Swedish design bureau Lundgren+Lindqvist have an eye for smart minimalism that manifests in great, exacting print and digital work.

Working out of Gothenberg, Andreas Lundgren, Carl-Johan Lindqvist and their team have been producing comprehensive branding, illustration and both print and digital design for their clients for the last five years.

From their site: ‘We believe that good design is more than ink or pixels on a surface; it is understanding how a message is received and experienced. By identifying the essence of that experience, we can create efficient and interesting communication that is uniquely conceived for each project. We embrace the constantly evolving possibilities of digital design, and approach web design with the same attention to detail as we do in print.’

Their work is strikingly simple and clean, and as is the case with any good minimalist approach; everything unnecessary has been thought over and removed, leaving only the most necessary elements to shine through.

Take a look over the detailed print and digital case studies for their recent projects; Oslo based boutique Maru and Stockholm based photographer Oskar Kullander for a glimpse into their process and methodology.

Lundgren+Lindqvist.

The third and final piece in a series. Working with an original photo taken at St. Michael’s Mount, Cornwall by utterly talented director, and friend, Rob Chiu.

The third and final piece in a series. Working with an original photo taken at St. Michael’s Mount, Cornwall by utterly talented director, and friend, Rob Chiu.

I loved the mood and tone of the original photo; cold and somewhat timeless, it already had a sort of daunting, but benevolent feel to it that made it perfect as a backdrop to this piece.

The full piece is 60 x 40 cm landscape. This will be printed in a limited run with the other two pieces in the series soon.

Monolith 1 (Unaligned Ideals)
Monolith 2 (With James Cambourne)

Rob Chiu (The Ronin), and don’t miss his excellent short-film The Division of Gravity.

Vedas is an ongoing pursuit in the understanding of knowledge from a Copernican perspective by LA-based photographer Nicholas Alan Cope and art-director Dustin Edward Arnold. It isn’t often you come across a portfolio of work so vast whilst remaining profoundly important, you need to see this.

It isn’t often you come across a portfolio of work as vast as it is profoundly important. LA-based photographer Nicholas Alan Cope happens to own such a portfolio, and certainly one that is too large to represent here in blog format, so i’m going to focus only on his latest project, and, from what i can make out, his fourth with art director Dustin Edward Arnold.

Also based in LA, Dustin works with sculpture and product development – his hand is clearly seen in the projects these two have produced together, and provides an amazing sense of gravitas to the scenes Nicholas shoots.

Their current project; Vedas, is an ongoing pursuit in the understanding of knowledge from a Copernican perspective. Knowledge as an exchange of values, a beam of light that enters a room, illuminating some areas and leaving others in shadow.

Cope and Arnold are interested in veils and unveiling; they’re searching for the point where the object ceases to become material and instead become meaningful, the point of interpretation, perhaps where the objective and the subjective split and part company.

From their site:
“Whether working commercially, with a magazine, or with an exhibition there are agendas to be fulfilled outside the creators intent, sometimes so many that the touch of the author even disappears completely. Anyone who has functioned within the creative industry has experienced this to a greater or lesser degree. Our collaboration was born out of the desire to break this pattern. To better understand ourselves, and connect with the world around us with the least amount of compromise possible.

As a rule, it seems we never get things exactly the way we want. One part of wisdom is realising this, one part of passion is going on anyway.”

Nicholas Alan Cope and Dustin Edward Arnold. Truly, completely, inspiring work.

A current work-in-progress, and something that will evolve in presentation as I continue to work through his needs with him; this simple logotype for emerging photographer Drew Wheeler is designed to work in a variety of different configurations over his photos and on more traditional flat backgrounds.

Drew has recently moved over from Melbourne and is establishing himself as a photographer here in London, assisting some of the capital’s best fashion and portrait photographers, including internationally-acclaimed shooters such as Sven Jacobsen and Marius Hansen.

A current work-in-progress, and something that will evolve in presentation as I continue to work through his needs with him; this simple logotype is designed to work in a variety of different configurations over his photos and on more traditional flat backgrounds.

The identity, rendered in Gotham, features an amended double-W that connects first and second name together. This mark acts as a monogram that can be used on its own to stamp photos and also allows some interesting options in cutting two shots from the same shoot together to create subtle stamps through the photography.

I’m testing ideas and outcomes at the moment, more to follow soon…

I just want to quickly illustrate Mark Brunswicker’s work on The Vision Paper. Great use of type over imagery and really messing about with the grid creates a sophisticated layout where the editorial appears to float over the page. At once constrained, but delightfully capricious.

I just want to quickly illustrate Mark Brunswicker’s work on The Vision Paper; a bi-annual newspaper for fashion buyers and professional’s attending Copenhagen Fashion Week and its fashion fairs. Lashings of Gotham, complimented by Paul Barnes’ more whimsical Austin for body copy (itself an interesting story).

Great use of type over imagery and really messing about with the grid creates a sophisticated layout where the editorial appears to float over the page. At once constrained, but delightfully capricious.

From Brunswicker’s site:
“Brunswicker is an interdisciplinary design studio established in 1998. Based in the heart of Copenhagen, Brunswicker works primarily with art direction, identity design and graphic communication for brands within the fashion, lifestyle, design and media industries.

Furthermore, the studio cooperates closely with major players in communication and product development to ensure a streamlined process and a cohesive result.”

Take a look at Brunswicker’s portfolio.

Leeds-based graphic designer Ben Jeffery has an incredible eye for layout and has recently worked with Rankin on his newest magazine project The Hunger. In all of his projects you’ll find a well considered, incredibly tight presentation that effortlessly communicates the editorial in as minimal and achingly sharp method as i think its possible to produce.

Leeds-based graphic designer Ben Jeffery has an incredible eye for layout, but he’s not a man of many words; infact i can’t find much about him anywhere, and that makes him all the more special. Ben has recently worked with Rankin on his newest magazine project The Hunger. He has this to say about the magazine:

“Hand-scrawled typography – all written by Rankin himself – is used on the cover, the masthead and throughout as section titles, reflecting the personalised spirit of the magazine. Other than that, it’s quite simple. We’ve opted for a single type size throughout for all pull quotes and headlines, allowing the photography to take precedence and supporting that calm, timeless quality of the content.

ITC Novarese is our chosen body copy. With sharp serifs, it has a classic and greek feel, which sits well against our chosen headline typeface, Gotham (with wide tracking). There’s a sense of history, refinement and also modernity. Rankin’s photography is modern, but appreciatively nods to classical photography. The coupling of Gotham with ITC Novarese works on aesthetic and conceptual levels.

The understated design is supported by occasional and considered embellishment through colour, typographic furniture and illustrative languages, which reference the content of the relevant piece.”

A quick look through his portfolio reveals more work with Rankin and other fashion-led publications. In all of his projects you’ll find a well considered, incredibly tight presentation that effortlessly communicates the editorial in as minimal and achingly sharp method as i think its possible to produce. It’s all about reduction.

Take a look at his portfolio.
More on The Hunger.

Riitta produces ghostly psuedo-sculptures by wrapping linens around, and arranging clothing in, trees and scrub. By presenting her work as photographs she can use the environment she’s working with as part of her piece, giving her sculptures an environment within which to live; suggesting the passing passage of time and a record of events that have already happened.

I was introduced to the work of Finnish Photographer Riitta Päiväläinen by my upstairs neighbour in a book by photographers from the Helsinki School in Finland.

Riitta produces ghostly psuedo-sculptures by wrapping linens around, and arranging clothing in, trees and scrub. By presenting her work as photographs she can use the environment she’s working with as part of her piece, giving her sculptures an environment within which to live; suggesting the passing passage of time and a record of events that have already happened.

In her statement Riitta explains her concept and process:

“The main theme and primary driving force of my work is my interest in old clothing. In my photographs, I use discarded clothes from second-hand shops and flea markets. I am interested in old garments, because they carry silent, unknown stories and histories. The unavoidable fact that I will never know the actual stories and personal histories connected with the clothes arouses my curiosity. The clothes remain silent withholding their secrets. Little by little, personal histories are absorbed into the collective history.”

“For me, a piece of clothing represents, above all, its former wearer. It tells you that somebody has been present. However, the person who wore it is now gone. The faded colours and tears in the fabric show the signs of the time passed. By freezing the garment or letting the wind fill it with air, I am able to create a sculptural space, which reminds me of its former user. This ‘Imaginary Meeting’ represents, for me, the subtle distinction between absence and presence.”

More information about Riitta Päiväläinen at the Helsinki School website. Her book ‘Imaginary Meetings’ is available from publisher Kehrer Verlag.

This beautiful photo was shot by James Cambourne at Saunton, between Exmoor and Dartmoor on the coast. The original has been beautifully graded down and is presented in very wide 2.35:1 format. Taking the original photo, and another from the same set to work into the Monolith’s reflection, i’ve kept faithful to James’ grade but have had to slightly increase the height to display the Monolith fully.

The second of three (again, hopefully) pieces in a series. This beautiful photo was shot by James Cambourne at Saunton, between Exmoor and Dartmoor on the coast. The original has been beautifully graded down and is presented in very wide 2.35:1 format.

Taking the original photo, and another from the same set to work into the Monolith’s reflection, i’ve kept faithful to James’ grade but have had to slightly increase the height to display the Monolith fully.

I can’t really show the entire image here, the photo is too wide. The full piece is 55 x 26 cm. This will be printed in a limited run in the spring.

More of James’ photography on his site.

Graphic designer Neil Kellerhouse is responsible for some of the most arresting and important movie posters in recent years. Based in Los Angeles, Kellerhouse has spent the last year working with directors such as Fincher and Soderbergh.

Graphic designer Neil Kellerhouse is responsible for some of the most arresting and important movie posters in recent years. Based in Los Angeles, Kellerhouse has spent the last year working with directors such as Fincher and Soderbergh.

In the last few years he has produced iconic poster work you will have seen for Casey Affleck’s ‘I’m Still Here’, McPherson’s ‘The Eclipse’ and some of the most enigmatic Criterion Collection covers to date.

His style is simple; uncluttered, uncompromising type over beautifully shot and composed photography, and it is in the type that his work clearly shines. Kellerhouse is as happy breaking up Didot’s elegant forms as he is obscuring protagonists (or antagonists) behind massive Futura.

Each poster carries the mood of the film with the smallest amount of fuss, adding more gravitas to the films as all the blocks of four and five stars you could possibly throw at any given blockbuster his work appears next to on the tube. A truly inspiring designer, if medium is the message then never has the message been so acutely communicated.

Take a look at his site.

I bought one of Feric’s red-crowned crane prints a couple of years ago; a whimsical and elegant take on using engineering drawing practice in a very original way. And since then Feric has been busy…

I bought one of Feric’s red-crowned crane prints a couple of years ago; a whimsical and elegant take on using engineering drawing practice in a very original way. And since then Feric has been busy, he’s founded a digital entertainment agency and is working on turning his unique character illustrations in to a series of illustrated stories.

From his site:

His highly acclaimed illustration style hovers between reality and fantasy and is a surreal blend of the East and West, the past and the future, and the natural and mechanical. Known to his team and friends as a kid at heart, Feric is never fresh out of kooky ideas and steam. Feric’s artwork has been featured in SJMA, AIGA, Graphis and American Illustration. His animation, “Inside Out”, a short that demonstrates the unity in all things (whereby a little component becomes one with a fish, a whale, a dingo, a gecko, a planet and more), has been screened at the Holland International Animation Festival, the Ottaway International Animation Festival and the NYEXPO, among others.

After graduating in film and animation at the School of Visual Arts (New York) and further earning a master’s degree in design from Yale, Feric went on to work as a conceptual designer for Square USA, Inc. for the film “Final Fantasy”. He has also worked as a motion graphic designer on “Animatrix.” Some of the clients Feric has collaborated with include the New York Times, Prada, Miu Miu, ESPN, Metropolis, IBM, NIKE and BP.

Take a look at his site
Visit his online shop for prints and works

Modelling digitally with reference to real-world materials like plastics and wood, German studio DepotVisuals build informational installations and imagine constructs that are just slightly too perfect and too whimsical to exist in the real world. Amazing stuff. Take a look at their work.

I really can’t say much about German studio DepotVisuals, I can only prompt you to take a look at their portfolio of incredible forms and structures.

Modelling digitally with reference to real-world materials like plastics and wood, building informational installations and imagining constructs that are just slightly too perfect and too whimsical to exist in the real world. Amazing stuff.

Take a look at their work.

For her birthday late last year i created this poster for Shon; it is the dialogue from my phone of the few text messages that went into arranging our first date, then the first month of our relationship afterward.

For her birthday late last year i created this poster for Shon; it is our dialogue from my phone of the few text messages that went into arranging our first date, then the first month of our relationship afterward. Arranged over 520 lines, the format is based on a radial convergence diagram with the calendar date arranged around the outside in white, then the timestamp of each message creates an inner-ring, with the text messages themselves reading inwards from the outside, all reading anti-clockwise. The centre (zero) ring is a series of dashed lines, one for every line of dialogue, hence why it looks darker than the five and two.

The process was considerably more complicated than originally anticipated and required a set of some 600 stepped radial splines, converted to text paths and hand-stitched together, which seemed to be the only way to allow text to run across lines without being interrupted.

The A0 piece was produced in InDesign and Illustrator and printed by large format printers Onward Display using a six-colour process.