

HANDVERK..........................................................................146

MARKUS MOSTRÖM DESIGN...............................................254

TANGRAM DESIGN...............................................................360

BOND.....................................................................................46

HAPPY F&B...........................................................................152

MATTIAS BRODÉN................................................................262

WHATWE DO......................................................................366

BVD........................................................................................52

HENRIK NYGREN DESIGN....................................................158

MELKEVEIEN DESIGNKONTOR..............................................266

INDEX.................................................................................370

CANDY GRAPHICS..................................................................58

HEYDAYS.............................................................................166

MUOTOHIOMO....................................................................272

PHOTO CREDITS...................................................................382

CAROUSCHKA.......................................................................62

HIEKKA GRAPHICS...............................................................170

NEUE DESIGN STUDIO.........................................................280

CHARLOTTE HANSSON DESIGN.............................................66

HJÄRTA SMÄRTA..................................................................174

NEWBOX.............................................................................286

CJH DESIGN...........................................................................70

HVASS&HAN N I BAL............................................................178

NR2154................................................................................290

CRAFT BY LENE......................................................................78

J.DESIGN............................................................................182

OHLSONSMITH....................................................................294

DESIGNSTUDIO S / SANDRA PRAUN.......................................82

JACOB RAVN DESIGN STUDIO.............................................186

PANGEA DESIGN / EDENSPIEKERMANN ALLIANCE...............300

DOG DESIGN...........................................................................90

JVD......................................................................................194

PATRIC LEO / LEO FORM.......................................................304

DOLHEM DESIGN....................................................................94

JESPER SKOOG DESIGN......................................................200

PATTERN BAKERY.................................................................308

ELISABETH BJÖRKBOM........................................................100

JOBBAJOBBA DESIGN.........................................................204

PLANETA DESIGN.................................................................312

ENZO FINGER DESIGN..........................................................106

JÖRGEN NORDQVIST...........................................................212

RODRIGO GUTIERREZ BENAVENTE......................................318

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introduction

can never be called environmentally friendly. Sustainability in style is generally a recipe for monotony and tediousness.

ration for the simple reason that he is not interested in the cause of the creative spark, but only in its effect.

How important is horizon scanning in your graphic work, and how do you go about it?

How are artistic aspects balanced against commercial and functional requirements among your clients? Are there any new tendencies?

Designers agree, virtually without exception, that knowledge in the widest sense of the word is of the utmost importance because it acts as the foundation of the path to good design solutions. Above-average curiosity is therefore regarded as essential. Psychology considers knowledge gained through experience to be a source of creativity.

Not specialist knowledge of a few fields, but general knowledge of virtually everything.

In a global perspective, would you say that trends in graphic design have grown more idiosyncratic or more uniform?

Sixty-nine designers or design groups from Norway, Sweden, Finland and Denmark have contributed to one sizeable book. No more than a modest selection because otherwise this publication would be much weightier. But it is still a selection that gives a clear and representative picture of the field in which both the individual designers and the design groups work. All participants have been asked to answer eight questions.

This idea, and the realisation of it, gives an interesting insight into the thinking behind the themes of these questions.

When writing this foreword, I have used these questions as a guide. I have attempted to briefly summarise the answers and have added my own personal observations.

Describe your vision of graphic design in one sentence.

If the question had been “give five examples of your vision of graphic design”, the answers might have been consistent.

As it is, the participants give conflicting replies, whereas their work shows that they are basically in agreement.

Is there a Nordic or national identity in your graphic design? If so, what does it consist of?

Many designers gave uniform answers in the sense that they often used the same keywords to illustrate their preferences or to indicate the characteristics they identify 6

in their own work or in that of colleagues, i.e. serious, down to earth, simplicity, purity, functionality, less is more, uncluttered, undecorated, form and function, etc. Only a few denied that such a style exists.

The question is, however, more than justified because there has indeed been mention of a Scandinavian style. But that style was not as Scandinavian as was the style of early modernists like Paul Rand, Armin Hofmann, Josef MüllerBrockmann and other contemporaries and fellow designers who achieved recognition, particularly in the US. It was a style that was adopted by the generation of Scandinavian – particularly Swedish – designers during World War II and the subsequent 1950s. Clarity and functionalism seemed like a welcome homecoming to them. The strong identification with that movement was one of the main reasons why those ideas took deep root and shaped graphic design in Scandinavia for decades.

How much consideration do you pay to sustainability in the design process?

This question can be interpreted in two ways. It may refer to sustainability in design, by which is meant the opposite of the fashionable and the transitory. Alternatively, it may refer to the choices that the designer makes regarding production methods and materials.

Both interpretations were used, but without reference to the contradictory dilemma. Printed matter as we know it

Unsurprisingly, both points are considered valid. It is not unusual for designers to pretend to a personal concept or style, but the visibility of this in their work is minimal and seldom prominent.

There seems to be a trend towards uniformity in large parts of the world. Adobe has captured the market, and is the only software provider offering the tools the graphic designer needs. What can be done with the Adobe tools – and in particular what cannot be done – make that uniformity universal. Escaping it is becoming increasingly difficult because the design schools have accepted Adobe’s dominance.

Tenacity, self-assurance and authority will be required for a personal and distinctive style to emerge.

What are the factors that influence your creativity and artistic integrity?

It is striking that the answers generally differed widely and showed only sporadic unanimity. That diversity makes it clear that creativity is a baffling phenomenon that remains cloaked in mystery even to the creative.

Designers are always curious to know how their heroes in the same field operate. The heroes themselves, on the other hand, are less interested in what affects their colleagues, and often follow an idiosyncratic path that they themselves shroud in secrecy. The question of what inspires someone is often raised at conferences and seminars. The hero seldom gives a glimpse of what provides his creative inspi-

Here, too, the answers conflict with the undertone of the Scandinavian style concepts put forward in answer to question 2. Many people allow functional requirements to take precedence over artistic criteria. It is nevertheless felt that only artistic aspects can point the way to innovation and originality in concept and style. Many feel that the necessary balance depends on several factors, and can thus differ per assignment and per client. Thus it is very noticeable in the international design scene that more artistic scope is given in the culture sector. Nobody will have failed to see that that sector, too, is now increasingly adopting commercial values.

How do you relate to the term ‘applied art’ where graphic design is concerned?

It should be clear that personal artistic expression can be a path to innovation and originality. That this may be coupled with reduced functionality is something that many acknowledge. The personal disposition of designers seems to be the guiding factor here.

To conclude, when I look at the work that appears in this publication, I do indeed see a development. Scandinavian design is making up lost ground, extricating itself from the dominance of functionalism. There is a tendency to be more playful without abandoning the achievements of the deeply rooted functionalism. Whereas designers in other parts of the world often push the boundaries in their personal artistic expression, the Scandinavians have their roots firmly planted in their own ground.

The work included in this publication demonstrates how Scandinavian designers have achieved a balance between their deep-rooted and natural inclination towards functionality on the one hand and individual artistic expression on the other. Emotional impact is the noticeable result.

Jelle van der Toorn Vrijthoff

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ACNE ART DEPARTMENT

Describe your vision of graphic design in one sentence.

In order to give a fair picture of every aspect of graphic design in one sentence, we would need to use a very long sentence.

Is there a Nordic or national identity in your graphic design? If so, wherein does it consist? We don’t feel there is any point in working along with a general perception of Nordic design. Nevertheless, having lived most of our lives in Sweden, it’s impossible to escape from our own history and the consumption of Nordic design. You will always bring some things with you. What those things are is something that we try to figure out every day. Why do you do, or like, certain things? A huge part of our work is about explaining that, not only to our clients but also to ourselves.

How much consideration do you pay to sustainability in the design process? A great deal. One way of working sustainably is to avoid trends. Trends die and get replaced, which leads to unhealthy re-production and re-consumption. We act sustainably by instead focusing on creating expressions that will stand the test of time. We also pay attention to obvious things such as choosing materials and processes that we feel aren’t stressing the conditions of our environment more than what is absolutely necessary.

we learn new things about various markets every day.

In a global perspective, would you say that trends in graphic design have grown more idiosyncratic or more uniform? We wouldn’t know. We’re not interested in trends in that way, and we don’t think of graphic design in a general perspective. You have to observe things more specifically to make them interesting.

What are the factors that influence your creativity and artistic integrity? Everything we have ever experienced and appreciated shapes our knowledge and image of graphic design. Our empathy shapes our ability to understand the target audience. Our curiosity of people, brands and products shape the relations between our clients and us.

How are artistic aspects balanced against commercial and functional requirements among your clients? Are there any new tendencies? The reason for us choosing to work with graphic design in a commercial context is probably because we don’t see those two things as separate from each other.

The commercial and functional requirements are the artistic aspect of our works. It is one solid thing.

How do you relate to the term applied art where graphic design is concerned? Art, whether it is fine art or applied art, exists in the eye of the beholder.

How important is horizon scanning in your graphic work, and how do you go about it? By being genuinely interested in what our clients have to teach us about their business, 8

SWEDEN

ACNE ART DEPARTMENT

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Examples of clients include: Byredo Parfums, Acne Paper, Brio, Oscar Properties, Alcro Beckers, A-O, Hermès, Acne Studios, Danowsky & Partners.

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SWEDEN

ACNE ART DEPARTMENT

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AIMO KATAJAMÄKI

Describe your vision of graphic design in one sentence.

The graphic designer gives visual form to the message, in order to best reach the mind of the recipient.

Is there a Nordic or national identity in your graphic design? If so, wherein does it consist? Plainness and definite clearness stems from the tradition of Scandinavian design.

On the other hand, a lot of Finnish characteristics can be seen in my graphic design; it is the same archaism as in the old wooden sculptures in our churches, carved with an axe.

How much consideration do you pay to sustainability in the design process? Basically, graphic works are like dragonflies, living only for a moment. Usually, the sustainability of visual design shows up after a long time. As an individual designer, I find it quite difficult to pay attention to sustainability in the industrial graphic design process.

How important is horizon scanning in your graphic work, and how do you go about it? Following trends and developments in the entire field of visual arts is important for my own graphic work. So is knowledge of the history of visual culture. In my work as a graphic design teacher, I find interacting with the students most interesting. It gives me a chance to see the concerns of a new generation.

else, have become very much alike in this globalized world.

Today, a supermarket in Italy has the same products, the same price level, the same design format as in Finland. If you are looking for an exotic experience in graphic design, you must go quite far away and to very different cultures.

What are the factors that influence your creativity and artistic integrity? Clarity, and my very personal signature, the combination of artistic expression and cool design.

How are artistic aspects balanced against commercial and functional requirements among your clients? Are there any new tendencies? It seldom happens that my client and I disagree on visual matters. My signature style is quite well known, so my clients usually don’t ask me to do something that’s not my style. If you have earned a certain respect as a professional designer, the clients will trust and listen to you.

How do you relate to the term applied art where graphic design is concerned? I don’t separate applied art from fine art. In my case, they can almost have the same form. Only the context matters; in commercial graphic design there is always the customer, the payer. But my work is often tailor-made, as in the case of my wallpaper or architectural graphic design.

In a global perspective, would you say that trends in graphic design have grown more idiosyncratic or more uniform? Graphic design trends, like everything 12

FINLAND

AIMO KATAJAMÄKI

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Previous page: Aimo’s Apes, poster for Aimo Katajamäki’s exhibition, offset, 140x100 cm, 2008.

I designed the Vivero Furniture Company visual identity: brochures, advertisements, funny party invitations and posters. I did the previous series of posters (2002, four parts), “Design for Professionals”, for the Jobb office chair. I rarely use photographs in my posters, but I did in these. They won the Finnish Best

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Advertisement Campaign of the Year gold medal.

For the Vivero Zoo 25th anniversary posters (2005, 3 parts) I painted funny furniture animals in ink, each one a piece of Vivero furniture. The posters could be assembled into an endless wallpaper. It has featured in many international poster exhibitions. The 2006 posters won a gold medal at the 20th International Poster Biennial in Warsaw.

This page, left: Vivero Zoo, 25th Anniversary poster for Vivero Furniture, one of three, offset, 70x100 cm, 2005.

This page, from top left: Batman & Rosebud, poster for Vivero Furniture, offset, 70x100cm, 2008.

International Suicide Prevention Day, poster for the Finnish Central Association for Mental Health, offset, 70x100 cm, 2006.

This page, right: Jobb chair, posters for Vivero Furniture, 70x100 cm, offset, 2002.

Me and My Friends in Warsaw, poster for Aimo Katamajäki’s exhibition, silkscreen, 160x120cm, 2008.

Books!, Furniture Design Competition poster for The Finnish Fair, offset, 87x120cm, 2003.

Painorauma, Poster for Printing House Painorauma, offset, 140x100cm, 2008.

FINLAND

AIMO KATAJAMÄKI

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formgivare ANNA LARSSON

Describe your vision of graphic design in one sentence.

Structured, functional, neat, correct and durable.

Is there a Nordic or national identity in your graphic design? If so, wherein does it consist? In the simplicity.

other in order to meet the commercial requirements.

How do you relate to the term applied art where graphic design is concerned? I like the fact that my works will be used.

How much consideration do you pay to sustainability in the design process? As much as I can.

How important is horizon scanning in your graphic work, and how do you go about it? Things that surround me affect me. I read: the books I design, other books, old ones and contemporary ones, magazines et cetera. Sometimes it’s necessary to just turn off the media and focus on your own expression.

In a global perspective, would you say that trends in graphic design have grown more idiosyncratic or more uniform? There are many different, but rather uniform trends.

What are the factors that influence your creativity and artistic integrity? The commissions I’m given and the confidence of the client.

How are artistic aspects balanced against commercial and functional requirements among your clients? Are there any new tendencies? Various. Form without function is as bad as function without form. One of the main tasks for a designer may be to balance these aspects against each 120

SWEDEN

formgivare ANNA LARSSON

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Previous page: The Spice Rack, self promotion, 2009.

The Spice Rack is one motif in a series of posters inspired by things in the kitchen.

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This page: Den Tidlöse Sjöräddaren, Swedish Sea Rescue Society, 2006.

Book on the history and organization of the Swedish Sea Rescue Society published in conjunction with the celebration of the Society’s centenary.

This page: Wadköping Open Air Museum, 2008.

Graphic identity inspired by wrought-iron details found at the Wadköping Open Air Museum. Designed to be used as decorative elements on paper bags, posters et cetera.

SWEDEN

formgivare ANNA LARSSON

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INDEX

Acne Art Department.............................................. Year established: 2001, as Acne Creative. Number of employees: 6. Specialities: Visual concepts, corporate identities, packaging design, photographic art direction. Selected awards: 5 Silver Eggs, Lilla Nygatan 23 Golden Egg award, 2007–2009. Finalist, Eurobest Design, 2007. Three awards, One Show, 2007.

Box 2327 SE-103 18 Stockholm Sweden Phone: +46 8 555 799 00 Fax: +46 8 555 799 99 info@acneartdepartment.se www.acneartdepartment.se p. 8 Aimonomia Oy........................................................

Albertinkatu 17 L 1 FI-00120 Helsinki 12 Finland Phone: + 358 9 500 876 900 Mobile: + 358 9 500 876 900 aimonomia@kolumbus.fi www.aimonomia.fi p. 12

Principal’s name: Aimo Katajamäki. Year established: 1999. Specialities: Illustrations, poster design, architectual graphics. Selected awards: Several Medals of Honour in The Best of the Years, the Finnish Association of Graphic Design, 1990–2008. The Pallas Athene Award, University of Art and Design, Helsinki, 2007. First Prize in the Art Competition for the new Parliament Annexe, Finland, 2005. The First Prize Gold Medal in the 20th International Poster Biennial, Warsaw, 2006.

Graphic Designer of the Year, Grafia, 1999. Selected exhibitions: Me and My Friends in Warsaw, poster exhibition at the 21st International Poster Biennale, Warsaw, Poland, 2008. Winners of Art Competition for the new Parliament annexe exhibition, Helsinki, Finland, 2005. Quietness, Contemporary Finnish Design exhibition, Tokyo, Japan – Fiskars, Finland, 2003–2004. Aimo’s Nuts – arts and crafts, Hyvinkää, Finland, 2003. The Graphic Designer of the Year exhibition, Helsinki, Finland, 1999.

All the Way to Paris..................................................

Amagertorv 3 DK-1160 Copenhagen K Denmark Phone: +45 33 234 235 or Mobile: +46 708 728947 studio@allthewaytoparis.com www.allthewaytoparis.com p. 16

Principals’ names: Tanja Vibe, Petra Olsson Gendt, Elin Kinning, Matilde Rasmussen. Year established: 2005. Number of employees: 4. Specialities: Our speciality is to deliver a high quality graphic solutions to our clients, whether they want a book, a magazine or a logo.

Selected awards: First prize for packaging design, Creative Circle, 2009.

Anti Inc AS..............................................................

Kristian Augustsgt. 13 0164 Oslo Norway Phone: +47 934 45 238/ +47 99 71 09 75 Mobile: +47 934 45 238/ +47 99 71 09 75 post@anti.as www.anti.as p. 20

Principal’s names: Kenneth Pedersen. Year established: 2008. Number of employees: 12. Offices: Oslo and Bergen. Satellite offices: Anti Sweden. Specialities: Design strategy, concept development, corporate identities, web design, package design and interactive communication. Selected awards: Gullblyanten 2008, 2009 (National Award for the advertising industry). Visuelt 2008, 2009 x 6 (National Award for the creative industry). Pioneer of the year. Gullblyanten 2009 (For Anti Sweden). Merket for god design 2009 x 2 (Award for Design Excellence for Tinagent and Anti Sweden). Gulltaggen 2009, 2010 (The Golden Tag best web design). Selected exhibitions: Black Out, Cred Gallery, New York.

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Ateljé Altmann........................................................

Pålsundsgatan 1a, 1tr SE-11731 Stockholm Sweden Phone: +46 8 668 8813 Mobile: +46 733 45 1920 christian@ateljealtmann.com www.ateljealtmann.com p. 28

Principals’ names: Christian Altmann, Anna Maria Ahlstrand. Year established: 2006. Number of employees: 2. Specialities: Corporate identities, print, poster design, packaging, editorial and books, digital media, environmental graphics. Selected awards: Merit for self-promotional material for Propeller Design AB. European Design Awards, 2007. Awarded Book entry for The Show 2003, the Royal College of Arts. British Design and Art Directors Club, 2004. Awarded Member of the International Society of Typographic Designers (ISTD) in recognition of typographic achievements, 2003. Awarded Poster of the Month/DSR (German Poster Society) for “Ergindwon”. Included in the permanent collection of the German Poster Museum, 1997. Selected exhibitions: Four projects chosen for Graphic Design 2009/2010 in the Design and Design Book of the Year 09/10, 2009.

Lecture about “3D vs. 2D” at the European Design Conference, Stockholm, 2008. Spoke at “The 2nd Edition of Book Design Lectures”, Centre of Contemporary Art, Warsaw, 2008. Group exhibition of 26 Letters, “Illuminating the Alphabet” organised by ISTD/26 at the British Library, 2004.

Baddy......................................................................

Calle Regomir 18–22, 1A ES-08002 Barcelona Spain Mobile: +34 637 14 9092 baddy@baddydesign.com www.baddydesign.com p. 34

Principal’s name: Bjarney Hinriksdóttir. Year established: 2009. Number of employees: 1.

Specialities: Book covers, logos, corporate identities, advertising campaigns. Selected awards: Eurobest Gold Award for TV ad “Victims” (Slow Down), a campaign against speeding, 2005.

Short-listed at Cannes Lion, for TV ad “Victims” (Slow down), 2005. The Icelandic bookcover design award for Sendiherrann. Gold, 2007. The Icelandic bookcover design award for Rokland.

Bronze, 2006. The Icelandic advertising award “Lúdurinn” for TV ad “Saved in Memory”, a campaign against rape, 2004.

Bleed.....................................................................

Nedre gate 5 NO-0551 Oslo Norway Phone: +47 993 06 000 Mobile: +47 932 00 711 bleed@bleed.no www.bleed.com p. 38

Year established: 2000. Number of employees: 13. Specialities: Design strategy, interaction design, graphic design, animation, technical development, concept development, consultancy, art exhibitions, corporate identities, interactive solutions. Selected awards: Gold, EDAwards for Brand Implementation, Beyondrisør, 2009. Gold, Visuelt for Interactive design, Snøhetta, 2009. Gold, Visuelt for Exhibition, “Follow Your inner Moonlight, Don’t Hide the Madness”, 2009. Gold, Graphis Poster, Beyondrisør, 2009. Gold Tag of the year for PepsiMAX fan, 2009. Selected exhibitions: Follow Your Inner Moonlight, Don’t Hide The Madness, Oslo, 2009. Design by Nature, Oslo/ Berlin, 2009. Heisan, DesignTide, Tokyo, 2007. Heidu, DesignTide, Tokyo, 2006. Monsters, New York, 2006.

BOND..................................................................... Principals’ names: Arttu Salovaara Managing Director, Aleksi Hautamäki, Jesper Bange. Year established: 2009. Number of employees: 11. Specialities: Branding, design, marketing – identities, Lönnrotinkatu 32 A advertising, retail environments, web, packaging, publications, art direction, publications.

FI-00180 Helsinki Finland Phone: +358 (0)50 303 7510 Mobile: +358 (0)50 303 7510 info@bond-agency.com www.bond-agency.com p. 46 BVD......................................................................... Åsögatan 115 SE-116 24 Stockholm Sweden Phone: +468 660 00 57 Fax: +468 660 00 61 info@bvd.se www.bvd.se p. 52

Principals’ names: Carin Blidholm Svensson, Catrin Vagnemark. Year established: 1997. Number of employees: 15. Specialities: Retail concepts, packaging design, identity programmes, branding.

Selected awards: Merit, Guldägget, 2009. Two Merits, Art Directors Club, 2008. Two gold, two merits, European Design Awards, 2008. Two merits, American Institute of Graphic Art, 2008.

Merit, Guldägget, 2007.

Candy Graphics Oy..................................................

Vanha Veturitalli, Tallikatu FI-00520 Helsinki Finland Phone: +358 9 774 1012 Mobile: +358 50 5699 175 info@candygraphics.fi www.candygraphics.fi p. 58

Principal’s name: Minna Luoma. Year established: 1996. Specialities: Book design. Selected awards: Golden Award, Publications category, Best of the Year Competition, 2009, Association of Professional Graphic Designers Finland. The Best Publication by a Museum 2008 (Vuoden museojulkaisu 2008) by the Finnish Museums Association. Best Designed Book of the Year by the Finnish Book Arts Committee, 1996, 2000, 2009. Selected for the Finest Finnish Books collection by the Finnish Book Arts Committee, 1996, 2000, 2002–2009.

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