#lundgren + lindqvist

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Lundgren+Lindqvist / Critical Mass Studio (CM–S) / Tote Bag / 2014

[underligbesynnerlig]

Swedish surnames

Top 20 surnames that don't end in "-son"

Lindqvist - (fancy spelling) Tilia twig

Lindgren - Tilia branch

Berg - Mountain

Bergström - Mountain stream

Lundberg - Grove mountain

Lind - Tilia

Lundgren - Grove branch

Lundqvist - (fancy spelling) Grove twig

Berglund - Mountain grove

Sandberg - Sand mountain

Forsberg - Rapid mountain

Sjöberg - Lake mountain

Wallin - (fancy spelling) Field -in

Engström - (pretty sure it's a fancy spelling of Ängström) Meadow stream

Eklund - Oak grove

Lundin - Grove -in

Björk - Birch

Bergman - Mountain-man (not an actual mountain man, just a last name that ends with man)

Wikström - (fancy spelling) Bay stream

Holm - Small island

[th0h0e]

Graduate projects for Valand Academy in Sweden. Design by  Lundgren+Lindqvist

[ccadesignblog]

Critical & Cultural Studies - first post!

I’ve been asked, as part of my BA Graphic Design course, to begin writing a blog where I can write detailed posts about what I am doing in this module, together with other posts that reflect on sources that are important in developing my practice. For this first post, I was asked 2 questions - my answers are alongside the questions below. Is there a particular issue that is important to you or that causes you difficulties?

I always try to think about inclusivity during all stages of my design process, predominantly considering LGBTQ+ inclusivity, since I am part of that community.

I do find it tricky to consider other forms of inclusivity, particularly because I don’t want to cause offence by misunderstanding certain views or arguments – I guess this can be avoided by participating in constructive dialogue with a wide range of designers who have experience of different minority inclusivity. Are there examples of work by other designers/illustrators/practitioners that can be argued to have addressed this issue/problem?

The examples I have found are mostly relevant to visibility of the LGBTQ+ community – for example, the Gilbert font, created by Ogilvy & Mather in 2017 to commemorate the life and work of Gilbert Baker – the designer of the rainbow, or ‘pride’ flag.

This font is made of colourful elongated and rounded rectangles, to create the letterforms and uses the rainbow colours, mixing them together to suggest a cohesive community, one that is “open and fluid”.

(From: https://www.dezeen.com/2017/04/28/gilbert-baker-font-tribute-designer-lgbtq-rainbow-flag/)

The creators of the font want to see it used in protest signs and rallies – which is great, but it does call into question: why? Do they want to see it used in these situations to boost their own visibility, or that of the queer community? It’s difficult to know. Another example of designers addressing LGBTQ+ inclusivity is found in Lundgren + Lindqvist’s work for Icon magazine (2015)

Part of Icon’s Rethink feature – the studio reimagined the visual language of the queer community in black and white, deciding on a stylised asterisk as the multi-coloured flag would look less impactful as a series of grey stripes.

The asterisk “alludes to the Rainbow flag and to the flower” which has been adapted symbolically by queer men and women.

(From: https://www.lundgrenlindqvist.se/projects/hbtq)

This idea was expanded upon, with all the ideas collated and published in a newsprint publication. There is also a website (hbtq.me) which hosts an archive of free to use assets featuring the asterisk symbol.

Again, it would be interesting to find out more about the driving force behind this publication. At face value, the publication seems to be created by someone interested in queer culture and it appeals to the right audience without being overtly targeted. Further research:

- Look into Ogilvy & Mather – find out more about them and their font design, how the identify and other work, this may point towards an altruistic motive, or another reason for creating the Gilbert font.

- Look into Lundgren + Lindqvist – find out more about their work and any other inclusive projects. I’ll also see if I can download or view a copy of the publication as well as downloading some of the assets.

It would be helpful to consider other forms of inclusivity and how they have been addressed in design. I would also like to look at how physical and digital outcomes can affect inclusivity or at least the viewer’s perception of a message. References:

Morby, A. 2017 ‘Gilbert font created in tribute to designer of Rainbow Flag’, Dezeen [website] Accessed on 19th February 2020, Available from https://www.dezeen.com/2017/04/28/gilbert-baker-font-tribute-designer-lgbtq-rainbow-flag/

Alderson, R. 2015 ‘Lundgren + Lindqvist redesign the LGBT visual language for Icon magazine’, It’s Nice That [website] Accessed on 19th February 2020, Available from https://www.itsnicethat.com/articles/lundgren-lindqvist-lgbt-community-icon-rethink

I also read an interesting article with links to the best queer design examples - https://www.dezeen.com/2019/10/23/queer-design-andrew-campbell-50-years-lgbt-graphic-design/

[every-other-thing]

Akademi Valand by Llundgren+Lindqvist

[happywebdesign]

www.lundgrenlindqvist.se

[unttld]

Edouard Malingue Gallery branding by Lundgren+Lindqvist

[gdbot]

Lundgren+Lindqvist / Valand Academy / Next to the Ocean /... https://ift.tt/FtKQEi9 Telegram: https://t.me/gdesignbot

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[stampzt]

Critical Mass Studio » Lundgren+Lindqvist

[dailydesigner]

Roger Burkhard identity by Lundgren+Lindqvist

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Lundgren+Lindqvist / Critical Mass Studio (CM–S) / Cover / 2014

[illustratedstudy]

Roger Burkhard Full Program

○ Studio: Lundgren + Lindqvist

○ Location: Sweden

○ Client: Roger Burkhard

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[andren]

(via 16-Book-Design-Erik-Berglin-The-Bird-Project-Lundgren-Lindqvist-BPO.jpg (1500×1000))

[visionaryvisions]

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Lundgren+Lindqvist