Linda Wallenberg konst graphic identity is designed by Lina Nordenström, artist and the communication agency SNAP!.The challenge and the hope with the new partnership was to find a unique expression, a graphic profile shaped with the artists competence as a foundation. Nordenström sketched different suggestions for a logo to the new company. On the basis of one of the suggestions SNAP! developed the profile as a whole.
Included in Linda Wallenberg konst program is: business cards (printed), writing paper (letter template printed on specific paper), correspondence cards and envelopes (stamp on specific paper and envelope) address and O-stamp plus webpage.
A big and warm thanks to Lina Nordenström, artist, Kajsa Elfström and Madelene Ulfberg, SNAP!
O AS IN KONST (ART)
THE COMMUNICATION AGENCY SNAP! WORKES MAINLY WITH TWO CUSTOMER SEGMENTS, INDUSTRY AND CULTURE. THE FOUNDER AND OWNDER MADELENE ULFBERG IS ALSO FOUNDER OF Kulturstiftelsen ARTY AND HAS INITIATED AND RUN SEVERAL COLLABORATION PROJECTS BETWEEN CULTURE AND TRADE AND INDUSTRY. KAJSA ELFSTRÖM, GRAPHIC DESIGNER HAS WORKED AT SNAP! SINCE 2010 AND IS NOW CO-OWNER.
-Can you describe font, paper etc that you’ve used in the profile?
In contrast to Lindas handmade logotype we have chosen to work with a font that has a technical quality. Letter Gothic was designed by Roger Robertson for IBM, some time between 1956 and 1962. Initially designed for IBMs electric typewriters Selectric. Letter Gothic is a monospaced font, which means that all the letters have the same space which makes it suitable for technical information and tables. The paper Munken Lynx is exclusive and in the same time natural. The paper is tight but yet soft. It’s uncoated and neutral white – a good base for Linas strong and organic logotype.
-When we looked at Linas first sketches we talked a lot about the traces from the hand, the handicraft that was in them and how we could preserve and enhance that expression. Kajsa, which were the most interesting challenges and solutions in that work, in your opinion?
The challenge in this commission was to find an overall graphic expression that cared for the artistic craft in the logotype. To develop a graphic profile was as much about transfering an identity to a unique form as to make it technically reproducible. To lift out the O from the word ”konst” (art) and to use it as another graphic element was a nice twist, in my opinion! With the word ”konst” in the logo Lina has worked with letter press. We have then digitalised it and ordered a stamp of the O. Through the stamp the profile becomes hand printed on envelopes and correspondance cards. Linda can use the stamp on other surfaces and she can use colour in the profile which otherwise is black and white.
-Madelene, you work with artists, actors, musicians and others more or less every day in your work with Kulturstiftelsen ARTY. But in SNAP! was the work with the graphic profile in cooperation with an artist something new, is there anything in particular from the process that you carry with you?
A good collaboration between graphic designer and artist is founded on respect and curiosity for eachothers knowledge. I carry with me the fact that we have managed to create a strong and coherent profile, with a deeper dimension, beyond traditional and current design trends!
LINA NORDENSTRÖM LIVES AND WORKS IN UTTERSBERG WHERE SHE IS ALSO ONE OF THE DIRECTORS FOR GRAFIKVERKSTAN GODSMAGASINET. LINA WORKS FIRST AND FOREMOST WITH GRAPHICS AND DRAWING, OFTEN WITH ARTIST BOOKS.
-Can you describe the font, artistic technique etc that you’ve used in the logo?
My approach to text and topography is characterized by my experience from working with typesetting by hand and letter press as a visual artist. To handle worn wood types, as it is in this case, requires that I approach each letters individual character. I build a letter picture with the construction elements that the wood types are – with regards to the wear and tear that characterizes them. It is also about the fact that the options are limited to the fonts available in our workshop. The contrast between the circular O, as a geometric shape, in combination with a very tall and narrow grotesque, appealed to me in this case. To emphasize extremes, to make the shape visible even if it’s a readable word, has been indictative. The circle has also got a strong symbolic value – a symbol of eternity, a wheel that is easily set in motion –which strengthened me in the decision to work with the O as a starting point.
-When we looked at your first sketches, we talked a lot about the traces of the hand, the craft which was in them and the meetings between old printing techniques and today’s digital techniques. Why did you want to use the specific techniques that you describe (above) in this commission?
Book-printing is something I find very inspiring to work with for many reasons, not least because it is part of the history of information technique. Today we see it as a handicraft, the hands craft, but when the technique was developed and spread during the 16th century it was considered as advanced technology. The book-printed text mirrors in it self the meeting between human and technology, individuality and industrial manufacturing. Other propositions that I worked with was built on typewritten text and topography, that I think gives similar associations. Today we think of the typewritten text as an original, but only a couple of decades ago the impression was still dominated by the typewriter as an office tool – a form of authority language, so to speak. When it came to produce a logo for a new company focused on art and cultural administration, run by a creative enthusiast with a fantastic administrative ability (such as Linda Wallenberg), I thought these ideas were a very suitable starting point. The typewriter font was included in the final graphic profile through SNAP! advocated the digital version of Letter Gothic for letterhead, envelopes, business cards etc.
-It was your first time working with this type of commission. Is there anything in particular in the process and collaboration that you carry with you in your continued artistry?
To collaborate with people from another vocational orientation and experience is very educational. My own competence and what I can add becomes more clear to myself, which I think is an important prerequisite for the collaboration to work. The people who work with SNAP! has a lot of experience from different types of collaborative projects, so the openness that was there from the very beginning, gave the best conditions. In some cases 1 + 1 does not equal 2, but 3, which I find this commission an example of. A good experience to carry into the future.