Q: Your work primarily explores science fiction and fantasy themes. What initially drew you to these genres, and how do they continue to inspire your creative process?

A: I have been fascinated with science fiction and surreal fantasy themes for as long as I can remember. As a kid I used to escape into the worlds of comics and computer games, in which I found so many new stimulating dimensions and layers that I felt was missing in the real world. As time went by I started to create places and characters of my own, many of which are still recurring in my illustrations. Today the sci-fi scene has grown into so many sub-genres that’s it’s sometimes hard to keep up, but it’s very encouraging to see all of these amazing artists, writers and filmmakers coming up the past decades. As of yet, I still haven't started working on that graphic novel that's been living in the back of my head for so long, but I hope that I can find the right mindset to do so in the near future.

Q: Freelancing as an illustrator must bring a variety of projects. What has been the most challenging or rewarding assignment you've worked on so far?

A: Each job has its own challenges and rewards, and none is really like the other. One of my very first assignments involved creating a cover proposal for a paper on a recent theory in neuroscience. During the work I was informed that the paper was going to be published in the renowned Nature Magazine, and that my proposal was going to be in the selection process of the entire issue. Sadly it didn't make it all the way to being the cover of Nature, but this was both a slightly intimidating and inspiring experience.

In spring of 2024 I had the opportunity to make several pieces for a compilation of short stories published by a Swedish street magazine called Faktum. I was given pretty much full artistic freedom when illustrating these stories, and although it was occasionally a bit stressful trying to meet expectations it was still an incredibly rewarding assignment.

Q: There’s a clear sense of narrative in many of your pieces, with characters and settings that feel like part of a larger story. Do you typically imagine full backstories for your illustrations, or do they evolve more organically as you work?

A: Yes, the majority of my personal stand alone pieces have a backstory to them - some are more elaborate from the beginning, while others are just starting off as crude idea fragments that I try to refine as I go along working on them. In recent years I'm avoiding telling too much of the backstory of a piece when showcasing it, since it's more important to me that the audience get an honest chance to interpret it by themselves without any distraction from me.

Q: Since founding Mist Grafik in 2021, what has been the most significant lesson or growth experience for you as an independent illustrator?

A: One of the most significant growth experiences has been learning to navigate the complexities of running a solo business. From managing finances to marketing my work, I’ve had to wear many hats. While it’s been challenging at times, it's also been incredibly rewarding to have full creative control and the freedom to pursue my passion project.

Q: How do you approach storytelling in your artwork, especially when creating concept sketches or illustrations for projects that require strong narrative elements?

A: I usually start out setting up an environment that is relevant to the scene I want to create (of course depending on the story I wish to communicate). I have a fascination for places and buildings in the real world that are forgotten or abandoned, and I very often take inspiration from these and then populate them with characters. It helps a lot picturing myself actually being inside the scene, soaking up the atmosphere and imagining hearing the soundscape. If I run dry on ideas I put everything aside and do something completely different, sooner or later inspiration will come back to me.

Q: What advice would you give to emerging illustrators who want to establish their own studio and work independently as an illustrator?

A: Trusting your gut feeling I think is very important. Always be open to advice, but don’t let others dictate how you should run your business. Learn to say no to assignments that don’t fit in with what you do. If you’re unsure of the intentions from a brand new client, it’s wise to set up a contract before starting the commission to avoid any conflicts later on. Also, and this is the most important part, always make sure to put time aside for creating your personal projects. You’re a creator first, the business aspects will follow naturally.