Øyvind Torseter (1972) is a visual artist, cartoonist, children's book author and illustrator, and has been a member of Tegnerforbundet since 1999. His picture books have been translated into many languages and have won several prestigious national and international awards. Some of Torseter's numerous comic book novels are Altmuligmannen (2018), Mulysses (2017), Mulegutten (2015), Hullet (2012) and Avstikkere (2007).
With felt-tip pen, pencil, watercolor, oil pencil and paper clips, he creates a completely unique world of images with high recognition value. Torseter makes little use of text in the books and thus lets the visual tell the stories. In the picture book Hullet , for example, a physical hole that is punched through the book functions as a central narrative element. Another recurring visual means in the drawings is the division of the image space into different color surfaces that control the mood in the images.
Torseter's visual focus makes every page in his picture books function as an independent work of art. Øyvind Torseter lives and works in Oslo.
TF: Øyvind, can you tell us a little about your artistic work?
ØT: I am an illustrator, author and visual artist. Draws and writes own books in addition to illustrating for various authors. I have also had several solo exhibitions and made decorations. I tell stories with drawings, either in book form, on paper or right on the wall. Sometimes I use text in addition to drawings, but the visual storytelling comes first.
I have been drawing all my life, and have had it as a job for 22 years. Constantly alternated between own work and assignments. I have a workroom in a studio community at Carl Berner in Oslo together with other artists and illustrators. It's very okay.
TF: How do you use drawing in your work? Tell us a little about your work process!
ØT: When I work on assignments or illustrate for others, it often starts with me making idea sketches or a storyboard based on text or briefs. Then I have a meeting with the author and editor before I start with the final drawings. We often have some communication along the way. I feel that I can work very freely when I do assignments. At the same time, it's nice to make something together with an author that I could never have made on my own.
When I make my own books, I first cut up a lot of drawing paper in the same format. Selects the drawing tool and starts drawing. I may have some thoughts in my head about what I should make, sometimes I make some rules to work from beforehand. But preferably I want to know as little as possible in advance and rather discover along the way. When it has become a pile of drawings, I put them together, cut, paste and edit. If it gets too confusing, I make a storyboard. Maybe I should start writing and taking notes a little too. This is how it continues, constantly alternating between drawing, noting, putting together and editing. Occasionally I have meetings with the editor. It is very important to get the external look that an editor can give. The meetings also allow me to work on projects in stages.
After a work session in the studio, I often get new ideas when I get home. I write them down on the phone. It may not be more than 5 percent of the ideas that can be used, but it is good to have an idea archive to pick up from. I write a lot of the dialogue in the books that way.
The work process is not locked. The most important thing for me is to find methods that allow me to distinguish between the drawing process, which must be as free as possible, and the more critical editing phase. This applies to both assignments and own work.
TF: What inspires you? Do you work from a theme?
ØT: In recent years, I have made several books based on the character Mulegutten . He first appeared in the book Hullet in 2012 and since then there have been three books and a small universe with environments and characters that recur. The books are both surreal and mundane. It's a world a bit like our own, inspired by fairy tales, myths and popular culture. An inner and outer world at once. Much of what I make now spins out of this universe. This applies to both books and free drawings. I really work best when not much is happening around me. That it is time and peace.
TF: What are you currently working on?
ØT: In March I will have a separate exhibition at Norske Grafikere: Drawings made with graphics tools. It will be individual works, not editions. The technique is a mixture of monotype, stamp, drawing and stencil. They are similar to the drawings in the books, but in a much larger format (100 x 80 cm). It has been challenging to work hard.
The pictures in the books belong together in series, these are single pictures. Yet they tell a kind of story. Mulegutten and many of the characters from the books are included!
The works were made during the autumn and now I am choosing what to show. Creating an exhibition is similar to putting together pictures for books. Order and transitions are equally important.
Throughout the winter and spring, I am working on a fourth book about the Mulegutten . The previous book was a cartoon, this will be more of a picture book. Mulegutten gets a job as a curator at the Natural History Museum. They have to increase the number of visitors, and Mulegutten gets an idea to make a residual dinosaur from discarded parts in the warehouse. Eventually, the story develops into a journey of discovery. We'll see.
In addition, I illustrate a picture book by Constance Ørbeck-Nilssen coming this autumn.
TF: What does drawing mean for you / your work?
ØT: It's very basic. The first thing I do when I get to the studio in the morning is sit down to draw for a few hours.
TF: Tell us a little about your work in Tegnerforbundet's sales department!
ØT: Two original drawings from the book Mulegutten which came out in 2015. Like several of my books, it is a combination of a picture book and a cartoon. I like to mix both drawing tools, techniques and genres, then something of my own often arises. The story in the book is loosely based on a fairy tale by Asbjørnsen and Moe. The book was awarded the Deutscher Jugendliteraturpreis last year, I am very happy and proud of that!
The drawings in the book are made in different techniques. Most lines are drawn with a fountain pen (Platinum Carbon pen) with waterproof ink. The elephant is made as a monotype; here the line is drawn with a knife and grease stick. The pastel and acrylic colors are applied with a foam roller and stencil. The paper I use is called Hahnemühle Bamboo and is very suitable for many different techniques.
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Available works by Øyvind Torseter in the online store here .
