Slanted Magazine #39—Stockholm by Slanted Publishers

slanted 39

stockholm

slanted 39 visits and authors ACNE, Andreas MartinLöf Arkitekter, Antikvariat Morris, Asso, Ateljé Altmann, Margot Barolo, Hannah Nova Beatrice, Bedow, Ida Brogren, Byggstudio, Centre of Nowhere, Johan Elmehag, FOLD studio, FontPeople, Lina Forsgren, Fotografiska, Aslak Gurholt, Payman Hazheer, Mathilda Holmqvist, Kanon Foundry, Trond Klevgaard, Kölqvist, Konst & Teknik, Konstbokhandeln Konstig, Carolina Laudon, Letters from Sweden, Ian Lynam, Dermot Mac Cormack, Malmsten Hellberg, Thomas Mandl, Tilda Mårtensson, Nathan Matteson, Matti Klenell Studio, Patrik Mollwing, Mia Nilsson, Joel Nkímyá, NM Type, Östberga Youth Center, Our Polite Society, Gábor Palotai, Carl Magnus Gustafsson, Paul & friends, Janik Sandbothe, Aaris Sherin, Lasse Skarbovik, SNASK, Heather Snyder Quinn, Karin Söderquist, Stockholm Design Lab, Stockholm Surfboard Club, Studio Christopher West, Studio Daniela Juvall, Studio Reko, teenage engineering, Clara von Zweigbergk

video interviews slanted.de/stockholm

welcome to stockholm

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US BETWEEN Portrait Series, 2020

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payman hazheer

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payman hazheer

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gábor palotai

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COSMOS Artist book, 2019

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gábor palotai

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gábor palotai

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SKAP—SWEDISH SOCIETY OF SONGWRITERS, COMPOSERS & AUTHORS Visual identity, 2020. Posters, website, printed material, animated films, artworks, social media

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gábor palotai

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RESTAURANT VIDEGÅRD Visual identity, 2018. Posters, website, printed material, animated films, artworks social media

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our polite society

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STUDIO VIEW, JENS SCHILDT

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our polite society

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PLAN B PROJECTS Poster series, 2016

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delayed union Opening Friday May 19 17.00 — 21.00

delayed union Joost Krijnen

Our Polite Society

our polite society

Joost Krijnen Mertens Frames Project Space Plan B

doing thinking drawing Mertens Frames Project Space by Plan B Hamerstraat 22 1021 JV Amsterdam

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breaking

Exhibition May 20 — June 3 Friday and Saturday 13:00 — 17:00 And by appointment

www.planbprojects.nl

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Mertens Frames Project Space Plan B

Rumin natio Tale Mertens Frames Project Space by Plan B Hamerstraat 22 1021 JV Amsterdam

Opening Friday October 21 17.00 – 21.00

Our Polite Society 2016

Sara Bjarland & Charlott Markus

Exhibition October 22 – November 5 Friday & Saturday 13.00 – 17.00

And by appointment.

the mirr or flies

time

Friday October 21 Hamerstraat 22 www.planbprojects.nl Amsterdam

diego diez pam virada the mirror

visible change work from ovtside

svnday children pizzas from febrvary 5 vntil lazy exhibition febrvary 21 corner accessible at all times thanks for everythingwww planbprojects nl mertens frames project space by plan b hamerstraat 22 amsterdam

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ovr polite society 2021

city

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our polite society

Rumination Tale Sara Bjarland & Charlott Markus

our polite society

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SANDBERG INSTITUUT & GERRIT RIETVELD ACADEMY Signage, 2020. Amsterdam

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our polite society

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studio christopher west

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ODE 707 The word “INUTI” set in concrete next to the sculpture ODE 707 in Årstaberg, Sweden, 2020. Sculpture: Ulla West. Typeface: Studio Christopher West

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studio christopher west

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BIGERT & BERGSTRÖM WORKS 1986–2016—ALL THE KING’S HORSES Book, 2017. CD: Björn Kusoffsky—Book series, 2015. Publisher: Sternberg Press

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bedow

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DANIEL JENSEN—CURRENT EVENTS Book design, 2019. Designers: Perniclas Bedow, Anders Bollman, Petter Dybvig. Client: Björkholmen Gallery

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bedow

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johan elmehag

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IAMGROWTH Branding, 2021. Client: XXL Reklam & Kommunikation

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johan elmehag

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ARRP Poster, 2021

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johan elmehag

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TYPE ONE LINE AT THE TIME Type design explorations, 2019–2021

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johan elmehag

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SUNWARD Poster, 2021

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stockholm design lab

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OMAKA Brand identity, 2020. Client: Spendrups Brewery

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stockholm design lab

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DAYLIGHT & ARCHITECTURE Magazine cover designs, 2012–2018. Client: VELUX. Cover artwork / photography: Simon Schubert, Daniel Blaufuks, Ole Christiansen, Jesper Waldersten, SDL, Robert Polidori, Susanne Wellem, Torben Eskerod, Gregory Halpern

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acne

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ARCHITECTS SWEDEN Visual identity, 2020. Client: Architects Sweden. Design: Ramiro Oblitas, Ludvig Franzén

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acne

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snask

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STUDIO VIEW, ERIK KOCKUM, FREDERIK ÖST TURNING TABLES Concept and production, 2019. Client: Turning Tables

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snask

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kölqvist

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STUDIO VIEW, MAJA KÖLQVIST

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kölqvist

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HONORE MAGAZINE—MOVEMENT Creative direction and visual identity, 2017. Client: HONORE magazine. Design: Carl von Arbin

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fold studio

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FILIP KLEREMARK

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fold studio

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TRÈS BIEN ATELJÉ—SUN BUDDIES SS21 Branding, 2021. Client: Très Bien Design concept, 2021. Client: Carhartt

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konst & teknik

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STUDIO VIEW

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konst & teknik

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STUDIO VIEW, VISIONS OF THE NOW Visual identity and design of printed archive for art festival, 2013 / 2016. Client: Anna Lundh

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clara von zweigbergk

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PAPER PAPER BIN Paper bin made from a single piece of cardboard, 2020. Client: HAY

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clara von zweigbergk

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STUDIO VIEW, CLARA VON ZWEIGBERGK THE ORIGAMI FAMILY Limited edition of 200 handmade paper dolls, 2021

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andreas martin-löf arkitekter

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ANDREAS MARTIN-LÖF

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andreas martin-löf arkitekter

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SNABBA HUS VÄSTBERGA AND RÅCKSTA Affordable housing, Västberga Stockholm, completed 2016. Client: Svenska Bostäder. Photography: Johan Fowelin

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matti klenell studio

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UNTITLED Illustration, 2021

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matti klenell studio

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STUDIO VIEW, MATTI KLENELL

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studio reko

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STOCKHOLM METRO—100 STATIONS, FRIDHEMSPLAN STATION Photo series, 2019

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studio reko

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RISSNE STATION

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thomas mandl

108

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FÖNSTERSHOPPA Photo series, 2021

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thomas mandl

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138 Fontnames Illustrated Seven Artists Give Their Interpretation of Contemporary Fontnames

Mia Nilsson Patrik Mollwing Mathilda Holmqvist Karin Söderquist Lasse Skarbovik Tilda Mårtensson Ida Brogren

Fontnames Illustrated

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139 M I A N I L S S O N

V I K I N G A R → 234

Mia Nilsson—VIKINGAR (Lilli Jemska)

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144 T I L D A M Å R T E N S S O N

E K L I P S → 233

Tilda Mårtensson—EKLIPS (Letters from Sweden)

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145 I D A B R O G R E N

S Ö D E R M A L M → 231

Ida Brogren—SÖDERMALM (Skybäck Design)

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146 10 × 10 10 Questions and 100 Answers Glenn Sjökvist—Antikvariat Morris M. D. Lindahl & T. Ragnartz—Asso Christian Altmann—Ateljé Altmann Margot Barolo Hanna Nilsson—Byggstudio A. Kullander-Östling—Centre of Nowhere Lina Forsgren Elin Frendberg—Fotografiska S. Malmsten—Malmsten Hellberg H. N. Beatrice—The New Era Magazine 10 × 10

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147

You are blond with blue eyes, are unemotional, and avoid conflicts, love Abba, never complain about taxes, drive a Volvo, and now a Polestar, work for IKEA, love Köttbullar, meatballs, and “Fika,” the ritualistic coffee break. Any other things you would like to add to this list so our readers get a better understanding of who you are? (Sorry for being so stereotypical) Glenn Sjökvist Wow, you really covered almost everything! Did you take a sample of my DNA without me seeing it? We would also add “en öl efter jobbet” (a beer after work). Tilda Ragnartz We do love taxes. So no debate here! Things I’d like to add to the list: We are super-excited about Swedes being successful abroad and might overestimate just how influential they are in their respective foreign countries, we love talking about urbanization problems, and we blissfully acknowledge ourselves as the good guys in world politics even though we trade weapons to dictatorships. It is interesting as well to think about how the government of Sweden has acted during COVID. They have quite often opposed the worldwide mainstream and have not really been strongly opposed by the Swedish people in doing so. That must say something about us, I guess. Christian Altmann I am dark blond with green eyes, I am emotional sometimes and try not to avoid conflicts. I love Abba, always complain about taxes, and drive a Volkswagen, still do. IKEA was long time ago and “Fika” is a religion, even for me as a Swiss, haha. Margot Barolo Haha, yes, that’s such a stereotype and it’s also a little bit true! As a person with a mixed background: half Swedish and the other half Italian / French / Pakistan—I can agree. I do believe it’s a part of the Swedish sole because it sometimes gets very obvious when you have other references as in your family. Many of our Swedish friends think we fight when we only discuss something with passion. The Swedes always seek consensus in their relationships. It makes it a little boring. We can also add that we’re very non-hierarchical compared to other countries. We love to work in flat organizations and believe it’s the best way to make use of every thought that can make a change. I also want to add the words solidarity and naivety. We are still, despite some changes, in majority who want to help people in need. We have faith in the systems, and become surprised when someone doesn’t follow agreements or take advantage of the system. Whether it’s a person or a nation. Maybe because we haven’t been to war for many hundred years and have had our welfare system up until recently. Hanna Nilsson I am sure checking a lot of stereotypical boxes in the description of the rather homogeneous group of Stockholm designers. I think the picture should have to be tweaked though: The closest I will ever get to a polestar is my electric bike but it’s Dutch, although my Thule bicycle cart for the kids is probably my version of a Volvo. I binge coffee but from my klean kanteen cup on the go and don’t take a lot of time for real “Fika,” enjoy “Köttbullar” occasionally but of course try to do more vegetarian alternatives. In 2021, I think many would prefer Robyn before ABBA, even though their melodies are great. I don’t complain a lot about taxes no, but I am definitely a very emotional person (perhaps due to my Southern Skåne origin) and sometimes blame Stockholm for me having adapted to a more restrained personality here than my “real” one—which I like to imagine comes alive whenever I meet a Skåne-, Danish-, or other foreign person.

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10 × 10

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10 × 10

slanted video interviews 220+ figures of the design scene slanted.de/videos switzerland istanbul paris new york marrakech portugal warsaw helsinki athens

tokyo dubai prague rwanda los angeles stockholm

165 Essays

Carolina Laudon Heather Snyder Quinn Dermot Mac Cormack Aaris Sherin Trond Klevgaard Nathan Matteson Aslak Gurholt Ian Lynam

Essays

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166 Carolina Laudon

Creating a New Typographic Landscape in Sweden? Four Criteria to Consider

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Carolina Laudon

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167 From 1483, when German printer Johann Snell set up his printing press on the island Gråmunkeholmen in the archipelago of Stockholm, Sweden, has mainly imported typefaces, mostly from Germany with whom we share our character sets. The letters Å, Ä, and Ö are of huge importance for the Swedish language. Major Swedish production of typefaces only started in the mid20th century. The first criteria on my list to create a new typographic landscape would be to have a long time of dependency on a foreign craft. The second criteria is to have insight into a country’s sociocultural history, how the citizens interact with its culture. An understanding in this field becomes important later on. I cannot think of anything more Swedish than IKEA, Ingvar Kamprad Elmtaryd Agunnaryd, founded in 1943. The idea of assembling the last parts of a chair is an act of independence that is profound and very close to the Swedish soul. It is more about the act of independence, than D.I.Y., Do It Yourself. There is a sphere of antiestablishment and strong democratic feeling that is profound within the Swedish soul. IKEA grew when Swedes were seeking a new affordable living situation after WWII. So, this would be the third criteria on my list; an audience, people that are desperate for a change. Now, one might argue that a long tradition of production and genuine education in the field is the only sustainable way to go. But today’s technology has made the dream of font production realistic for another group of designers with little or no formal education in type design and production. With contemporary digital tools a typeface can be made without skilled type designers and font engineers. This would be the fourth and the last criteria; the tool, the method, the “how-to-put-it-together-chart” from IKEA, and then what can go wrong? Here is where the multifaceted concept of a typeface enters, since it can carry both legibility and identity in one go. While type design as we know it usually starts with interpreting new ways of legibility and function, these new fonts have been created totally starting from the opposite perspective; the identity. They are not your standard functional corporate fonts as an extension of the logotype. They can be the major identifier for brands that have a lot to say, to the extent that you may not even care about the logotype. Being a custom font designer for companies for over 20 years, some with pretty distinctive identities, and yet my Oatly collaboration seems to get the most attention. And they may very well have sparked the creation of this new landscape. Oatly started out small and wanted a generous identity that did not hold back. They also identified a very demanding audience who listened and wished for a vegan product and a brand that was independent and antiestablishment. The timing could not have been better. To a large extent the identity had to be typography driven, since Oatly as a company has a lot of important things to say. And initially it all had to be said on the packaging.

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Carolina Laudon

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186 Trond Klevgaard

Stockholm, 1930

A Snap-Shot of the Graphic Scene in Stockholm, 1930 → 232

Trond Klevgaard

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187 In 1930, Stockholm stood on the threshold of a new age in architecture and design. This was the year of the Stockholm Exhibition. It ran from May until September, and is commonly considered to mark the breakthrough of functionalism in Swedish architecture. What is less well-known is that the exhibition also marked a breakthrough for the New Typography in Sweden. The following details what someone interested in the latest developments in typography and graphic design may have encountered during a brief visit to Stockholm. Arriving by train at Central Station, our visitor might jump on the number five tram to Norrmalmstorg where signs announcing, “TO THE EXHIBITION” in Swedish, German, English, and French could be seen. These messages were painted in condensed black sans serif letters over a large red number “22,” indicating the number of the special tram line set up to transport people to the exhibition ground. At the south side of the square one would spot the modern window displays of the MEA department store. Inspired by advances in advertising and abstract art, these were created by Harald Rosenberg (1898–1976). Products were displayed alongside large slogans written in sans serif type, brand names and other information in the manner of a poster. The products were commonly arranged in repeating rows, or groups of three or five which in turn were integrated into larger asymmetric, often angular compositions containing elements such as stylized mannequins or geometric shapes. Anyone interested in New Typography would doubtlessly also be drawn to one of the Swedish Cooperative Society’s many Konsum grocery stores. These were all instantly recognizable by their exterior signs, executed in standardized lowercase sans serif lettering. Konsum’s use of lowercase sans serif carried on inside the stores, through the use of posters, and in print ads. The only text set in uppercase were the names of the Cooperative’s own brands, like EVE margarine. From Norrmalmstorg it was only a short ride along the waterfront to Djurgårdsbrunnsviken, where the Stockholm Exhibition was located. After passing through the airy, flat-roofed entrance one quickly progressed into a modern urban environment, sensitively rooted in the picturesque natural surroundings. A festive atmosphere was created by the abundance of flowers and flags. The flags were both Swedish ones and special red, yellow, and white ones featuring the exhibition’s symbol. Advertising and lettering could be seen everywhere. Posters were displayed on designated columns. Modern graphics and lettering were integrated into the design of the many kiosk dotting the exhibition area. Lettering was knowingly used to unifying the exhibition’s visual appearance. Chief architect Gunnar Asplund (1885–1940) had commissioned Sigurd Lewerentz (1885–1975) to create a geometric sans serif typeface which all exhibitors were required to use for their signage. The letters were executed in wood and could be purchased in four different

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Trond Klevgaard

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213 Appendix

Hot Spots Publications Playlist Contemporary Swedish Typefaces Index Useful Swedish Phrases Colophon

Appendix

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220 Established in 1994, Konst-ig is Scandinavia’s premiere art bookseller, specializing in books on art, architecture, design, fashion, graphic design, and photography. Book signings and presentations occur every week during the season. With their webshop konstigbooks.com, they aim to spread quality books on Swedish visual arts to an international audience.

Konstbokhandeln Konst-ig Åsögatan 124 11624 Stockholm +46 8 204 520 info@konstig.se Monday–Friday: 11 a.m.—6 p.m. Saturday–Sunday: 12 p.m.—4 p.m.

Perhaps the most important architecture book in the past 20 years. This seminal 712page book on the 20th-century master architect Sigurd Lewerentz is published to accompany the exhibition at ArkDes museum from fall 2021 to August 2022. Lewerentz was an uncompromising genius whose greatest contribution was made when he was an old man. The book is a complete overview on buildings, unbuilt projects, retail space, landscape design, offices, exhibition, furniture, and above all, churches, and cemeteries. Sigurd Lewerentz: Dödens och livets arkitekt / Kieran Long, Johan Örn, Mikael Andersson / ArkDes / 2021 / 23 × 30 cm

The Poet of Stockholm. Photographer Gunnar Smoliansky is to Stockholm what Josef Sudek is to Prague. This massive two-volume paperback brings together and republishes nine book collaborations between the late photographer and the renowned graphic designer Henrik Nygren. The 1,200 pages with 473 photos are printed on light, uncoated paper. It’s archive of a great and much admired photographer. It’s a love story and personal memorial to Nygren’s dear friend. Gunnar Smoliansky 1933– 2019 / Henrik Nygren / Henrik Nygren Design / 2021 / 17 × 24 cm

Approaching history through the personal: Xenia Nikolskaya incorporates maps, official documents, and archival images with her own photography to tell an engaging story about her family but also about a country—the Soviet Union. The House My Grandfather Built is her second book and a winner of the Swedish Photo Book Prize 2021. The framework of the story is the green house built in the 50s when her grandfather was released from Gulag. Xenia Nikolskaya is a Russian-Swedish photographer who is currently based in Cairo. Xenia Nikolskaya: The House My Grandfather Built / NikolskayaLund Publishing / 2020 / 15 × 22 cm

Winner of Swedish Book Art Award 2017. Åsa Pärson is the star of a new generation handweavers. Delicate, contemporary, simply stunning samples, or test weaves, are collected in the book Fabricate (English and Japanese text). Together with graphic designer Lisa Rydell and photographer Karin Björkquist, Äsa Pärson has managed to translate her textile samples into an inspiring book— it’s a gem! Her second book Yoroke was published in 2021 and it is a sublime experience looking at Pärson’s work. Åsa Pärson: Fabricate (second edition) / self-published / 2018 / 21 × 27 cm

The singular graphic language of the talented contemporary artist Joakim Ojanen has a worldwide appeal. With 40,000 passionate followers on Instagram and sold out exhibitions in Europe and the US, Ojanen is one of Sweden’s most successful artists. He works in painting, sculpture, and drawing, creating a universe of zany, cute characters. This book is a collection of his charcoal drawings, mostly in black and white, produced over a two-year period. Joakim Ojanen: Charcoal Drawings 07.20.2018-12.05.2020 (poster edition) / IPMOS Books / 2020 / 27 × 34.5 cm

Enzo Mari in Swedish. Journalist (and educated cabinetmaker) Erik Eje Almqvist took on the task of inter-preting and translating the late Italian designer Enzo Mari’s DIY manual Autoprogettazione? from 1974 into Swedish and Swedish standards. Hammare och Spik (A hammer and nails) and some wooden boards is all it takes to build these furniture pieces. Not only did Mari produce a how-to manual but also an educational book on basic construction. Hammare och spik / Erik Eje Almqvist / Natur & Kultur / 2020

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Publications

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221 Joel Nkímyá is a multi-disciplinary creative from Stockholm. Nkímyá is the founder of artist management SION representing artists as Blenda and Bennetts. Nkímyá also runs the creative Swiss army knife studio K3:23 working with clients as Swedish House Mafia, Salvatore Ganacci amongst many.

Swedish RnB star Zikai has an extraordinary voice full with emotion.

Zikai / First Place / 2021

Joel Nkímyá @jesus___child Scan the QR code or follow this link to turn on the music: bit.ly/32v3rsy

This is one of Sweden’s future icons. Becky has enchanted everyone with her dreamy production and with her angelic voice. Becky and the Birds / Do U Miss Me / 2020

There’s no one as smooth and vibey as Napoles. Her Circulate record has become a “Sthlm anthem.” Nápoles / Circulate / 2020

I met Mona when she was 17. It quickly strucked me how much emotion she carried with her voice. I see her as a reporter from the Gen Z’s of modern Stockholm. Mona Masrour / 2 Steg Remix / 2021

Daniela is rare. Her raw image and amazing melodies is to die for. It’s a written fact that she has one of the best voices coming from Sweden. Daniela Rathana / Havanna / 2021

Super chill and cool Hannes combines folk and alternative pop / soul in a very beautiful way. Super excited to see what the future holds for him. Hannes / Snooze / 2021

Love this song. The couple Seinabo and Hannes makes you wanna be a part of their relationship. Seinabo Sey, Hannes / Rom-Com / 2021

This new indie band is highschool friends of mine that just make uncompromising music that I truly love. They are not scary tho, they’re literally the kindest guys. Scary Monsters / Shining on Me / 2021

Sam is probably one of the coolest artists this country has to offer. I love his mixture of alternative melodies combined with influences from Prince and D’Angelo. Sam Ezeh / Relay / 2021

I am biased of course. Blenda from SION is a diamond that the world truly hasn’t experienced. 2022. Wait for it. Blenda / Funeral / 2020

The group formerly known as Bennett is also from the SION roaster. This song is amazing. The band is RIP. But have patience. 2022 gives new life to new things. Pay attention. Bennett / Lev med mig ft. Kamohelo / 2020

Salvatore is like no other artist. His live performances are beyond this world and his music is a cultural journey. Salvatore Ganacci / Fight Dirty / 2021

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Playlist

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228 Stockholm Metro by Frans Wiklund and Ludwig Mattsson Typelabel: Studio Reko URL: studioreko.com Year of Release: 2019 Weight: Regular Language Support: Latin OpenType Features: Arrows

agrKGR abcdefghijklmnopqrstuvwxyzäö ABCDEFGHIJKLMNQRSTUYZÄÅ 12345790&$€@.,-:;!?’)]}*“”»«↔↗

Optimized for Web: No Testversion available: No About: The Stockholm Metro—100 Stations project was initially meant to be a purely photographic one. When the photographing was coming to an end they realized they now had hundreds of photos and nowhere to really show them. Therefore the team decided to expand the project to also include a photo book. While designing the book they noticed that the digital screens on the platforms, metro trains, etc. were a common element in the photos, that led them to also design their own interpretation of the typeface used on the screens to accompany the book.

b a n a → 236

91 Stazioni Per → Voi :-)

Tunnel ↓ ↑ Tunnel Contemporary Swedish Typefaces

b a n a

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229 Östberga Type by Rola, Nima, Mohammed, Riccardo, Klara, Fabian, Masa, Bo, Amin, and Ali from Östberga Youth Centre, together with Göran Söderström from Letters from Sweden and Studio Daniela Juvall Typelabel: Letters from Sweden, Studio Daniela Juvall URL: ostbergatype.se Year of Release: 2018

agrKGR

aabbeefggjkmmqrrsstxxyyzäåå AABBEFGGJJKMMQRRSSTZ ÄÖÖ 1 112 2333445678 9 0& . , !?)» «Ö

Weight: Regular Language Support: Latin OpenType Features: Stylistic Sets, Stylistic Alternates

8 Center SHOCK Äpple Ö

Optimized for Web: Yes Testversion available: The font is for free About: Östberga Type was developed by ten kids from Östberga Youth Centre together with type designer Göran Söderström and graphic designer Daniela Juvall. With thick black graffiti pens and hundreds of meters of paper covering the floor of a gymnastics hall, the kids drew letters as they wanted–imaginative, messy, and playful. The font was used throughout the design for the exhibition Östberga, Östberga by Stockholm City Museum.

A A A A Aaaaa h å H !!! H Ö ̊

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Contemporary Swedish Typefaces

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238 SLANTED MAGAZINE TYPOGRAPHY & DESIGN CULTURE SPRING / SUMMER 2022 39 STOCKHOLM PUBLISHER Slanted Publishers Nebeniusstraße 10 76137 Karlsruhe Germany T +49 (0) 721 85148268 magazine@slanted.de slanted.de TEAM Editor in Chief (V.i.S.d.P.) Lars Harmsen Art Direction Lars Harmsen Managing Editor Julia Kahl Proofreading Julia Kahl, Vicky Blake Assistance Graphic Design Nina Steimel, Franzi Häußner Final Design Clara Weinreich, Julia Kahl Photography Thomas Mandl Video Editing Max Clausen

PRODUCTION Printing Stober GmbH, Druckerei und Verlag Eggenstein / Germany info@stober.de, stober.de Book Binding Josef Spinner Großbuchbinderei GmbH Ottersweier / Germany info@josef-spinner.de, josef-spinner.de Cardboard Cover Invercote G, 280 gsm Paper Inside Holmen TRND 2.0 80 g / sm Holmen TRND Vintage 2.0 70 g / sm Manufactured by Holmen Paper AB Norrköping / Sweden holmen.com Spot Colors HKS Warenzeichenverband e. V. Stuttgart / Germany info@hks-farben.de, hks-farben.de HKS 42 N Fonts Rund Display, 2021 Designers: Göran Söderström Label: Letters from Sweden / lettersfromsweden.se Ivar Text, 2017 Design: Göran Söderström Label: Letters from Sweden / lettersfromsweden.se Suisse Int’l / Neue, 2011 Design: Swiss Typefaces Design Team Label: Swiss Typefaces / swisstypefaces.com

SLANTED WEBLOG Editor in Chief (V.i.S.d.P.) Julia Kahl Editors slanted.de/publisher/profile-contact VIDEO Video interviews slanted.de/stockholm

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Colophon

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239 SALES AND DISTRIBUTION

ACKNOWLEDGEMENT

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This issue could not have been realized without the enthusiasm and support of the following people: ACNE, Andreas MartinLöf Arkitekter, Antikvariat Morris, Asso, Ateljé Altmann, Margot Barolo, Bedow, Ida Brogren, Byggstudio, Centre of Nowhere, Johan Elmehag, FOLD studio, FontPeople, Lina Forsgren, Fotografiska, Aslak Gurholt, Payman Hazheer, Mathilda Holmqvist, Kanon Foundry, Trond Klevgaard, Kölqvist, Konst & Teknik, Konstbokhandeln Konst-ig, Carolina Laudon, Letters from Sweden, Ian Lynam, Dermot Mac Cormack, Malmsten Hellberg, Thomas Mandl, Tilda Mårtensson, Nathan Matteson, Matti Klenell Studio, Patrik Mollwing, Mia Nilsson, Joel Nkímyá, NM Type, Hanna Nova Beatrice, Östberga Youth Center, Our Polite Society, Gábor Palotai, Carl Magnus Gustafsson, Paul & friends, Janik Sandbothe, Aaris Sherin, Lasse Skarbovik, SNASK, Heather Snyder Quinn, Karin Söderquist, Stockholm Design Lab, Stockholm Surfboard Club, Studio Christopher West, Studio Daniela Juvall, Studio Reko, teenage engineering, Clara von Zweigbergk A big thank you to Thomas Mandl for the friendship and the great days together in Stockholm. You took wonderful photos for this issue. Beyond, it was a privilege and a pleasure to have met your friends in Stockholm. Without you no swimming in the archipelago, no Midsummer party at Joel Nkímyá and his family (see playlist → 221), no insider tips and cool meeting places! And without you also no Kalles Caviar :) Joel Nkímyá & Blenda, we thank you from the bottom of our hearts for the wonderful Midsummer party. Everything was like a dream: perfect weather, dear friends, great music, your super cute baby ... All the best for you in your new home! Also thanks to our two hotel partners, Miss Clara Hotel and Downtown Camper. We felt very comfortable and were able to recover and strengthen ourselves during these exhausting production days. Also in this issue, we thank Tom Barbereau for text support, especially the foreword. For this issue we teamed up with Reell, a pan-European fashion brand on a mission to innovate and create. Thanks to Oliver Theisen and the wonderful team of Reell, 100 limited bucket hats are now exclusively available in the Slanted online shop. Make sure to grab yours: slanted.de/shop/product/limited-special-edition-stockholm We are very grateful for the support of Holmen Paper, who have provided us with fantastic papers for this issue— special thanks go to Holger Tietje, who made this possible. Thanks to our long-standing printing partners at Stober near Karlsruhe for the great production, especially to Thomas Appelius and Joachim Schweigert who always do their best! A special thanks to our supporters out there on social media. You help a lot, sharing our work to the world, making Slanted a wonderful community of design interested people. We love you! The publication of this issue was hampered by numerous pandemic-related outages. Nothing, however, compared to the fears we now have in the face of the war in Ukraine. We hope for an early end to this war in Europe and wish for nothing more than peace!

Contact Julia Klose, T +49 (0) 721 85148268 julia.klose@slanted.de Slanted Shop (best!) slanted.de/shop Stores (all over the world) slanted.de/publisher/distribution Distribution airport & stations IPS Pressevertrieb GmbH / ips-d.de International Distribution Antenne Books / antennebooks.com Distribution US Small Changes / smallchanges.com Import News / import-store.com ADVERTISING We offer a wide range of advertising possibilities online and in print. For advertising inquiries please get in touch with: Julia Kahl (advertising management / sales) +49 (0) 721 851 482 68, julia.kahl@slanted.de AWARDS (SELECTION) ADC of Europe 2020, 2010, 2008 ADC Germany 2021, 2020, 2019, 2015, 2014, 2013, 2012, 2011, 2010, 2008, 2007 Annual Multimedia 2013, 2008 Berliner Type 2009 (Silver), 2008 (Bronze) DDC 2019 Designpreis der BRD 2009 (Silver) European Design Awards 2020, 2011, 2008 Faces of Design Awards 2009 iF communication design award 2007 German Design Award 2020, 2018, 2017, 2016, 2015, 2014 Laus Awards 2009 Lead Awards 2008 (Weblog des Jahres), 2007 Lead Awards 2013 (Visual Leader / Silver) red dot communication design awards 2017, 2008 Type Directors Club NY 2011, 2008, 2007 Tokyo Type Directors Club 2021, 2015, 2014 Werkbund Label 2012

DISCLAIMER The publisher assumes no responsibility for the accuracy of all information. Publisher and editor assume that material that was made available for publishing, is free of third party rights. Reproduction and storage require the permission of the publisher. Photos and texts are welcome, but there is no liability. Signed contributions do not necessarily represent the opinion of the publisher or the editor. The German National Library lists this publication in the German National Bibliography; detailed bibliographic data is available on the Internet at dnb.d-nb.de.

Colophon

Slanted 39—Stockholm

hejdå

Julia, Lars, Thomas

Slanted 39—Stockholm

In previous years, during the Midsummer Festival, the weather was crappy. So we were told. Jokes were made about us because we were so optimistic, running around in shorts and applying sunscreen. To celebrate the summer solstice, the longest day of the year, a maypole is decorated and erected, around which people gather to dance and sing. Everyone is dressed up nicely and has flowers in their hair. As said, it usually rains … The festival consists of a single running in and out; everyone is comatose drunk. When we went to Stockholm in June 2021, we had the best weather imaginable! On a Sunday, our photographer Thomas suggested to go to the Archipelago, the islands spread in front of the city. We spent the whole day swimming in the sea and suntanning. Driven by hunger, we headed back to town after sunset. On the way to the car, Thomas pulled a blue tube out of his pants and squeezed a fish paste onto a piece of crispbread. What first was a surprise for us—caviar paste in tubes on crisp bread—became part of our daily menu. A few months later, Lars started designing countless covers for this issue. Wooden horses, Königin Sylvia, Björn Borg, IKEA, ABBA, Greta, Stockholm Syndrome … Hungry by the lack of imagination, he took comfort in the refrigerator. There it was, the ultimate motif for this issue! A souvenir from Sweden, a virgin tube of Kalles was left. Julia made the impossible possible. After several mails and phone calls, she managed to capture not only the rights but also the story of Kalles. At the beginning of the 20th century, someone accidentally mixed oil in the batter and the caviar of our time began. Factory manager Gunnar Stensby at a company called Abba, believed in the taste. Children in par ticular loved it. The spreadable caviar was first sold on trial in white, unmarked tubes. Test sales exceeded expectations. In 1954, the advertising agency decided that the caviar would be sold primarily as a spread for kids. The tube would be decorated by a boy and be really Swedish: the iconic blue and yellow. Christian Ameln was CEO of Abba and had a six year old boy Carl “Kalle” Ameln who ended up on the tube. 68 years later, over ten million Kalles are squeezed per year (about one tube per Swede). Carl “Kalle” Ameln is today 76 years old and still eating a Kalles sandwich every day! During our stay in Stockholm we found out a lot about design and branding made in Sweden, much beyond caviarpaste on crisp bread. Midsummer of 2021 was the best, and it never rains in Sweden. Enjoy!

This issue of Slanted Magazine goes along with additional video interviews which have been conducted by the Slanted team in June 2021 in Stockholm. To watch videos scan QR code or visit slanted.de/stockholm

slanted 39 typography & design culture

spring / summer 2022 issn 1867-6510 at eur 22 ch chf 25 de eur 18 se sek 250 uk gbp 25 us usd 28 others eur 21 slanted.de

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