Eero Lampinen is an illustrator based in Helsinki, Finland. His editorial illustrations comprise of candy-coloured cool kids, set in folktale landscapes.
Growing up in Belgium, Lampinen was inspired by comics and old children’s books. As he got older, he developed an interest in printing methods. Leading him to study graphic design at the Aalto University School of Arts, Design and Architecture. Since graduating, he has worked with a range of clients including Wired UK, The New Republic, Otava, Grafia, and Finnish Association for Nature Conservation.
Lotta Nieminen is an illustrator and graphic designer from Finland. She has previously worked for fashion magazine Trendi, Pentagram and RoAndCo Studio, but now enjoys working as a freelancer. Her illustration clients include Hermès, New York Times, Volkswagen, United Airlines and Marks & Spencer. I like the way she plays with perspective in her work. She cleverly uses simple shapes that form intricate, striking visuals.
Katri is a character designer and digital artist from Finland. She creates beautiful work in various styles and seems to like experimentation. It’s nice to see her progressive journey on Deviant Art or on her blog. There are some stunning pieces on both sites, so enjoy browsing!
Pettryb is a Deviant Artist from Finland. Unfortunately I couldn’t find out too much about this illustrator, but I really like the work so I had to share. There’s a dream-like quality to the watercolours that suits a lot of the subject matter. It’s absolutely beautiful and there’s more where that came from: follow this link.
Sasa was born in Finland, but now lives and works in Beijing, China. Interestingly, she has completed THREE university degrees.
“I paint with ink and Chinese mineral watercolors on hand-made xuan paper (‘rice paper’). I use traditional Chinese ink painting brushes as well as other methods like splashing, dripping, or pouring ink. I am fascinated by the properties of ink. I am especially interested in ink’s reactions with water and like to use fairly wet paint, which makes the end result more difficult to control and which easily breaks the thin rice paper. I enjoy quickness and irreversibility of my medium, which require intense concentration when painting.
I use a fairly limited color palette, which is typical for Chinese ink painting. The blackness of ink is important as well as different shades of gray. I also follow the Chinese ink painting’s concept of composition by building up on contrasts and uniformity but avoiding mechanical patterns, repetition and symmetry. In paintings there are often opposite pairs (like dry-wet, small-big, one-many, light-dark, fast-slow…) and elements that bring the painting together (like similarity of shapes, movement or rhythm). The human mind likes to construct mechanical order, so avoiding it can be difficult. This is one of the reasons it is important to have a correct state of mind when painting and forget the conscious thinking.”