• Andreasengelbreckt-lead

    Introducing: The studio of Andreas Engelbreckt

Graphic Design

Introducing... The meticulous portfolio of Danish designer Andreas Engelbreckt

Posted by James Cartwright,

Andreas Engelbreckt is a young Danish designer currently completing a Masters in visual communication at the Royal Danish Academy of Fine Arts. We were first drawn to his work having seen his Panneau typeface – a font that evokes the decorative letterforms of 1940s French typography – but quickly discovered an impressive body of work focussing on classic type design and branding projects. We got in touch with Andreas to find out a little bit more about his practise and have a good old snoop around his desk space.

  • Andreasengelbreckt-1

    Andreas Engelbreckt: Studio

  • Andreasengelbreckt-5

    Andreas Engelbreckt: Process

  • Andreasengelbreckt-4

    Andreas Engelbreckt: Process

Where do you work?

Most projects start with me sitting in the corner of my apartment with a notebook and my laptop. I guess you could call it my studio – it’s basically a chair, a lamp, two shelves with books and magazines, and a big box full of paper, art supplies and even more books. It’s not much, but it works out well. I can spread out inspirational material on my floor, and look at it from up high on my little throne. Later on, when I start producing the actual work, I work wherever there’s a surface – at school, a friends apartment, a cafe and sometimes just on my own floor or dining table. It really depends a lot on what kind of printing facilities i need, unfortunately I don’t have a plotter at home – yet. 

How does your working day start?

If I’m working at home, I always leave my apartment for a little while before I start working. I’ve found that I work better if I trick my mind it into thinking it has left home and arrived at work. Otherwise I get stuck in a limbo where I’m not really sure whether or not my working day has begun.

I have to admit, I envy people who are good at getting started. I used to be very bad at starting the day, I would sometimes spend the first half of the day procrastinating, especially in the early stages of a project. Now I start working right away, then after half an hour I break for a little while, to make coffee, answer mails and check random internet stuff and things like that. Then, since I’ve already started working, it’s easier to get going again. Well begun is halfway done I guess.

  • Andreasengelbreckt-17

    Andreas Engelbreckt: Kulturnatten

  • Andreasengelbreckt-18

    Andreas Engelbreckt: Kulturnatten

How do you work and how has that changed?

I always start with words, I write endless lists and notes, as if I think I can solve the problem by writing about it. Of course, I never can. Then I collect inspirational and informative material – books, quotes, definitions, images and things like that, constantly organising everything I find and taking more notes. I’ve also found documentaries to be very helpful (there’s a documentary on almost everything) and I think that allows for a submersion in the subject that I find very stimulating.

I always try to visit places or do things that are somehow related to the subject or client of the project; museums, stores, parks, factories, sports events and things like that. It’s often here the really good ideas pop up, rarely when I sit hours on end in front of the laptop trying to force it. I always try to have a notebook near my bed, I get a lot of ideas right before I go to sleep, mostly they turn out to be completely moronic when I go over them with fresh eyes, but every once in a while, an idea survives the night and turns out to be gold.

When I started out a few years ago, I sketched a lot by hand, but I didn’t really care for it. Everyone around me would go nuts with pens and brushes and liquid ink, filling out page after page. I never really found that it worked for me, maybe because I am not at all good at drawing. At a point it almost made me feel self conscious – it seemed you had to work like that if you wanted to be a great designer.

Now I’ve realised that it works better for me to sketch on the computer. I can work fairly fast, and the level of accuracy compared to my dodgy hand drawings makes it much easier for me to see what works and make decisions. Now when I draw by hand it’s mostly just to test out concepts. So I’ve become the kind of designer who has one notebook and one art liner – luckily I’ve found out that I’m not alone. I still think it is important to work big when I’m producing though, its hard to do a good poster if you don’t work at full scale, or a good magazine if you can’t see all the spreads at the same time. I’ve only recently realised the importance of this.

Where would we find you when you’re not at work?

I spend a lot of my spare time at a little local strength and conditioning club close to where I live. Here I either coach or work towards my own goals. This is one of the very few places where I’m truly able to put the creative work aside for a little while. As most creatives will tell you, work and life is, for better or worse, pretty tightly intertwined, so I think it’s important to have a place or an activity that can pull your mind completely away from work once in a while. When I’m not there I spend time with friends, doing everything and nothing, tinkering with bicycles, going for walks, watching movies or something completely different. There’s almost always good food and beer involved.

Would you intern for yourself?

I don’t think it would be all that bad. If I had an intern I would probably be so concerned about his/her experience that I would give him/her all the fun projects and be stuck making coffee and answering mails myself. Starting September I’m doing an internship at a studio called DesignUnit, let’s hope they feel the same way! 

  • Andreasengelbreckt-10

    Andreas Engelbreckt: One Nutrition

  • Andreasengelbreckt-11

    Andreas Engelbreckt: One Nutrition

  • Andreasengelbreckt-12

    Andreas Engelbreckt: One Nutrition

  • Andreasengelbreckt-15

    Andreas Engelbreckt: Danske Musikfestivaler

  • Andreasengelbreckt-16

    Andreas Engelbreckt: Danske Musikfestivaler

Jc

Posted by James Cartwright

James started out as an intern in 2011 and is now one of our two editors. He oversees Printed Pages magazine and content wise has a special interest in graphic design and illustration. He also runs our online shop Company of Parrots and is a regular on our Studio Audience podcast.

Most Recent: Graphic Design View Archive

  1. List

    Marcello Velho is one of a school of graphic artists subverting the forms of internet art that we’re becoming used to seeing, and doing something completely unanticipated with them. His abstract compositions are experimental and ambiguous, but that’s exactly what makes them exciting. He’s a pretty dab hand at design too, working on magazine covers, art directing features and just generally applying his magic touch wherever it’s needed. It’s only a matter of time until a global fashion brand with a wildly cool following happens upon his work and immediately has him applying his learned eye to look books, textile design and event invitations. Just for the record though, we got here first, yeah?

  2. List

    Behold! Dutch illustrator and designer Julian Sirre has a portfolio packed to the gunnels with beautiful futuristic design. His posters and prints take inspiration from 1980s sci-fi, Japanese printmaking and superhero comics, all amalgamated into a wholly unique visual language. He’s worked for Dutch science fiction magazines, London venues and a variety of extraordinary exhibitions including a group show with Jordy Van Den Niewendijk, Viktor Hachmang and Robin van Wijk – all exceptionally cool dudes.

  3. List

    Battersea Power Station is one of my favourite buildings in London (you can add that to the list of things-you-don’t-care-about-which-I-tell-you-anyway-in-these-posts if you like). Anyway this summer it’s hosting the Everyman Cinema and east London’s Bread Collective was brought in to create the branding and hand-paint all the on-site signage. Bread has previous experience when it comes to large scale design work that packs a personality-filled punch and it’s great to see them unleash their talents on such a famous landmark. The bright and lively visuals juxtapose neatly with their industrial surroundings and there’s a consistency that ties the site together without feeling sterile.

  4. List

    My favourite thing about Paris-based design studio Twice is that they continually combine texture and colour in such a way that I’m practically banging my hands into my computer screen with wanting to hold their publications in my hands. That’s the trouble with tactility – it’s not practical – but that shouldn’t mean designers abandon it altogether in favour of a wipe-clean, stark, sterile aesthetic that makes us lose all hope in print.

  5. List

    I was lucky enough to visit Istanbul for its inaugural design biennale back in 2012 and although I was blown away by its creative scene, I didn’t come across too much graphic design. Rummaging through Studio Sarp Sozdinler’s website this week, I had the nagging feeling that I might have missed out.

  6. List

    Belgian graphic designer Broos Stoffels has it all; great poster designs, great typefaces, great Dance Organ-powered drawing machine for the creation of custom vinyl sleeves – no really! The young designer is a former student of Sint Lucas in Ghent, a institution with proven design pedigree, and has spent the last few years honing his practical and conceptual skills into a fantastically coherent body of work.

  7. List

    If you aren’t familiar with The Casual Optimist blog about publishing and book culture then it’s well worth checking out (I’ll wait). Anyway last week its author shared these amazing posters created by the leading German graphic designer Gunter Rambow for the S. Fischer Verlag publishing house back in the 1970s. What’s interesting is that some of them tiptoe right up to the edge of being gimmicky, but always stay the right side of the line thanks to Gunter’s unerring image-making brilliance. I really can’t get enough of these.

  8. List

    When a studio does everything it can to get to the very root of a client’s working philosophy, it often leads to the most interesting and effective identity design. This is definitely true of Toronto-based studio Blok Design’s work for Dallas film production company Lucky 21. Created to mark the company’s new venture – “taking on the highly competitive LA market” – the identity takes into account the brand’s character, which the studio describes as “full of humour and fiercely passionate” to create a set of visuals that fall close to home.

  9. List-2

    Illustrator and longtime mate of ours Michael Willis is straying away from illustration and into something altogether more design-focussed. The elements at the heart of his images are the same; placing retro and contemporary influences side-by-side to create something so contemporary that it feels ahead of its time. He’s been working recently with Mood NYC, providing photographic manipulation and graphic treatment for their look book as well as helping create an overarching aesthetic for the brand, one which evades the recurring trends and repetitive styles that seem to permeate many designers’ portfolios.

  10. List

    Three years ago Milan studio Leftloft were commissioned to help iconic Italian football club Inter Milan with a ticket sales push, but the relationship developed into something much more comprehensive. Here art director Francesco Cavalli tells us how they came to lead an extensive rebranding of the whole club, from a new crest and a bespoke serif typeface to an exhaustive style guide for use across print and digital.

  11. List

    As of 6.30pm last night Airbnb looks a little classier. Having spent the past seven years growing a vast community of country-hopping collaborators, the world’s largest online accommodation marketplace has decided it’s time for a change. Gone is the awkward, dated logo that still reminds me of a bad ice cream parlour, likewise the cold, clinical blue that serves as the accent colour for all San Franciscan startups; and in its place is something entirely more exciting.

  12. List

    Massimo Vignelli was one of the most important graphic designers of his generation and his death in May affected the creative community very strongly and very immediately. The tributes poured in (some of which we included in our piece here) but for some the response to his passing would take a little longer to formulate. So it was with Colorado-based studio Berger & Föhr, who began this set of tribute posters when they first learned of his illness.

  13. List

    In our first feature on Shillington College we looked at why its founder was compelled to create a new kind of graphic design education to better prepare graduates for the working world. But how does the college pursue this aim in practical everyday terms, achieving what can take several years into other institutions in a matter of mere months? To find out we asked the people who make it happen– the teachers themselves. So we quizzed US director Holly Karlsson, Melbourne lecturer Carlos Chavez, Manchester lecturer Jeffrey Bowman and senior London lecturer Corrie Anderson. Here’s what they had to say…