Together in collaboration with Guillermo Vázquez Bustelo we created the identity for Stockfish Film Festival 2015. We created the brand from scratch as the only existing element was the logo.
Stockfish European Film Festival in Reykjavík is an international festival that was held in Bíó Paradís, Reykjavík’s art-house cinema, and several other locations from February 19th – March 1st, 2015.
The festival’s home is Bíó Paradís, Reykjavík’s only independent art-house cinema, located right in the heart of downtown Reykjavík. Bíó Paradís regularly screens the latest art-house releases, classic and cult films, documentaries, shorts and special children programs.
Stockfish may be a new festival but it traces its ancestry to the year 1978, when Reykjavík Film Festival was first held. That festival was held regularly until the year 2001 but is now reborn under a new name.
As the festival is being reborn under a new name we wanted the identity to be bright, fun and notable. We wanted it to be abstract and inspirational in context with the festival's theme.
The illustrations represent different ideas that relate to Reykjavík and the film industry, such as camera elements and a film reel, fish skin, snow, waves, the corrugated iron from the houses outer walls, etc. The patterns amalgamate together to create a signal code, almost like a flag language for the festival itself.
Red, blue and yellow colors on their screen mode, as a reference to the film industry.
Featured on It's Nice That.
For my final project at Iceland Academy of the Arts I chose to make an artistic book about trees and timber. The book includes basic information on trees, an article about the tree
of life, as well as details on ten tree types I chose to analyze.
Why did I choose to work with wood and trees?
Trees have fascinated me since childhood. I always found them beautiful and I enjoy spending time surrounded by them in forests and parks. I like how a tree can be a simple sign of nature, but on deeper levels offer a tale on time and growth, or the relationship between nature and men. I would love to see more trees planted and cared for, especially in urban areas in Iceland.
I only realized I was interested in trees a few years ago, but I still did not know much about them. It wasn’t only the shape of the tree, or how it can contribute to a landscape or an urban environment. I liked the wood itself, what it can be used for and the variety of wood types. My dad is a carpenter, as well as my grandfather. Since an early age I have been surrounded with woodwork, timber, and carpentry workshops, which I am sure have influenced my interest and curiosity.
I wanted to take my curiosity further and explore the origins of the woodwork that we live with everyday. I was interested in understanding where something like my hardwood floor came from. What did it look like originally, as a tree?
A project done at Íslenska for Inspired by Iceland
Iceland Academy is a project launched by Inspired by Iceland to help tourists get the most of their visit to Iceland. The programme was specially designed to teach the essentials of Iceland. So by the end of term people would be able to travel, eat, and even shower like a local.
My contribution to this project was to create 12 badges, 1 for each course, sewed and photographed.
WDLND is a poster project I started in 2017. All posters are available at the WDLND store.
Selected logos made throughout the years, both personal and for clients.
A logo done at Íslenska ad agency for Vodafone Iceland for their new work environment policy, BESTA. The key words worked with were e.g. free seating, open work spaces, modern, creative, flexible and well organized.
As the pharmacy was turning 20 years old, they wanted a mini campaign for their birthday year. They wanted to give 20 percent discount of selected products throughout the year.
The brief was to show their wide variety of products they sell in stores. The solution was to form their logo out of products and photograph it.
Photographer: Axel Sigurðarson
This logo was my proposal for Sigur Rós new album and tour 2016.
I hand painted the vector drawing influenced by old Icelandic magic symbols.
Lunar Calendar for the year 2017 and 2018. First two (green and black) are for the year 2018.
Together in collaboration with Guillermo Vázquez Bustelo we created the identity for Reykjavík Fashion Festival 2015.
Here is a preview of the catalogue and the poster.
A poster series made in March 2013.
A project I did at the ad agency, H:N Markaðssamskipti.
The project was done for the Icelandic Association of Heart Patiens, a fund raising event to support financially the purchase of medical equipment for the National Hospital of Iceland.
The title says: Let's Strengthen the Heart Threads.
Video Editing: Gulli Maggi
And my dad who nailed the nails so beautifully.
A logo and re-branding I made for the agency I used to work at H:N Markaðssamskipti in 2013.
The website hn.is was designed by my former co-worker Salbjörg Rita Jónsdóttir.
An Album Cover I made for a christmas record for the Icelandic singer Sigríður Thorlacius.
The album includes 8 poems by 7 Icelandic poets and the songwriters are Guðmundur Óskar and Bjarni Frímann.
It is possible to listen to and buy the album (mp3) here.
Photographs in catalog and on sleeve: Guðmundur E. S. Lárusson.
I was asked to design a city pass for Reykjavík in the spring of 2013. All 4 passes offers the same access and discounts, except they are valid for a different period of time.
I wanted the passes to illustrate animals you can see in Iceland, so I came up with a viking with horns, a ram, a polar bear and a puffin.
A poster series made in late 2013.
Websites designed for App Dynamic in 2014.
A typeface made for personal use in the summer of 2011.
I made this typeface at a Type design course at Iceland Academy of the Arts fall 2011.
The assignment was to research one type designer and one of his typefaces. I chose the Dutch designer Wim Crouwel and his typeface Stedeljik. Crouwel worked for the Stedeljik Museum in Amsterdam and one of his most famous posters, is the poster Vormgevers.
He used an underlying grid for most of his work for the museum and allowed the grid to come through. He drew the letters V O R M G E V E R S but did not finish the rest of the alphabet. The Foundry drew the rest of it, and made it as a usable typeface.
What I did is I drew diagonal lines over his grid and made my typeface after that grid.