Feature: Koivo on form, colour and clear visual language
After a successful start as a graphic and web designer, Koivo focussed on illustration and gradually developed a distinctive geometric style. In this interview, he talks about his creative process, the versatility of geometric illustration and his plans for further developing his style. An insight into the work of an illustrator who combines clarity and expression.
You started your career in graphic and web design, but then switched completely to illustration. What was the moment when you realised that illustration was your future?
As a web designer, I had to do a lot of small, technical things, such as resizing images or doing simple programming. Over time, I developed my skills and my boss allowed me to pass on these small routine tasks to other designers. So I was gradually freed from all the technical stuff to concentrate only on the creative side, i.e. the illustration. I also no longer had to design layouts, but key visuals, spot illustrations and icons - that was the moment when I knew that illustration was my future!
Your illustrations are characterised by a geometrically simple and abstract style. How would you describe this style yourself, and what fascinates you about it?
My style is geometric and complex - the complexity here arises from simplicity and limitation: the basic figures are always circles and squares, the compositions are based on grids. Very complex and varied compositions can be created by creatively working with these basic principles, including perspective. For me, geometry does not mean minimalism, but diversity within the framework of reduction. This style enables me to work with abstract themes such as technology or science, where classic illustration styles often don't work.
You work purely digitally in vectors. What appeals to you about this medium and what challenges does it present?
When I was still searching for my style, I was faced with a purely technical problem: productivity and speed. My computer was struggling to handle large Photoshop files at the time, so I opted for Illustrator and vector graphics. This medium requires less effort and fits perfectly with my way of working with clear colours and geometric shapes.
What makes a good motif for you?
The image composition must look as if it was created in two minutes without being forced. It is important that all the elements make sense and are connected to each other; no element should be isolated. Shapes are more important to me than colours - you can change the colour palette at any time, but the shapes must remain as if they were cast in metal.
Can you describe the creative process behind one of your favourite illustrations?
A theme that has been with me for years is Berlin - my favourite city! I realised my Berlin motif with illustrated typography. My design process starts with rough sketches in notebooks, one with an isometric grid and one without. I then transfer the drafts to a vector file, where I work with an isometric grid again. The composition has to be calculated precisely and correcting errors can be time-consuming. For the Berlin illustration, I used the colours yellow (S-Bahn), green (Berlin parks) as well as purple and pink to soften contrasts.
You deal with a wide range of topics in your illustrations - from travelling to technology and sustainability. Is there a topic that is particularly important to you at the moment?
The topic of travelling is particularly close to my heart because it evokes the most positive emotions in me. Technology and science are a challenge for me as I don't have a technical background. Nevertheless, I am fascinated by complex topics such as artificial intelligence and technology as I am very curious by nature.
Is there a particular project that was a personal milestone for you?
I have the feeling that my biggest milestone is still ahead of me. Maybe it's because my style is changing slightly at the moment and previous projects are becoming less important to me. Of my most recent work, I particularly liked the illustrations for ‘Progress’, the ÖH magazine. They gave the illustrators a lot of freedom, which made the project very enriching!
Are there any techniques or topics you would like to explore in the future?
I would like to do more screen printing - I was totally fascinated by my first workshop! I would also like to design gig posters and work more intensively with illustrated typography and music themes.
What would you like to achieve or effect in the long term with your illustrations?
I would like to further refine the composition of my illustrations and shape my style so that it is clearly recognisable as my own. My aim is to raise the standard of geometric illustration, as this style is not currently at its best. I want to show that geometric illustration can be versatile, expressive and suitable for a wide variety of tasks.
