I’m currently taking a six month long course at Malmö Univerity called Experimental Mediaproduction. A week ago me and my group performed the outcome of two weeks hard work. This documentary about the project explains it way better than I do, and I’m sure watching beats reading in this case. I must add that this probably is my favourite project I’ve been involved in since starting my studies in Malmö. If you make it to the end – let me know!
I felt that I really needed to create a collection of logotypes (and patterns) I’ve created so far because it’s building up rapidly. I’m currently in the pitchingprocess with a really fun Malmöbased company and I realized during our first meeting that I don’t really have a collected logo-portfolio to hand over. Now I do. Here’s a collection of leftovers, official logos, T-shirtprints and Spotifycovers from 2018 all created in Illustrator.
This summer I will be documenting two festivals, the ArtstreetHBG graffitifestival, and the Passage street theatre festival. I was lucky to have the same job last summer so I’m really excited about the possibilities for great and unique footage. These last few weeks I’ve been busy creating the PR-videos for the festivals using the material I shot last year. Two of the six videos even made it to the cinema (Röda Kvarn, Helsingborg). This is why I had the chance to play around a bit with the trailerformat for both festivals.
Passagefestival takes place during the 27th July and 4th of August in both Helsingborg and Helsingör and I’ll be responsible for the documentation both here at home and in Denmark. You can view the cinematic Passage-trailer below.
On a recent trip to Germany I came across the abandoned part of the Stralsund train station. Getting in was quite a hassle, which resulted in a torn pair of pants, and I didn’t want to stay for too long since my visit took place in the afternoon. But nevertheless I managed to get some photos around the old “Lok-Schuppen” (workshops for repairs and storage of locomotives) before it was time to leave. Sadly almost every entrance to the buildings was welded shut. It seems the only way in nowadays is through one of the smashed windows on the rooftops but with my already torn pants, I thought it might be better to take it somewhat easy. I’ve seen some photos from the inside online, and it’s marvelous. Maybe someone else will luck out after me. Enjoy the photos.
I’ve been quite busy lately creating logos for others, and I really enjoy the back-and-forth process with the customer where you see your sketch evolve to a finished design. But creating a logo for yourself, and for your own company, that’s a different story. First of all, you want it to look great of course. This will be the first thing people see when they hear about your business so getting it right from the start is quite essential. It has to be something you can live with for quite some time, and in my opinion, it has to convey som sort of meaning, or project som sort of feelings towards the viewer. Luckily I’m not alone in this since I share Brohemia with my sister Therese, and she always has great ideas and honest feedback.
We wanted a logo which really is a logo in the classic sense. Iconic, deatailed, easily recogniced and with some depth to it. Not just the company name in some hard to find, sometimes tweaked font. Since we also do murals with stencils, we wanted a simplified version of our logo which is linked to the main one. This is what our final selection looked like.
There are some hidden meanings and messages packed into the logo we settled for, and it’s really fun to create a logo like this. Especially since the all-seeing eye / illuminati image has a long history of secrets, hidden messages, myths and alternative theories attached to it. I’ve created an analysis for you guys so you can get a glimpse of the thoughts behind our logo.It also might inspire someone else to turn thoughts and words into visual material. At least I hope so.
With a new logo we needed new work clothes. So we set up a campaign over at Everpress to get our wardrobe sorted. We’ll be selling merch later on as well, but the difference during this first run is that the workwear comes with front and backprint, and is printed on premium garments. This ups the prices a bit, but in the long run, it’s worth it. In case you’re interested in grabbing a shirt, ladies top or sweatshirt or if you’re just curious about how the stuff came out, have a look here.
A few days ago I handed over three versions of a video I produced for Helsingborg’s Stad. I guess you could call it a trailer of some sort for the upcoming street art festival ArtstreetHBG. The original seed which sparked the idea for this video was the tagline; “Be there when dead walls come back to life”. After weeks of planning, pitching scripts and drawing up a storyboard the idea was given the green light. While my colleagues were busy hunting actors, clearing permits and making sure we had a casket for the shoot, I started creating props and shooting the VFX-footage.
The plot is quite simple. Mourning humans carrying a casket. All black. Spray cans, which are alive, are watching, wondering if the sorrow will ever end. One of the cans chooses to act. The can gets hurt (looses cap), and causes an accident. The cascet falls, out comes the body. But the body is actually a dead wall (mono-coloured bricks). The spray can brings the wall back to life by giving it colour back. Everyone happy.
I created black flags for drama and a dynamic image. Black smoke to up the drama some more. I chose bamboo-sticks for the flags so that I could hide the smokecharges inside the sticks. I had two sets of bricks, 16 “boring ones”, and 16 “happy ones”, which I painted one afternoon while my kid was asleep. I had some old spray cans in the studio which I banged up quite a bit to make them look really worn and broken. It’s always nice when the hero has some flaws in your story. The stakes are higher that way. I went and got this spinning breakfast-tray from IKEA which I painted green. After that, I started shooting my cans. I wanted them to be able to bend and spin at the same time in my video to make them look as “real” as possible. I could have used a photo of a can, and the PIN-tool in After Effects to get them to bend, but I think the rotating effects really worked well and gave it that extra nudge.
After the casket falls we reach a peak in the video. All hope seems lost but of course, it’s not. It never is. The bricks you see during the fall are the normal, unpainted ones. After getting my “misery-shots”, the pile of “dead” bricks was replaced with the coloured ones. All I had to do in post was to duplicate the layer (I made sure to shoot with a tripod of course), mask out the stones and de-saturate the masked out top layer. After this, I could simply keyframe the saturation back (by changing the opacity of my top layer from 100% to 0%), and voila, boring stones are no more. Add a touch of the 80’s and we’re golden.
I really enjoy using real, on-set effects where you get the result straight away. I’ve done reverseshots before and this was my go-to plan for the end, when the bricks come to life. I hade the actors throw the bricks into frame twice – so that the shot could be reversed later. I had my multitalented friend Christian walking backwards in frame to sell the effects a bit more.For the final shot things got a bit more complex. Here I had to shoot a backplate (a clean background of the wall which is blocked by rope and actor in my used shot), and mask out the rope and actor afterwards. It’s not that hard in theory, but on set, with time pressure, it occasionally happens that you forget the backplate. So I made sure to really get that down on the storyboard and shotlist. Here is the original footage for the scenes mentioned before they are reversed and masked. Just look at Christian! Walking like a pro even following the bricks in reverse with his gaze.
I’m so happy with the final production and I had a blast shooting it. We shot the whole thing in about two hours (!) and got everything we needed pretty much straight away. Of course I couldn’t have done it without the help of an amazing crew that day (and the days leading up to the shoot). There is a massive credits-list in the end of the video and it shows how much work everyone put in just to create this little bizarre, but lovely video.
The video will be playing before screenings at cinema Röda Kvarn in Helsingborg, on the big screen at the central station, all over the web and with a little bit of luck, on busses and trains. I’m so excited to see how it will be received now that it’s out after one stressful week of editing. Here it is – enjoy.
This summer my favourite spot in town, Gåsebäck, is the place to be if you’re into streetart. And I’m not only talking about graffiti. The Global Street Elements festival will include the entire spectrum from music to street-sport. I was given the honour to create the graphic elements for the happening and really enjoyed translating all the aspects of the festival into graphic shapes and symbols.
I sent of a few sketches and we all agreed on a round shape (representing “GLOBAL”). The “GSE” lettering also stuck so I created a separate, secondary logo using as well.
If you’re in Helsingborg August 24-25 and looking for something to do, Gåsebäck has you covered.