GT Haptik (designed by Reto Moser and Tobias Rechsteiner) is the typeface used for Tidslagret’s visual identity. It is designed so that the uppercase letters can be recognized by touching them. I liked how that tactile aspect could add a human touch and some unique deviations, conveying encouragement of diverse abilities, knowledge and needs.
The logotype consists of the word image Tidslagret in GT Haptik Bold. For situations where something simple and small is needed, the logotype is accompanied by a symbol.
The graphic pattern elements is an interpretation of energy that is set in motion when somebody decides to contribute with time and energy. To give that energy a color I wanted to go with a shade of red that could communicate friendly power. The energy red was complemented by a blue which was given the role to represent the more solid and settled parts of the illustrations. The palette was then complemented further by two pink shades and a slightly cold black to contrast all the warm shades of red and pink.
There is a handful of categories in which the users can search or offer their knowledge. These categories were illustrated and became a part of the visual identity. Some of the categories are sports, visual arts, cooking and health.
Once we learned to read it can be difficult to perceive letters as anything else than representations for their corresponding sound. In order to explore this matter, I built an interactive installation.
With a power switch, the visitors could turn a flow on and off. When the flow was turned on the letters were put into motion. Once the flow was turned off the letters would decelerate into a new composition.
In the depths of the sea where no daylight comes through, some creatures have developed the ability to emit light and other odd features.
We interpreted these creatures with a method to transform the letters in our design. We cut a piece from the first letter and moved it one step to the right and repeated the procedure until all of the letters had a unique deviation.
We screen printed the posters with fluorescent colors to mimic the light emitting quality.
Alfaponny is an initiative from the artists Karina Sarkissova, Karin Auran Frankenstein, Sebastian Dahlqvist. It’s based on the idea of making bikes available to the public.
The project is inspired of the Provo movement that in the 60s painted bikes white and granted them to the citizens of Amsterdam to use.
With the technology available today we were able to extend the original idea with a website that helps keep track of the bikes. This offers an easy way for the users to find the closest available bike.
The white paint was a starting point for the color palette of Alfaponny. To make the palette a bit more organic, white was complemented with earthy shades of beige, black and eggshell white.
The typeface used in the visual identity is called GT Cinetype and is designed by Mauro Paolozzi and Rafael Koch. It’s based on a design that was made for cinema subtitling machines. These machines used a laser to create the letters. The laser was limited to straight lines so the typeface is designed without any curves. The limitation to straight lines gives the typeface a special character that share qualities with the bicycle frame.
Johan Mattsson, Developer
Daniel Persson, Designer
I work both direct with clients and as a consulting part of teams. My experience includes working with artists, family businesses, design agencies and brands like Google and Spotify.
Direct clients: Spotify, Ericsson, Region Halland, Region Gävleborg and Konstfack University College.
Obscura Digital: Google and Cisco.
Le Bureau: Swedish Red Cross, Alcro, Umeå University, Bringwell, TT News Agency, Jusek and Hyresgästföreningen (Swedish Union of Tenants).
Learnways: Umeå, Göteborg’s and Lund’s University, and Prevent.
Ritator: Bonniers Konsthall, Paletten Art Journal, Statens Konstråd (Public Art Agency Sweden), Sound of Stockholm, Brasserie Balzac and Carl Boutard (artist).
During my high school years I started to get familiar with graphic design, which I explored later on in preparatory fine art studies. I got the opportunity to furthermore deepen my understanding and practice within the fields of visual communication at the BFA program Graphic Design and Illustration at Konstfack University College in Stockholm.
In my degree work I explored how music composing could be visualized in a three-dimensional user interface.
After my graduation I started freelancing with commissions direct to client mixed with consulting services for Spotify, Obscura Digital, Ritator and Learnways among others. In october 2015 I shifted focus from freelance practice to a temporary position at the ad agency Le Bureau in Stockholm. The position lasted until april 2016 and since then I’m freelancing again.
Freelance designer/illustrator & developer (current, since 2010)
Obscura Digital, designer (consultant 2014–2016)
Äventyret, designer & developer (consultant 2016)
Le Bureau, designer & final art (temporary position 2015–2016)
Spotify, designer (consultant 2015)
Learnways, designer & developer (consultant 2014–2015)
Ritator designer & developer (internship & consultant 2013–2016)
Primary: graphic design, typography/layout, website/ux/ui design, Adobe InDesign, Adobe Photoshop, Adobe Illustrator, HTML and CSS.
Secondary: illustration, photography, type design, Glyphs, Adobe After Effects, Adobe Premiere, PowerPoint and Blender.
Languages: Swedish & English