Now, AboutTextImages, Contact. A Case Study -----> Rörstrand Museum re-opened in April 2022 Rörstrand Museum. The new entrance and the mounting of the refurbished classic neon sign. One of the requirements, and big challenges, of the graphic identity part of the project, was to create a distinct current visual language for the museum that would work with the brand’s heritage (without competing with it) as well as provide a graphic toolbox that is functional and easy to use for the museum team. WIP snap. 2022. 1 after over two years of extensive renovation work, Rörstrand Museum The beaten up Rörstrand logo and the museuM! mark that worked as a personal starting point and my anchor and compass for the entire graphic project. I hope that the mixture of the handwriting on the menu boards in the café, our pins, the use of the artists' seals and signatures alongside the pragmatic use of the typefaces Univers Roman 55 and Menlo help to convey (some of) that spirit. 2 Rörstrand Museum. View of the gallery that is exhibiting the museum’s showpieces, from the final stages of the museum’s extensive rebuild. Detail of photo by Daniel Ström, 2021. 3 Rörstrand Museum The new exhibitions present the grand show pieces, the one-offs, the mass produced utility ware, the different stages of the manufacturing process, the various roles involved throughout the design and production process, as well the space, the old factory building itself. WIP snap. Spring 2021. 4 Rörstrand Museum TAS Tove Alderin and Joakim Kling in the gallery that is dedicated the the different artists, designers and crafts people collaborating. WIP snap. Spring 2021. 5 produced and project managed by TAS.

Fajansen, the museum’s new room for contemporary expression, was inaugurated by Anton Alvarez and his show Under Pressure, a time-based experiment in three parts. Rörstrand Museum. Anton Alvarez, Under Pressure, the inagural exhibition. Anton assisted by Blanche Vivet fits one of the moulds to the gigantic Extruder, purpose-built by Anton, a machine through which stoneware claybody is formed into extraordinary shapes inside the gallery. The performance part of the exhibition. WIP snap. 2022. 6 Rörstrand Museum. Anton Alvarez, Under Pressure, the inagural exhibition. Photo Daniel Ström, 2022. 7 Rörstrand Museum. Anton Alvarez, Under Pressure, the inagural exhibition. Detail from photo by Anton Alvarez, 2022. 8 The museum’s graphic identity, exhibition design and signage were developed Rörstrand Museum Type sizes and colour discussion. Quote Ralph Waldo Emerson. WIP snap. Spring 2021. 9 Rörstrand Museum Signage. Sizes, places. WIP snap. Spring 2021. 10 Rörstrand Museum The TAS team test position and size of the big intro sign. WIP snap. Spring 2021. 11 Rörstrand Museum The TAS team test position and size of the big intro sign. WIP snap. Spring 2021. 12 Rörstrand Museum The reception neon sign as A4 printouts and the desk as two ply sheets. Testing scale, proportions and dimensions. WIP snap. Spring 2021. 13 in close collaboration with TAS.

We created a graphic framework with an aim for it to be functional for the team to work with, that is respectful of the Rörstrand brand history and in line with the new overall design and the museum’s new curatorial point of view. Rörstrand Museum. The reception neon sign with flowers from the opening, April 2022. 14 Rörstrand Museum The Creative Process. The sculpted ceramic heads are created by the students at Formakademin. This display presents Carl-Harry Stålhane. A3 signage in birch ply. WIP snap. Spring 2021. 15 Rörstrand Museum. The 300 cylinders in the window in gallery 3 and the sculpted ceramic heads in gallery 2 are created by the students Formakademin.
16 Rörstrand Museum An A—Ö (A—Z) of the different roles that worked together in the creative manufacturing process. A3 birch wood printed in PMS Black 6. WIP snap. Spring 2022. 17 Rörstrand Museum The big intro sign (Aluminium sprayed white, printed in PMS Black 6) with the table presenting models of the factory’s three different locations: Stockholm, Gothenburg and Lidköping. WIP snap by me. Spring 2021. 18 Gunnar Nylund created The Mermaid fountain exhibited at Nationalmuseum in 1943. Afterwards, the mermaid led an itinerant life: Two years at the NK department store in Stockholm, a season in a Lidköping city park, and twenty years at Centralhotellet Grand in Gävle. In 1972, she was sold to Swedish-American Clayton Hanson from Slifer, Iowa, America, who placed her on his farm. After many years under the elements, the weather-beaten fountain found its way back to its hometown. The fountain has been beautifully restored and the mermaid, one of the museum’s showpieces, greets the visitors at the new entrance. Layers of information contribute to the new museum experience. Petter Eklund has written all the texts. 19 Rörstrand Museum Pins with signature ’R’. Hommage to the 13 artists who have been particularly important to the creative expression and financial success of Rörstrand. WIP snap. Spring 2021. 20 Rörstrand Museum. Detail of staff uniform with pins. 2022. 21 Rörstrand Museum. Detail of café, staff uniform with pins and handwritten menu. WIP snap. 2022. 22 Rörstrand Museum. Stamps and signatures. We picked five significant and representative stamps, from Alf Wahlander to Drejargruppen, to mark the tables in the café. 2021. 23 Rörstrand Museum. Stamps and signatures. We picked five significant and representative stamps, from Alf Wahlander to Drejargruppen, to mark the site-specific tables in the café. 2022.
24 Rörstrand Museum. Archive content, digital communication. Ongoing. 25 Rörstrand Museum Signage / Wayfinding. A3, 45°. Printed 200% white on hot rolled metal sheet. WIP snap. Spring 2022. 26 Rörstrand Museum Communication and wayfinding. WIP snap. Spring 2022. 27 Rörstrand Museum Digital communication. Photo Märta Thisner. Spring 2022. 28