During autumn of 2017 and winter 2017/2018 I have been working on creating all the illustrations for the 6th edition of the Tobacco Atlas. The Tobacco Atlas is a resource collecting information about the current state of tobacco consumption, production, and all connected health and societal effects.
It was published by the American Cancer Society and Vital Strategies and revealed to the public on March 8th, 2018. The design was done by Radish Lab.
Altogether I created about 30 illustrations for this, of which all can be seen in context on the online version of the atlas at tobaccoatlas.org.
Thank you to the team at Radish Lab and the hard work of the researchers and coordinators for the nice cooperation.
“We were a little skeptical about a publication anchored by illustrations, but Daniel Stolle has simply wowed us with his phenomenal vision and creativity. We are grateful for this new, wonderful twist to the Atlas.” tobaccoatlas.org
Photos of the Atlas below by Radish Lab.
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.
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.
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
I made these illustrations for the front and back cover of Julie Murphy’s 2015 book Dumplin’, published by Balzer + Bray (an imprint of Harper Collins). The book was a New York Times #1 bestseller in October of 2015.
The cover picture took on a life of it’s own in social media as #dumplinpose.
Art direction by Aurora Parlagreco and Alison Donalty.
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.
For issue #267, June 2017 of Computer Arts magazine I wrote and illustrated an article.
I tried to collect, condense and finally put in words some of the things I have learned in the last ten years as a professional illustrator.
It is a list of short hints, tricks, observations but also features seven slightly longer texts on specific subjects.
Thanks to editors Mark Wynne and Nick Carson, who helped bringing this together.
It can be read online here.
This was an illustration series commissioned by German magazine Der Spiegel for a special on the increase of burglaries in Germany in recent years. The clearance rate for these crimes is disturbingly low. This causes a lot of pain for the victims. They are left with a feeling of vulnerability, as their most private space has been invaded and does not seem safe to them anymore.
The illustrations ran over three left-hand pages. They show the act of crime, the discovery and the aftermath of an exemplary scene. My idea would be that a reader would ideally flip back and forth and compare the scenes.
Art direction by Michaela Herold.
In 2014 I documented my life for two months by trying to make a daily drawing. I called the project Dear Diary.
I decided to do the same again in 2016.
I had a rule that none of the drawings can take longer than 60 minutes to produce. In a way I try to draw digitally in an analog sense. There are no bigger corrections or edits, I have one try … that’s it.
Although my self-imposed rules seem to be quite strict, it is still liberating to just go ahead, and have a finished piece after such a short time. This is quite a contrast to my usual way of working on commissioned drawings. Those require many rounds of revisions and edits.
I started the series on May 9th, and this time used my instagram as a platform to post the drawings.
I made the last drawing on July 18th, 2016. All 33 images I made in this time can be seen here.
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.
Since 2012 I am illustrating a bimonthly column for the magazine Psykologi of the Finnish psychologist association (Suomen Psykologiliitto ry). The subject for the illustration is often a quotation by a famous writer, philosopher, artist, politician or other public figure (although I think we had Moomin papa once). The themes range from uplifting material to rather dark stuff, always trying to reflect the current state our world and consequently our communal mind is in.
The series was awarded with the Finnish graphic designers association grafia’s best of the year Silver Award (Vuoden Huiput, Hopeahuippu) in 2014.
From the jury (translation below):
Sitä klassista ja oivaltavan taidokasta kuvitustaitoa puhtaimmillaan. Toimii nyt ja aina.
“This is classic and excellent illustration skill at it’s best. Works now and always.”
Featured here is a selection of drawings I liked especially.
Art direction by Johannes Rantapuska.
I have been making very many business related illustrations for clients like Canadian Business, Neue Zürcher Zeitung and Wirtschaftswoche and many others.
Here a small selection.
I spent part of 2014 at home with my then one and a half year old daughter. I took a break from most of my illustration work during this time.
I started to document our daily life by trying to make a drawing of some situation or interesting thing I had seen during the day. Even the most mundane daily life has funny, weird or bizarre situations. Knowing I would make a drawing of some of our activities during the day made me look differently at things. If there was a subject, I would need to memorize it really well, to reproduce it later from memory.
Being at home and busy all day I had to find a way to draw things really efficiently and quickly in the evening. I did not do a lot of sketching and set some parameters, that would not vary, like the colors. I experimented a little with the colors in the beginning, but soon found, that this combination works quite well.
Thinking about it now, they mimic the four color process somewhat: yellow for yellow, dark blue for cyan, dark red for magenta and brown for black. This gave me a good palette to show a wide range of subjects.
As this project started in a small town, I also made two exhibitions of it in small towns.
The works were shown as large format prints in the Hämeenkyrö library, and also in the small town of Karstula in Central Finland in the summer of 2015.
The series was awarded with the Finnish graphic designers association grafia’s best of the year Silver Award (Vuoden Huiput, Hopeahuippu) in 2014. From the jury (translation below):
Kuvitettu päiväkirja, joka sanattomasti kuljettaa voimakkaasta tunnelmasta toiseen. Kuvat ovat kauniita, taidokkaita, tasapainoisia ja latautuneita. Kuvituksen sisäänpäin kääntyvä tunnelma sisältää paljon oivalluksia ja hetken tuntua. (…) Tässä työssä on kiehtovalla tavalla elämä läsnä.
“An illustrated diary that, although wordless, expresses emotions strongly. The images are beautiful, skillfully made, even and of high quality. The inwardly directed atmosphere of the illustrations contains many insights and emotions of the moment. In this work life is present in a fascinating way.”
