The 26 year old internationally renowned graphics composer Casper Heijkenskjöld has set his designs far outside the contemporary boxed image. From designing artwork for prominent labels such as Top Billin and Made To Play, to compiling and producing his own set of live visuals for the Malmö based night club Lights Out, Casper Heijkenskjöld continues to venture into every aspect of visual art.
“see the process of communicating visually as a way to explore new paths and a way to get to know myself and the world around me better. It enables me to think about how things are connected and to have fun while I am here. “
What has been the most challenging aspect of creating new designs?
Coming up with ideas I am happy with. That is my goal in every project, and that is the challenge that makes it interesting over and over again. When I do get an idea I like, I am truly happy for a moment. The design that touches me when I experience it, is almost always based on an idea. I find that in the most interesting work, you can feel the presence of the designer and her/his thoughts.
“No matter how good an idea is, if it´s not executed in a visually interesting way, no one will care about your idea.”
Is there an initial brainstorming process to your work, or is it all an amalgam of spontaneous ideas?
I always do brainstorm when I start a new project, though its very different how much time I have for this part of the process. Back in school I had time to brainstorm for weeks, and then do the actual project in a day or two. The idea often ended out pretty decent, but the execution was not. I have later learned that the execution of a project is as important as the idea. I talked with Stefan Sagmeister about this, and he told me that no matter how good an idea is, if it´s not executed in a visually interesting way, no one will care about your idea. Neither one can exist without the other and I try to challenge myself with both.
How has your experiences overseas in North America (New York, San Francisco) shaped your design work subsequent to those internships?
I think it has been more important for me as an individual rather than a designer. Mostly I think it has confirmed my belief, that we as people are capable of achieving what we wish for. New York made me want to start up on my own, and coming back to Copenhagen with few possibilities for a job, I went for it, and ended up doing it!
“It is about visually expressing the music, and do so in a way that correspond with everyone involved.”
How has working with Finnish label Top Billin and the Berlin based Made To Play helped you to establish a clearer connection between art and music? Were you familiar with the labels before they commissioned you for album artwork/design?
Both Nenis (Top Billin) and Jesse Rose (Made to play) gave me a lot of freedom to do what I want. I’m not even sure I would call it graphic design. I think of it more as illustration. To illustrate music. It is about visually expressing the music, and do so in a way that correspond with everyone involved. The nice thing about this is, that there is a mutual respect between us and for our different crafts. I can relate to making music, and understand the creative process of it, and I think my process in many ways is similar. I got introduced to Top Billin by my friends, the dj duo Woobanger, who run a club called “Lights out” in Malmö. I liked Top Billin music wise, but I also saw something interesting in their artwork. I met Jesse Rose at “Lights out”, he was Dj’ing and I was doing visuals.
Your recent moving-picture video for the Black Rose Single “Anthem” has received quite the appraisal. You collaborated with the illustrations from your brother for this? Could you explain the plot for those of us who may have been a bit intimidated by the fanged dog-like creature and the magical jewels?
My brother is an artist and illustrator and I have been wanting to work with him for quite a while. The plot, yes. I will explain it when Jesse Rose explains the track… I think there are some pretty strong references to the track, but mostly I see it as a visual exploration. Just as music is an exploration in sound. Buy the way, the dog was supposed to be a Liger.
How’d you go about constructing the live visuals for Lights Out, Malmö? How did this project come about?
I try to create visuals, I would appreciate if I was on the dance floor. I’ve also set myself the dogma, that I want to make all visuals by myself (no sampling video clips). So I started drawing again. I use to draw loads, as a child. I use drawing as a medium because it has so many possibilities both in content and shape. And most importantly I can do it anywhere. It’s also a rather fast process from simple idea to animation. It is like a ring has been completed. My first internship, was in grade school, at an animation studio run by Per Åhlin, called Pennfilm studio. They have made one of my favorite animated movies “Resan till Melonia”. When my friends started a club called Klubb Smuts a few years back, I made the posters and logo for them. After that it was natural to make visuals next. Two of my favorite things at the same time – designing and partying.
What other aspects of design are you looking to venture into?
Right now, I am doing some freelance work for a design company in Copenhagen. I am looking forward to work in a team and doing large scale projects. I have a few things I have thought about that I really want to try such as: make more music videos, do a book cover, do a poster or so for a play, do a movie poster and to do a visual identity for an exhibition – that would be awesome!
Grayscale fashion
“A video about clothes, it was recorded without a planned plot. A video and a model not trying to hard, but who looks good. Benedicte Holmboe, styling and model. Julian Brown, music.”
