I'm a generalist in visual and interactive expression, with a particular love for 3D graphics, game development and graphic design.
I'm always open to contributing to exciting projects. Check out my portfolio and get in touch if you'd like to collaborate, or if you're wondering whether I can make something to order.
I discovered drawing by chance as a psychology student, and it has been a fixture in my life ever since. I sketched my way through lectures, had a regular comic strip in the student journal, and followed an inner voice to art school after finishing my psychology degree. At Spillverket, a social entrepreneurship I founded and ran, I led work-oriented training in game graphics and designed educational programmes in 2D and 3D graphics and visual direction. At the game studio Luftskip (formerly Luda), where I wear the captain's hat, I've created all the graphics, visual identities and branding for a range of projects.
The knowledge and skills I've built up in visual art and design are largely self-taught, but rest on a foundation of classical technical and art history training from Einar Granum School of Fine Art. Video games are technical by nature, and game graphics offer a natural tangent into programming for those who wish to follow it. I have gladly done so, and programming and visual production often go hand in hand for me.
I learn and create best through a combination of absorbing as much knowledge as I can about a subject, tool or method, experimenting in curiosity, doubt and hope, and then gathering feedback, critique and impressions from others. Every time I've made something that deserves to see the light of day, someone has given me invaluable help.
I work within the following areas of design and graphics:
Being a generalist is a double-edged sword. I have a broad understanding of many areas of visual production, and understand how they connect, influence and depend on each other — but there is always someone more skilled than me in each individual area. This is something I've learned to embrace. I enjoy both wearing all the hats as a one-man band, and keeping the overview as a flexible member of a team of specialists.
I primarily use the following software in my visual work:
I've used these in past projects and pick them up from time to time.
I use language models for help with programming and troubleshooting in software.
I do not use generative AI in any finished products.
My position is that using generative AI in commercial products without the consent of every artist whose work was used to train the model and generate the result is contrary to copyright law.