Art Direction + Publishing
Philip Cronerud is a Swedish-born creative with nine years of global brand experience, a combination of a strategy and design. He aims to match creativity and marketing, enjoys the difference in viewers and thrive when given the opportunity to form concepts from beginning to end. He attempts for honest, original and true communication by partnering with people and brands who he admires.
He currently work in Cupertino, California (2015–present) in Apple’s Global design group. Where they oversee all of Apple’s advertising and marketing to ensure the flawless development and implementation of world-class communications that pushes the Apple brand forward.
In the role he focuses on developing creative solutions in a variety of campaigns, across a broad range of problems and media, including advertising, graphic design, corporate ID, interactive, packaging, and collateral. Prior moving to San Francisco, he worked at Wieden+Kennedy Amsterdam (2011–2015), Printed Pages, It’s Nice That (2013–2015).
Philip founded MEDIUMEXTRABOLD® which started as an extension of his growing interest in typography. Commissioned to design alphabets in use for Coca-Cola (USA), Heineken (NL), Cobra Museum of Modern Art (NL), Foam Magazine (NL), VOO Berlin (GER), and Smörgåsbord (NL). The work has been recognized internationally and part of the archive of the Klingspor Museum in Offenbach for modern book production, typography, and type.
He’s had the privilege of working for fortune 500 companies such as Nike, Audi, Coca-Cola, Heineken, Electronic Arts and more. Collaborators include Anton Corbijn, Scheltens&Abbenes, Andrew Zuckerman, Bonsoir Paris, Chad Moore, Jason Nocito, Greg White, Bruno Drummond, Gemma Tickle, John Short, Wyne Veen, Osma Harvilahti, Maurizio Di Iorio, Jonathan Zawada, Marcel Christ, Lernert & Sander, Haw-Lin, Marcus Gaab, Qiu Yang, Letman and more.
Images. 1 ) Västerås 2 ) Urbino 3 ) Amsterdam
Interview. Saga Järnefelt
I’m from Västerås, Sweden. An industrial city famous for pickles and the river Svartån. During the winter the landscape will truly turn black and white with glowing red houses. I grew up mostly programming, playing video games. I was pretty good and used to play tournaments. Eventually, I started creating Winamp interfaces and websites in my spare time and it goes from there.
Are you from a creative family?
My grandfather was an entrepreneur, he was an orphan and manage to build his own world. He would design textiles and briefcases and the Swedish military commission him once. We had books around the house but there was not a direct appreciation of the arts. I remember the first time I ever went to an exhibition, it was for the Moderna Museet’s 50th anniversary in 2008. The exhibition investigated the period when the museum was created from an international perspective. At the time it had a big impression on my life.
Are you active as a type-designer?
I’m less active now. It has been a natural evolution towards finding and guiding talented people. I’m interested in building great teams, helping develop strategies and driving growth for clients and brands.
Why did you set up a typefoundry?
I think it’s with typography that most graphic designers achieve a certain recognition. Through a particular typographic treatment. The foundry was a platform for me to express myself, it grew quickly and was an important experience. I had the chance to represent designers. Lots of great came from this adventure.
What ideas are you drawn to as a designer?
I admire how the Dutch look on design as a prestigious commission, something to honor. I used to live in Amsterdam and was fortunate to spend time with Karel Martens and Armand Mevis who inspired me to view design in a more conceptual way and to work with restrictions. How design is forever the product of lots of restrictions that contribute to a search for freedom and openness that make it looser or more unpredictable. Get the details right from the start in case you lose interest later on.
When did you move to San Francisco?
I came here in 2015. Growing up with the internet, San Francisco felt unique. How this counterculture had come together to share and distribute information. As any city, it’s essential to find the right neighborhood, the right people, the right places. Do that and it’s a great city. I'm lucky to have my practice near Esprit’s old headquarters, a neighborhood full of printers, designers and artists.
What is your view on advertising?
Advertising could be made better if it tried to understand its audience. We learn to ignore ads, no matter how loud they shout. What we have is basically print and TV translated to the web. So the way to approach the problem is to start over from scratch to think what the goal of advertising is, and ask how to do that using the new ingredients technology gives us.
I’m not an obsessive collector, but I find my books taking up more and more shelf space. Joe Burrin influenced me to expand my collection of out of print publications and to focus on my research. Traveling, techno and a loose daily routine keeps me feeling inspired.