Our business cards are triplexed GF Smith Colorplan (Cool Grey, Bright Red and Pristine White) and have negative embossing, foil blocking and UV-varnish. The letter paper is Colorplan Pristine White with negative embossing and the S65 window envelopes are made out of Colorplan Cool Grey.

The promotional poster, which was mailed to selected advertising agencies, clients, design magazines and blogs, to promote the new website, is printed on both sides on MultiArt Silk paper with partial UV-varnish and water-varnish finishing. One side displays the actual website and the other the underlying code, two sides of our business. The intentional typo in the headline (neue instead of new) hints of the use of the Helvetica Neue typeface throughout the identity.

We designed the identity for the show comprising a WordPress blog, a logotype, posters and flyers plus a set of stickers. The key words of the identity was recycling, collaboration, engagement and creativity. This was emphasized on the poster by cropping the logotype to six different pieces and mixing them to create a graphical pattern. Along the lines of each piece, the paper was perforated so that the pieces could easily be ripped out and fit together to form the logotype. This calls for the previously mentioned creativity and symbolizes the act of collaboration and recycling. The perforation lines were set to resemble stitches on garments.

We designed Philip’s business cards and collaborated on a promotional poster for Victor Västernäs, a top sailor aiming for the London Olympics 2012. The poster was printed on Arctic Paper’s Munken Rough paper, a brand new quality that was not officially released at the time we printed the poster.

Lundgren+Lindqvist designed Anton’s full identity, including logotype, custom typography, web presence and the cover for his single ‘Lilla London’ (Little London).

Photo: Philip Ljungström

The posters were designed in a very structured and sophisticated way in order to differentiate it from the otherwise often chaotic layouts of it’s genres (reggae clubs) counterparts. Printed offset 52x72cm.

Since Jonas’ nickname is Stare (Swedish for starling) we felt it natural to make an illustration of starlings for the poster. The layout is based on a grid consisting of 4 columns and 20 rows (4+20=24). Printed offset 52x72cm.

The illustration represents the clash of the two neighbouring countries, who have a long history of rivalry. The poster was printed on uncoated, heavy stock.

Printed offset 52x72cm.

We were initially approached to programme the festival website. However, upon presenting a more comprehensive solution our part of the project grew to doing all design work (integrating the visual language previously developed for the Arn movies), designing and programming the website, negotiating media prices, incorporating social media in the marketing and so on. We worked with a project group and created a radio jingle (a medevial remix of one of Sweden’s most popular songs) and event marketing. We also had a live chat and live video broadcast from the press center (which was open to festival visitors) where we were working during the festival. An important aspect of our work was the honesty and transparency towards press and visitors which was also acknowledged in a few newspapers, many finding it amusing that ‘a festival with a medieval theme is the most modern when it comes to marketing’.

The website was built with WordPress. Arnfestivalen had it’s own Twitter, Flickr photostream, Youtube channel, blog, Facebook group and event. Numerous ads were designed and published in some of Swedens biggest newspapers as well as in the local press. Numerous articles were written about the festival and it was featured on Swedish channel TV4 and on GP TV.

A hand drawn 5 and a custom typeface was designed for the poster which was printed offset on both sides 52x72cm.