Illustration for Neue Zürcher Zeitung for an article by Michael Ferber on the subject of millennials as investors. Art direction by Verena Tempelmann.
Illustration for Swiss Das Magazin for an article about “City Cards” – simple identity cards that give immigrants, no matter their legal status, access to basic communal services in the city they are currently living in.
Art direction by Dorothea Fiedler
I made this illustration about the movie “Roma” by Alfonso Cuarón for Entertainment Weekly in December 2018.
The film, which is filmed entirely in black and white, follows Cleo a housekeeper in a wealthy family in early 1970s Mexico City.
Art direction by Erica Bonkowski.
This drawing was honored in the 60th Communication Arts illustration competition with an Award of Excellence in 2019.
This is an illustration series for online magazine The Outline, published on March 9th, 2017. The article was titled “Seeking Ann” and it was written by Laura Yan.
“A journey into the dark world of ‘belly torture’ slaves, where the line between fantasy and reality is dangerously blurred.”
The full article can be read here.
Art direction by Stéphane Elbaz
Illustration for an article by Sarika Bansal for Bright magazine. The article was titled “The Good, the Bad and the Jargon”. Art direction by Marion Durand.
Since 2012 I am illustrating a bimonthly column for the magazine Psykologi of the Finnish psychologist association (Suomen Psykologiliitto ry).
The series was awarded with the Finnish graphic designers association grafia’s best of the year Silver Award (Vuoden Huiput, Hopeahuippu) in 2014.
Art direction by Johannes Rantapuska.
This illustration series was made for the publication In Focus by The International Bureau of Education, which is part of the UNESCO.
Graphic design by Spanish design studio biografica. Art direction by Marco Kindler von Knobloch.
Illustration for Wirtschaftswoche for an article about IT security.
A series of illustrations for ‘Trouble Brewing’, a recently published report on the state of alcohol consumption, effects and policy.
The images can be seen in context on the project’s website troublebrewingreport.org.
Art direction by Johnny Hsu.
Illustration for Psykologi magazine based on the quote “Everything changes tomorrow, when I am free” (originally in Finnish: “Kaikki muuttuu huomenna, sit ku mä oon vapaa") from a song by pop singer Sanni.
Art direction by Johannes Rantapuska
This is an illustration series for German magazine DER SPIEGEL, issue 9/2017.
The article examines the effects of the digitalisation of bank transactions. What are the dangers of online banking, banking on mobile devices and automated stock trading algorithms?
Art direction by Andrea Huss.
Client: The New York Times
"Suffer the Little Children: Church Cruelty in Ireland" by Sadhbh Walshe
On average, one child died every two weeks in a children's home run by the Catholic church in Ireland between 1925 and 1961.
A combined effort of church and government is underway to shift the blame from the Roman Catholic Church, Ireland’s self-appointed moral authority, to the public and moral climate of society in these years.
This drawing was honored in the 59th Communication Arts illustration competition with an Award of Excellence in 2018.
It was also selected as one of 367 drawings to be featured in American Illustration 37, in 2018.
Illustration for a New York Times opinion piece titled The Catholic Church’s ‘Ravenous Wolves’.
Art direction by Melody Newcomb and Hannah K. Lee.
Within a few weeks a 19 year old boy from Leipzig, Germany built the biggest national online mail-order for illegal drugs. Under the nickname “Shiny Flakes” he sold cocaine, meth, ecstasy and various other drugs – all from the safety of his bedroom at his parents’ flat.
The article explores this case in the context of the darknet, the less accessible area of the internet, that enables illegal activity.
Shiny went to great lengths to hide his true identity online – the police had a hard time tracking him. He got caught however due to a very analog mistake: several of his packages containing hard drugs landed on the desk of the Leipzig police because he hadn’t put enough stamps on them. A stake-out at the post office’s package-drop-point did the rest.
Right from the beginning, this article was titled “Der Prinz des Darknet” (The prince of darknet), so I wanted to do something very dark and monochrome. Luckily the headline was kept for the final piece – something that is rather unusual.
Art direction by Antje Klein.
This illustration series was awarded Second Prize at the Mikkeli Illustration Triennale 2017.