Greetings!

My name is Daniel and I’m a designer living in Stockholm. Here you’ll find a selection of projects I’ve worked on lately.

Write a few lines to me
hi@dpersson.com

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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.

Tidslagret category illustration for health.

Tidslagret category illustration for sport.

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.

Tidslagret category illustration for visual arts.

Interactive installation
Sandvikens Konsthall
2011

Flowing letters

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.

For future students

The department for Interior Architecture and Furniture Design at Konstfack University was in need of a catalog to convey information to potential future students and guest teachers.

We designed a catalog that was easy to carry around on a furniture fair and rich enough to take home and save for further reading.

Project team:
Evelina Claesson
David Fredly
Daniel Persson

Type creatures

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.

Project team:
David Fredly
Sigge Kühlhorn
Daniel Persson

Sculpting illustrator

Ulrika was in need of a website that presents her work in an accessible way. A majority of the content was photos of her projects so I designed the website with a full width layout with additional information available one click away.

Public bikes

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.

Project team:
Johan Mattsson, Developer
Daniel Persson, Designer

Precision
in fiber optics

Nyfors is a Swedish family business that has been a leading developer of optical fiber fusion splicing and recoating systems for more than two decades. As a part of the new visual identity the website was updated with a new responsive design, imagery, product photos and illustrations.

Project team:
Miki Grujovic, Creative director
Daniel Persson, Designer/illustrator & developer
Original photographs: Nyfors

Spatial music composing

Most of modern music production software is limited to two dimensions when it comes to sequencing sounds. The piano roll comes from the player piano that was developed from late 19th century and early 20th century. Back then the piano roll was an actual roll of paper with holes in it. The construction of the player piano physically limited the piano roll to two axes (one used for progression and the other for a range of notes). Since music production entered a digital era, the piano roll lives on as a model for constructing music, even though it doesn’t have to be limited to two axes anymore. Perhaps the underlying reasons for its popularity to this day has to do with tradition and simplicity.

I wanted to explore what possibilities comes with putting this established concept aside and instead have a user interface based on a three-dimensional environment where physical object interacting with each other generates music.

Sequi brings a possible way in to composing for non-musicians as well as a new perspective for musicians and producers who are used to the concepts and visual language found in established music production software.

Daniel Persson
Designer
Stockholm

My experience covers several years of art and design studies and professional practice within advertisement, brand identities and digital services and products. I worked in projects with clients including universities, art institutes, Swedish Red Cross, Spotify and Google.

Experience

Claremont, digital designer (current, since 2018)

Ocean, visual designer (2016–2018)

Obscura Digital, designer (freelance 2014–2016)

Äventyret, designer & developer (freelance 2016)

Le Bureau, designer & final artist (temporary position 2015–2016)

Spotify, designer (freelance 2015)

Learnways, designer & developer (freelance 2014–2015)

Ritator, designer & developer (internship & freelance 2013–2016)

Freelance designer/illustrator & developer (2010–2016)

Main areas of expertise

Fields: visual design, graphic design, typography, branding, user experience, interaction and user interface design.

Tools and technologies: Adobe InDesign, Adobe Photoshop, Adobe Illustrator, Sketch, HTML and CSS.

Education

BFA Graphic Design & Illustration (Konstfack University 2011–2014)

Preparatory studies in fine art (Konstskolan i Gävle 2008–2011)

IT Graphic Design (IT-Gymnasiet Skövde 2005–2008)