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Erik Berglin: The Bird Project by Lundgren+Lindqvist

Text by Richard Baird.

Book Design Inspiration – Erik Berglin: The Bird Project by Lundgren+Lindqvist, Sweden

Erik Berglin is Stockholm-based contemporary artist. His work is flows from his understanding that some people find the art gallery uninviting and uncomfortable, and the artworks displayed as requiring insight to really appreciate. He himself has said that he dislikes 90% of the exhibitions he visits but adores the 10%. This clearly informs his work, which often brings the unexpected into the urban space or uses modern technologies to subvert the familiar. There is a beauty and playfulness to his work, an appealing aesthetic, but also an idea, an aha moment, for those that want to look deeper.

Beauty and the unexpected are central to Berglin’s The Bird Project. Over the last twelve years, having studied birds from antique books by the likes of J.J Audubon, the artist scanned pages from ornithology resources found in antiquarian bookshops and libraries and printed birds out at their actual size. He spent time with a scalpel and scissors carefully cutting these out and then wheat-pasted them in urban contexts around the world, documenting these as he went. From start to finish, a total of 4982 birds were wheat-pasted in twelve cities over five continents. These have been brought together in a new book, ‘The Bird Project 2006-2017’ designed by Lundgren+Lindqvist and published by ll’Editions. This is a 208 page hard back book 207×280mm in size. It features 101 plates printed using a process that substituted regular CMYK colours of the offset printing process with fluorescent alternatives. The book is also available as a special edition of 30 copies, which were divided into three sets of ten books. Each is presented in fluorescent acrylic glass slipcase with an inkjet print, signed and numbered by the artist.

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Avo Consulting by Bleed

Text by Richard Baird.

New logo, custom typeface, posters, banners, supergraphics and tote bags for Nordic technology and management consultancy Avo designed by Blee

Avo is a Nordic technology and management consultancy with offices in Norway and Sweden. Since its founding in 2016 it has seen rapid growth, expanding from 5 to 85 employees in three years. It has done this through a strategic rethinking of the way in which consultancy services are delivered, removing the buzz words associated with the industry, solving business problems and then helping to make the necessary changes easy. The Avo Consultancy culture is described as having a unique and playful philosophy. It is this, and the ambiguity of the AVO name (often assumed to be an acronym, or initials with an embedded meaning) that was the foundation of a new visual identity design created by Bleed. This playful philosophy and ambiguity is expressed predominantly as an A, followed by two characters from “Avodings”, a custom typeface of unique dingbats. This links the Avo Consultancy website, alongside colour and Neue Haas Unica, with interior supergraphics, tote bags, banners, posters employee generated e-mail signatures and other communications.

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Åhléns by Happy FB

Opinion by Richard Baird

Visual identity, shopping bags, packaging and signage by Happy FB for Swedish retailer Åhléns

Åhléns began in 1899 as a small mail-order business. Aside from it being one of the oldest it has also grown to become one of the largest retail chains in Sweden. By carefully collating a variety of items across brands and price categories, the retailer maintains its relevance today, understanding and responding to the many ways in which its customers have changed over its long history. Happy FB, the Scandinavian design studio behind Åhléns new visual identity, puts it simply “to Åhléns’ urbane and socially conscious patrons, shopping and sustainability are not contradictions. Inspiration and trends do not equate to use and discard. Premium can be inexpensive and cheap doesn’t necessarily mean a drop in quality”. The retailer’s new visual identity expresses this by taking the well-established Åhléns wordmark and single red and builds this out into a range of changing graphic expressions, imbuing a variety of touchpoints, material and digital, with more character whilst retaining a recognisable immediacy through simplicity.

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