I'm an 80's baby, a multicultural human, driven by curiosity and lover of new situations. I like to challenge myself so on the spring of 2018 I decided to give up my position as a motion designer to start a new adventure and applied to the Communication Design program at Berghs School of Communication. Fast forward to 2 years later, I graduated in late May 2020 and now looking for a new challenge to delve into - headfirst.
Looking for a creative environment where I can explore, grow and that is generous with their knowledge and know-how. I like to work human-centred, iterative and broad. Very confident in most Adobe design programs and very interested in 3D to help visualize and prototype an idea. I'm a problem solver, a responsibility taker and overall a jovial person. I’m also somewhat tall-ish and can reach places and perspectives that others can’t.
I’m comfortable communicating in Swedish, English and Spanish. I'm based in Stockholm but I'm willing to relocate for an interesting and inspiring opportunity.
Delving into (bottle)shapes, talking to end consumers and bartenders, we explored how to design a new experience while staying true to The Absolut Company's brand DNA.The brief consisted of future-proofing The Absolut Vodka brand by designing more sustainable packaging. We asked ourselves, must vodka be fluid? We said no and developed our concept, Absolut Klar.
The new product, Absolut Klar, is concentrated vodka pearls that take 50% less space than the current product and therefore require less glass to package. This new packaging can also be stacked for easier transport but also stacked in stores for a visual impact. Not only does the product take less space but the current Absolut Vodka bottle itself is cut in half to signify a new product that stays within the iconic bottle form, but performs more efficiently.
We kept the emblem and the aluminium cap for brand recognition, but choose to use the Swedish type designer, Göran Söderströms typeface Line for a more modern contemporary take on the script label used today. By using Line we are celebrating Swedish design and innovation, something that aligns to the Absolut brand.
This concept opens up for new customer behaviours, new ways of mixing a drink and consume Absolut vodka.
In collaboration with: Amanda Lindström
During a 4-week editorial design course at Berghs School of Communication, under the guidance of Pompe Hedengren (Creative Director at Stockholm Graphics) and Daniela Kisch Juvall (Art Director), I developed a concept, defined my magazine's target audience and created a graphic identity, image selection, composition, typography, colour choice etc. and designed a magazine based on my love of food and interest in travelling.
For my efforts, I received a letter of recommendation, alongside 5 other fellow students.
My target audience is curious, hungry and cosmopolitan spirited individuals that are interested in exploring possibilities and their surroundings. Their hobbies include culture, art, food, travelling and their income level enables them to often pursue their interests. They are interested in collecting experiences and memories and not necessarily material things. I wanted to make a travel magazine that inspires first and educates second. The format should be portable and design recognizable, making the reader part of a tribe. Devour Magazine caters to an audience that wants a curated selection of culinary activities abroad. Devour Magazine is curious and explorative, exuberant and greedy, documentary.
The logo was created to convey gluttony and fullness. Based on an Azo Sans Uber, I manipulated shapes so that they are usually straight shapes was now “thick” and “overflowing”. Had I had to do it again today, I would have done a better apex on the R.
My other typography choices were Factoria as a body text, a slab serif with lots of character and good readability. As a contrast, I used Korolev on the headings, bold entries and quotes. I have a love for Korolev for its historical inspiration (Typographer Rian Hughes was based on Russian propaganda signs and was named after Sergei Korolev a Soviet rocket designer and space pioneer).
Image choices were made to convey realism. Gritty snapshots that show you the beautiful world as is.
The result was Devour Magazine, a magazine that in every edition takes you to a new city and though intimate documentary style photography shows you the food, the places and the people that make out a city’s culinary soul. Devour immerses you in a greedy visual experience of food and travel. Devour was described as colourful, vibrant and fun.
Would you like to flip through Devours pages? Invite me over for coffee and I will bring over a copy.
Printed with CMYK+ at Arkitektkopia in Stockholm
Cover: CMYK+ Silver och Clear, Edixion uncoated, 250 g
Inlay: 80 pages, CMYK+ Clear, Edixion uncoated, 150 g
Swedes have a high level of trust in their dentists, but also places huge importance to kindred recommendations.
By using "Unn- & munexperterna" (roughly translates to "The Indulgence and Oral Health Experts") we focus on that kindred trust and remind the consumer that you can indulge freely as long as you have a Philips Sonicare.
The most environmentally-friendly choice we can make right now is to have fewer children or none at all. It is over 20 times as effective as the second most environmentally friendly everyday decision, to live car-free.
By using design fiction and provotyping I wanted to explore a UX solution to this problem. I investigated current attitudes to parenting, childhood recollections, but also historical and cultural approaches and perspectives to parenting. My research can be boiled down to the idioms “it takes a village to raise a child” and the Swedish “mina barn och andras ungar” (my children and other people’s kids).