Anja and I go way back — we met in art school in our twenties. Even then, I knew that if I ever started my own brand, I’d ask her to do the illustrations. And now, just a couple of minutes (and over 20 years) later, here we are.
Anja is so incredibly talented that I was more than happy to give her almost free rein. Our values are beautifully in sync, which made it easy to simply let her create.
Just look at this beauty! We’re beyond excited that from now on, anyone buying our sauna knobs also gets a little piece of art along with them.
© Kuvittajat ry / Ilkka Vuorinen
I'm Anja Reponen, a freelance illustrator — and sometimes even an artist.
I have a background in graphic design and book design.
How would you describe your style or approach as an illustrator?
I create my illustrations by hand, so there's always a certain human imperfection in the lines. I actually like that — and if a drawing accidentally turns out too perfect, I’ll redo it. I really enjoy the act of drawing and painting, and I hope that comes through as a kind of warmth and cheerfulness in my work.
I also have my own intuitive and bold palette, made up of bright and muted complementary colors — it's probably quite recognizable.
When did you realize you wanted to illustrate?
When I was on parental leave from my book design job at Otava, I was watching my toddler create with this wild, free-flowing energy — and suddenly I remembered, strongly, that this was what I had always loved to do too.
What happens when you’re faced with a blank page?
I want to explore how colors and lines move and flow (that's crucial!). Usually, the most interesting tools are the ones not technically meant for that particular paper.
When is a piece “finished” – and how do you know?
When I feel satisfied with the process, there's some tension in the image, and it breathes freely.
Which color can you never resist? And which one gives you trouble?
Neon colors! I especially love using them as accent shades.
Light pink can sometimes be tricky — getting the dose right is hard. But honestly, I can’t really resist any colors. It's endlessly satisfying to mix and match them until they sing together.
How do you want the viewer to experience your work?
My goal is that the viewer feels the same joy seeing my illustration as I do when I discover a great piece of illustration.
Where and how do you like to work?
In my bright studio, surrounded by green plants, listening to podcasts, music, or audiobooks.
Do you have any quirky habits when you work?
Maybe not a habit, but it's always a surprise what kind of playlist ends up playing. It can be anything — from minimalist contemporary classical to pop to explicit rap. Just no schlager, opera, or super heavy metal.
Is there a favorite subject you wish clients would request more often?
Along with people, I absolutely love drawing and painting landscapes — though for me, the approach matters more than the subject. That’s why I don’t really have any “least favorite” topics.
What would your dream commission be?
Illustrating a New Yorker cover — or doing the title sequence art for a cool American TV show or movie.
How did it feel to illustrate this particular idea?
It was a joy to illustrate Eerik the Happy! The brief was both clear and open, which is rare. We were instantly on the same page about the topic and details. The drawing flowed easily, and I think you can feel that ease in the final image.
What kind of ideas or inspiration did you have while working on this piece?
Helena suggested the character could be unconventional — which of course was a perfect fit. And I got super excited about the tiles!
How important is it for you to do values-based work?
It means a lot — it gives the work a deeper sense of purpose. And whenever appropriate, I try to subtly include people from underrepresented groups in my images.
How does it feel to see your work as part of a story or everyday context like this?
Wonderful! I wish Eerik all the success in the world!
What’s your favorite part of the finished illustration – or something that came as a surprise?
Definitely the red fingernail.
What’s your best sauna memory?
From childhood, at our summer cottage in the Turku archipelago. My siblings and I would take turns splashing water on the sauna stove with a plastic mustard bottle that had washed up on the shore. It was plain light brown, all the printing had faded off. Somehow it worked perfectly — and it looked beautiful.
How do you sauna these days?
Unfortunately, we don’t have one in our building — not even a shared one. So I often go to the sauna at the swimming hall. My only requirement: it has to be hot. Tepid steam just frustrates me. I also enjoy chatting with strangers there.
If your illustration were an animal, what would it be?
A mimic octopus! A constantly shape-shifting, fascinating creature.
Favorite pen or tool?
It changes all the time, but right now it’s a solid marker pen made for writing on ads — it leaves a paint-like trace. I recently used it on ridiculously glossy paper, and the pen just glided like an angel.
Morning or evening illustrator?
In principle, a morning illustrator — but drawing in the evening can be wonderfully meditative, especially when it’s not under deadline pressure.
Favorite color right now?
Tomato red.