• Stina-lead

    Stina Löfgren’s desk

Illustration

Introducing...The beautiful line work of Lapland's illustrating daughter Stina Löfgren

Posted by James Cartwright,

We don’t know many illustrators from Lapland (we only know one) and for that reason (that and her beautiful work) we feel duty-bound to introduce you to the brilliant Stina Löfgren. Stina’s got a real talent fro producing smart, slow-burning editorial illustration that forces viewers to actually engage in the point she’s trying to make rather than taking it all in at a glance. She’s also got one of the most approachable illustrative styles around, developing her intuitive line work with brush and ink, lino cut and traditional print techniques alongside considered digital manipulation.

Stina graduated with an MFA in illustration from Konstfack in 2011 and since then has been freelancing hard in her shared studio, producing work for the likes of The New York Times, Bloomberg View and MTV. She also makes cool stuff with wood.

  • Stina-7

    Stina Löfgren: work in progress

  • Stina-15

    Stina Löfgren: animation frame

Where do you work?

In a studio space called Berga that I share with six other people working in different kinds of creative fields. The studio is located in a semi-industrial area in the southern parts of Stockholm.

How does your working day start?

Usually with loads of coffee, then doing administration of emails and getting myself updated on the news. Visual production usually doesn’t happen until after lunch, after head and hands have had some warmup.

How do you work and how has that changed?

First I try to find an angle that I find relevant, then a form that’s a good vessel for the concept. I try to keep the form dense but at the same time not lose the sense of a personal voice. Doodling has never really been my thing, but I think it’s good/fun to scrabble down different logical connections and come up with short statements that I then make into images (sometimes objects). Depending on the level of reduction, the result becomes more or less abstract.

In the last couple of years I’ve become more aware of and active in the discussion of the context in which visual communicators work. There’s a lot of consumption of coolness and surface-surfing going on, which would be all good if it was accompanied with as much discussion of ideas. It has of course to do with the generally high tempo of consumption. I try to come up with different sorts of survival strategies for this setting. One of them is to embed a sort of slowness, by not using ideas that a viewer all too easily can decode. I don’t want to underestimate a viewer.

Where would we find you when you’re not at work?

Hiking, reading a book, eating Chinese food, watching television series, thinking about the bad in the world, on the slopes, fishing, at the gym, on a plane, thinking about the good in the world, tripping over something, laughing.

Would you intern for yourself?

Maybe not for myself since my work is quite scattered and un-linear (read: chaotic), but I think it would be nice to intern for the whole studio. There’s a lot of collective ideas that have been left unmade until now because of lack of time and muscles. It could be fun to be a part of the process of giving these things form.

  • Stina-1

    Stina Löfgren: Toad Sweat Confessional

  • Stina-2

    Stina Löfgren: The Finger

  • Stina-17

    Stina Löfgren: The Finger

  • Stina-16

    Stina Löfgren: The Finger

  • Stina-12

    Stina Löfgren: Keepsakes

  • Stina-13

    Stina Löfgren: Keepsakes

  • Stina-10

    Stina Löfgren: Them And Us

  • Stina-8

    Stina Löfgren: OLM Magazine

Jc

Posted by James Cartwright

James started out as an intern in 2011 and is now one of our two editors. He oversees Printed Pages magazine and content wise has a special interest in graphic design and illustration. He also runs our online shop Company of Parrots and is a regular on our Studio Audience podcast.

Most Recent: Illustration View Archive

  1. Gflist

    Doodling isn’t just for school kids. It’s about discovery. “It’s a healthy way to let it all out, with no restrictions or external rules,” says Guy, a designer and illustrator. “You just go for it.” Every single page of his sketchbooks is packed with faces, animals, monsters, questions and squiggles. “Sometimes you’ll draw a face or a hand or a dog in a way you’ve never seen or done before and that’s always a good feeling. And sometimes you just make yourself laugh!”

  2. Main9

    Scrolling through Marcel George’s hand-painted watercolour illustrations is like going on safari. Lipsticks hiding behind palm fronds, flamingos stalking around sunglasses, the Lacoste crocodile roaring at trainers.

  3. Dadulist

    There’s something otherworldly about Dadu Shin’s illustrations. Miniature people wander about an overgrown fairy-tale forest, an avatar-like hand reaches out into a tie-dye galaxy, a man walks a lonely path over rocks which form the silhouette of a woman’s face.

  4. List

    As far as I can tell, there will always be a place for clean, stylish, witty illustration in the pages of today’s most esteemed media outlets, and for as long as that is the case illustrator Ben Wiseman isn’t going to have any trouble finding work. He’s nailed his aesthetic, communicating funny, satirical observations in neat, stripped back images and vibrant colours, and sure enough, clients have cottoned on. His portfolio includes a TIME magazine cover alongside work the The New York Times, The Wall Street Journal, Le Monde and This American Life, a corker of a list which just about makes him Brooklyn’s poster boy for editorial illustration. And thank god, because the black and white pages of the aforementioned publications sure would be dull without him.

  5. Main

    It’s very exhilarating to see people taking something destructive and turning it into something creative; with that in mind please welcome the Computer Virus Catalog.

  6. List

    Dutch illustrator and designer Eline Van Dam (Zeloot to her clients) belongs to the same circle of pals as Viktor Hachmang and Jordy van den Nieuwendijk, which goes some way to explaining why her work is so god damn beautiful. Although she’s about as versatile as image-makers come – her portfolio covers a variety of styles ranging from the niche to the commercial – it’s her posters that really stand out for their 1970s-inspired phychedelic iconography and bold, experimental use of colour; any colour she can get her hands on! Now we just need to work out what we can commission her for.

  7. List

    As our online editor Liv Siddall said, “If you like sex and you like lions, you’ll like these drawings,” and I think she’s probably right. Maria Luque illustrates naked couples hanging out with what I imagine is a pet lion. Her characters lounge around in the nude, lying across big beds in breezy looking apartments filled with luscious vases and intricate carpets, always accompanied by a big, red quizzical king of the cats. Maria is from Argentina, and she says that she likes to make people laugh with her work. We like her child-like hand and summery colours, and the fact that she’s definitely succeeded in making us giggle.

  8. Main

    Editorial horoscope illustrations tend to be a bit same-y: crabs, women holding scales, goats, fish, blah blah blah. I can’t deny I was surprised yesterday when I saw that Elle Italia had commissioned one of my favourite illustrators to bring their horoscope supplement to life, mainly because Sac Magique is a weird choice for a usually rather reserved publication. They gave him the task of illustrating the horoscopes with the theme of “beach” and my, did he deliver. How refreshing and fun to have something so ubiquitous illustrated with the most fun, summer drawings ever, especially by someone who gave us this Spice Girls image that will forever remain the best thing I have ever seen.

  9. Main

    What do we have here, then? Editorial illustration with a Cubist slant and an entirely unique style? We’ll take that, thanks. Polish illustrator Gosia Herba’s website is basically a treasure trove of projects for diverse clients, but we think her work is the most exciting when the faces are in profile, the bodies buxom and the colour palette muted, so that’s what we’re bringing you. The balance between malleability and a strong aesthetic is a difficult one to strike, but somehow Gosia has it down.

  10. List

    Though it’s been only two weeks since we wrote about Anders Nilsen’s beautiful Rage of Poseidon he’s just knocked out another brilliant piece of graphic art (albeit satirical rather than fantastical) so we felt compelled to feature him again. In this instance he’s lampooning online retail giants Amazon for their detrimental effect on publishing, using some magnificently wry visual metaphors to discuss what appears to be a quite unpleasant situation.

  11. Pk

    When Printed Pages editor James Cartwright first saw these images he said they reminded him of the Tetley Tea folk crossed with something out of The Legend of Zelda and you know what? He’s not wrong. The cloaked, hunched characters are actually sneaky-peeks of Patrick Kyle’s upcoming collaborative zine with fellow artist and publication maker Jason Murphy.

  12. Main1

    We love Jim Pluk’s work, not many illustrators openly share doodles they’ve drawn of them and their girlfriend having sex on a sofa with F.r.i.e.n.d.s on in the background. It’s an odd collection of drawings, his work travels from lo-fi paintings to crude squiggles and back to sharp, witty comics or collaged posters at an admirable speed. This is the kind of art that, personally, I’m really into – funny, odd creations made by someone who’s not afraid to try out every medium possible (even drawing on Photoshop) to get their work out into the world.

  13. List

    Do you remember Peter Judson’s bold geometric constructions from earlier on this year? He had us bowled over with his vibrant, brick-like compositions, and as his website proves he has plenty more strings to his bow. Focusing principally on Memphis-influenced design and architectural illustration, he takes familiar shapes and transforms them into something so simple that it goes full circle and becomes incredibly complex again.