Krater.Objects Interview
2026
Du har tidligere arbejdet med Lea Pyndt, så vidt jeg kan forstå. Hvordan var processen med et fysisk produkt fremfor arkitektur og en service-virksomhed.
Lea Pyndt (founder of Krater Objects) works both in the fields of architecture and art, and our ongoing collaboration is built on a solid foundation of mutual understanding of each other's crafts. Whether Lea works with large scale architecture or sculptural ceramics, I always have a clear understanding of her work and how to transform it into graphic design.
Working with a physical product, in contrast to architecture or a service business, allows for more freedom in terms of style. Architecture is strictly a communication between professionals, which means certain rules have to apply. Krater.Objects, on the other hand, communicates a feeling and a vibe, which means the spectrum of visual variation is broader and more experimental.
Hvordan opstod ideen til lettering udelukkende af rette linjer og polygoner?
From the get-go of the project, our first conversations revolved around what we called ‘constructed nature’, which sparked a lot of ideas for the visual concept. Besides this, Krater has a rather unconventional approach to furniture design, and I really liked the idea of challenging the ordinary clichés within the field. We therefore chose to pursue something that challenged the usual clean lined modernist tendencies and trends. We wanted to communicate a brand that looked and felt like the objects themselves.
Hvordan blev udtrykket inspirereet af kontrasten mellem 3D-digitale konstruktioner og organiske former?
The objects are digitally rendered in 3D, which also means the body is first built from cornered polygons, something most of us will recognize from early PlayStation 1 graphics. I wanted to use this naive expression as both a visual constraint and a representation of Krater's 3-dimensional side. On the other side of the spectrum from hard cornered geometric constructions, the second constraint became ornamental letterforms known for organic curves and floral like expression. The objects of Krater have an asymmetric and biomorphic sculptural expression that draws parallels to the Gothic period and the Jugend style, which made it only natural to use letterforms from these movements. Organic letterforms built from polygons. Constructed nature.
Hvad gjorde du anderledes end klassiske ornamentale logoer/lettermarks, som normalt bygger på kurver?
Due to the constraint of creating an ornamented logotype, I spent a lot of time studying Gothic letterforms combined with the calligraphic, ornamented type usually seen in the Jugend style, while still keeping legibility in mind. The process was all about finding a balance between ornamentation and legibility, since I see this as the most vital part of creating custom logotypes. This process demanded that I break some of the rules of Gothic typefaces and cherry-pick letterforms from different time periods in order to adjust each individual letter into something legible.
The result was quite thrilling. The hard-pointed curvature added a raw and tactile expression to the letterforms of the logotype and displayed an unusual, yet unique expression, which aligned perfectly with the visuals of the objects. The visual elements in the identity vary on a scale from the fully ornamented logotype to a secondary maker's mark and a neutral wordmark, making it possible to adjust the amount of ornamentation across different formats and compositions. It was very important that the design system was scalable in relation to dimensions, tone of voice and media.
Hvordan forholdt du dig til, at møblerne er 3D-printede? Brugte du også det i designet?
Knowing that Krater's designs exist as 3D renderings naturally opened up opportunities to use this to our advantage. Having these 3D objects made it possible to both place them inside unlimited environments and give visitors to the website the opportunity to inspect the objects in full rotation. The three dimensional objects therefore became a natural element of the visual identity.
Hvad var den største designmæssige udfordring i at få en "kantet" skrift til stadig at signalere håndværk og varme, som Krater.Objects' møbler gør?
Drawing letterforms from only hard points requires solid decisions and clear rules regarding the number of anchor points and the amount of contrast. Too few anchor points make the letterforms appear robotic and square, while too many anchor points just look like a bad vector trace. The discipline lay in finding the right balance, which also meant having enough anchor points to control the contrast between horizontal and vertical lines, especially in curved forms. It's a completely different way of designing type, but a very rewarding one once it works.
Hvordan differentierer formsproget Krater.Objects fra andre møbel- og skulptur-brands?
What I like most about the Krater-project, is that it feels like a breath of fresh air in what sometimes can feel like a modernist vacuum in furniture design. Krater is a rebellious newcomer in a landscape of simplicity and clean lines, both in the visual identity and objects. As a designer, I was schooled in the Scandinavian approach to modernism and the use of neo-grotesque typefaces, but I cannot help but shake the feeling of satisfaction, challenging these rules in a project like this.
This project made me think about my own approach to modernist graphic design and the whole debate on generative tools. In this day and age most designers are threatened by large language models that can easily decode modernist graphic design and replicate it, and I think sometimes going back to our roots and crafts can become an advantage in separating our work from the generative and creating something unexpected and unique.