Realistic drawings 

These illustrations are a cross combination of hand and digital drawing, where the framework is drawn by hand, and shades are edited using a drawing board and photoshop. 

Here, my intention is to maintain as much of the vitality of the hand drawn illustrations as possible, and use the digital approach as an enhancement of shading, and for putting the illustrations in a system. I'm fascinated by the way cold tones and space are associated with something soulless, and my favorite drawings often appear in a crossfire between the personal and the sterile. In a way, cold tones gives me motivation to create melodrama.

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Illustrative art 

Im quite a fan of vintage botanic and paleontology prints, and the tales of Beatrix Potter have truly inspired me as a child. Some of these expressions I still keep, but with a modern approach. When faced with red listed birds of the Norwegian fauna, then vintage infographics might reach some nostalgic adults in an emotional way that pictures of dead birds wouldn't. When collaborating with the locals of Veierland, Veierland Vel, I also found the nostalgic style helpful. The protected lands of Veierland hold a great deal of history and charm. Local free range sheep might turn up eating gras out of churchyard flowerbeds! Vacationers of the island should get the chance to have this action framed in a postcard, and the income will give the amazing locals support to keep up the good work of creating culture and activity on the island. 
 

Acknowledgements

I would really like to tell you the story of how I met my customers of Veierland through a second hand app called Tise, and that I was invited to the island for a weekend, including a Sunday dinner at the Vel with a crouded table and a local historian telling the tales of the island. Ask, and I shall tell.

 
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Concept illustration

White Light Lab is a collaborative project where we as a team of three students looked at the future of bio-engineering. Here, we made a concept where I designed the illustrations to fit the concept:  

In the context of speculative design we asked the questions of how future private clinics will market the luxury of custom made organs. In this project we focused on tracking the development of new technologies, interviewing and collecting information from people in the field, research on high fashion marketing and looking at a possible future where organ enhancement might be motivated of a "I want this".The future of lab printed organs will blur the borders between needed treatments and enhancement. This project explores the visual expression of synthesizing luxury and medicine branding. The elite will afford the treatments they want, and the development of more efficient, safer, high-tec organ transplantation will influence society class distinctions.


Acknowledgements

We owe a huge thanks to Hanne Bjaarnson Scholz, a scientist in the departement of transplantation pathology at Oslo universitetssykehus. She foresees a future where a private lab will get the first patents on safe 3D-printed organs. This led our project to a luxury approach. I would also like to thank my team, as they stayed devoted, focused and curious throughout the project. 

 
 
 
 
 

Editorial illustration

In the year of 17/18 I have been working as an illustrator for the magazine Argument. The articles span from narratives to perspectives, essays and personal experiences. For this purpose, the illustrations are not the main focus, and should support the content of the article. For this focus, I try to highlight the content of main communicative value in the articles. I then look at the overall human intention of the article; is it a delicate subject unsuited for a caricature drawing? Is it a heavy informative text that needs some fun to support it? I try to either simplify it, make it personal or humorous,  give it some boost, then wrap it up in an illustration.

 Acknowledgements

Thanks to Kine Camilla Jakobsen, as she keeps sending me assignments. Thanks to the writers, as they shape and motivate my work: Sna Dar  "Aldri hjemme", appearing in edition 1, 2018. Kenneth Haug  "Hvor er, hvor er, hvor er venstresiden?"4,2017. Louisa Boulaziz "Hjelp - middelklassen forsvinner!"3, 2017. Benedicte Andersen "Kokainjentene" 1, 2017. Thanks to Morgenbladet, for sharing our work. 

 
 
 
 
 

Animation

As part of my freelance carrier I’ve produced animations for Gyldendal’s Salaby, witch is an online learning platform for kindergarten and primary schoolThe animations function as introductions to different subjects on the web page, like maths and music. For the videos, I received different songs. My work consisted of a sole focus on making the lyrics visual. Considering the target group, I had the goal of including humor, surrealism, a clear story line and space for thought. Values Gyldendal also identified with. I had a two week deadline for the first video, then I was given four new ones that I created in a month. For the fifth one I had a longer deadline. «Lille Petter Edderkopp» was a bigger assignment, that included drawings of moodboards, storyboards and two revisions. To animate the spiders I studied spiders walking, and drew legs using screenshots of every movement. This kind of frame-by-frame-animations demand a great deal of anatomic knowledge. Like for example the rapping lions in «Pluss og Minus», - I had never listened to rap songs, and knew little about how to move like a gagster. But after physical practice in the office with my own hands over the top notch youtube rap channels, I do think the outcome is pretty neat. This is an example of a task where the communication is more important than my personal style. For large classroom overheads, you do not always know to which quality the videos are shown. I therefore tried to make the videos clear, focusing on simplistic style and bright colors. 

Acknowledgements 

Thanks to Per-Kristian Mosvold and Linn Daatland Sagen, for submission and the opportunity to enhance the videos with a wide freedom of expression. A huge thanks to Stefano Lemma, for sharing his experience in the field of animation and illustration. Thanks to Gyldendal, for inviting me to work in their office space and including me in the community. 

A small animation bonus - The mountain that moved.

This is a school assignment where we where given the theme «borders» to animate a 60s video. Working with two classmates I created a stop-motion animation in clay. We told the story about a small Norwegian mountain that was sick of standing in the shadow of the large mountains surrounding him. We got the idea that he could move to Finland, making him the biggest mountain in the country. The plot is inspired by the «true event» of 2016, where it was suggested that Norway could move the borders of the mountain Halti 40 meters, and give Finland the mountain top as a pressant of 100 years of independence. This would make the mountain the highest peak in Finland. 

The animation contains 24 frames pr. second, making it a 2568’ frame video. Similar to the Gyldendal animations, we also tested the movement ourselves before animating. In this project we timed every physical movement of expression, like the crying and laughing scenes. 

Acknowledgements

Thanks to Mikrofilm for guidance, and Frode Søbstad for providing equipment, feedback and support.

 
 
 
 
 

Ville vekster

 

Assignment: Create packaging for squash drinks.
Ville vekster is a collaborative project between me and a fellow student. Our task was to design and rebrand the products of Solvin in the Norwegian chain store food market. Our idea is to rebrand the farm as an innovative slow food producer, focusing on savoury flavors with local ingredients. 

Our process consisted of a wide range of research on the Norwegian marked, we collected data on consumers usage, engaged eye tracking and performed market position charts. We interviewed product designers and customers. Our work as a team was very dynamic, and even though you often find yourself lost in some way during a prosess, we actually didn't encounter any difficulties. This might have been because we had a straight focus during the whole prosess, and we often involved in discussions about visual expression, concept, thoughts and common expectations. We also share the belief that design should mirror the target group, and that this is much higher in the hierarchy that creating something trendy or pleasingly minimalistic. We are both afraid of "designing for designers". When we have a sole focus on the target group, we have a better way of looking objective at something; It's not about us anymore. Regarding this, dividing the work is difficult. I designed the shape and the concept of the logo as a wild bush, Oda did the finishes and dealt with the typographic layout. I used the shapes of the logo font for icons and together we did the colors.

Acknowledgements

Thanks to Digitaletikett, for quick delivery and assistance, Emballasjebutikken, for actually turning up at our school with bottles for our project (!), and Tom Aanensen, for guidance on gourmet packaging. 

 
 
 
 

Logo drawings

A small selection of logo works I've done during the last 3 years.