The bold shapes and detailing all reflect the simple beauty of Finland. A love of traditional techniques means most designs are hand-drawn, layered and then screen-printed to create her trademark patterns.—Sanna Annukka is a half Finnish and half English illustrator and printmaker with a love for folklore and nature. She graduated with a BA Hons in Illustration from the University of Brighton in July 2005 and is currently based in London.
'I am a multidisciplinary artist currently living and working in Bucharest as a lead designer and partner at the graphic design offices of Acme Industries. Although I gained a BA in graphic design, I consider myself to be self-taught.
My first contact with art was in kindergarten where we were shown different drawing techniques with coloured pencils. Although I had no idea what I was doing I just started drawing. The moment I decided to be a designer was the exact same moment I graduated High School.
I’ve always been fascinated with the exploration of new shapes and new typefaces. Essentially, I’ve never quit doing typography ever since I learned how to write. It later evolved in graffiti, tattoos and towards digital.' [h]
Smoker, 1 (Mouth, 12) 1967
Tom Wesselmann (1931-2004)
*Image originally uploaded by the science of design.
IS: Did you get any complaints on your mouth paintings at all?
TW: No. A lot of people refer to the mouth paintings -- I think it's a cliche -- as being erotic, because the smoke is erotic. You see, erotic to me is sex; erotic isn't convoluted curves to me or things like that. So I've always had that difference of opinion with a lot of people out there.
TW: Now, I could find the parted lips somewhat erotic, I guess. To a certain extent I'm fooling myself because I'm saying these things aren't erotic because I don't want them to be erotic. Because I didn't create them to be erotic. It's true I've maybe spoken of them as being potentially erotic -- no, that was another thing. It was a post-coital hand, a painting I still haven't done yet. It was a hand lying there with a cigarette in it, like a post-coital cigarette, a corny cliche sort of thing. That is more erotic to me than the smoker's eroticism which is an accidental by-product because I didn't do them to be erotic. I did them because I was intrigued with smoke and coming in close on the mouth. I didn't start the mouth paintings to be erotic. I started them to be just a mouth, that's all. In fact they weren't erotic -- they were a smiling mouth, a grinning mouth, and then there was an open mouth. That was meant to be erotic. I was doing a mouth with a tongue out. I never finished that thing. That was meant to be erotic. So the erotic came into it, but it (...) runs in and out of it.
Oral history: Tom Wesselmann interviewed by Irving Sandler.