Meet illustrator Stephan Walter, our friend and collaborator

Over the last few years, we’ve worked with the Zurich-based illustrator Stephan Walter on a few different projects: we created merchandise, sent out Xmas cards and launched our subscription with his illustrations.

Now we want to know more about him and his work and share it with you...

Could you briefly introduce yourself?

Hi, I’m Stephan, a Swiss designer, illustrator and creative director specialising in visual design, 2D and 3D image worlds and art direction. I work with companies, agencies and studios across branding, advertising, culture and architecture, helping them explore unconventional visual directions.

My background is in classical graphic design, combined with 3D and new technologies. I aim to create work that communicates clearly, feels distinctive and brings a little joy.

Looking back on your journey, how did illustration find you—or how did you find it?

I never planned to become an illustrator. I was fascinated by images, posters and visual culture, while Switzerland’s author-driven graphic design scene—and designers such as Martin Woodtli and Stefan Sagmeister—inspired me to develop my own visual language.

Rather than relying on existing imagery, I wanted to create it myself, and digital tools made that possible. Today, I no longer separate illustration, typography, graphic design and 3D; they are different ways of solving the same visual problem.

Your work has a distinctive visual language. How does an initial idea develop into a finished image?

The concept comes first. I think carefully about the motif, composition, angle and placement before building the image. Once the structure works, I develop the details and the visual world around it.

I’m equally drawn to reduction, so the process is always a balance between adding and removing. Time helps: a walk or a night’s sleep can change how I see an image and often turns an average execution into a strong one.

Inspiration often seems to be everywhere and nowhere at once. What nourishes your perspective—visually, culturally, or in everyday life?

Inspiration comes less from other illustrations than from everyday life: architecture, conversations, books, travel and walking through cities. I’m fascinated by typography, maps, objects, spaces and how people interact with their surroundings, as well as art, design, film and music.

The best ideas often appear when I’m not actively looking. Something unrelated can stay with me and become a visual idea much later.

How would you describe your creative rhythm? Are there any rituals, working methods, or conditions that are central to your process?

I like giving ideas time, and some projects remain in my head before I start working on them. I also need a certain lightness; too much stress makes it difficult for me to design well.

Once I’m in the right space, I work intuitively and become absorbed in the details. Music, uninterrupted time and occasionally stepping away all help.

How did you experience your collaboration with mockup.maison?

The collaboration with mockup.maison was smooth, natural and uncomplicated. Everyone trusted one another’s expertise, without unnecessary friction or constant justification.

That trust made the process fluid and enjoyable. The best collaborations happen when people remain open and focus on finding the strongest solution together.

When you work with brands or creative teams, what makes a collaboration genuinely exciting and productive for you?

I enjoy working with open, curious people who are willing to explore ideas together. I find “that’s not possible” unhelpful; the better question is how to make something work.

Technical, financial and time constraints are real, but I see them as part of the creative challenge. The best projects begin with trust, shared ambition and openness.

What is occupying you most artistically at the moment? Are there any themes, techniques, or questions that you currently cannot stop thinking about?

I’m interested in the relationship between craftsmanship and new technology. AI is changing creative work rapidly, but I believe ideas, taste and human perspective are still what make work memorable.

Animation has also returned to the foreground for me. I’m fascinated by how movement carries emotion and how atmosphere and character can disappear when efficiency takes priority. That contrast makes me want to explore animation more deeply again.

And looking ahead, what are you most excited about? What would you like to explore, develop further, or bring to life in the future?

I’d like to blur the boundaries between illustration, branding, motion and physical experiences even further.

I also want to focus more on creative and art direction. After around 20 years close to execution and craft, I increasingly value using that experience to shape direction, ask the right questions and support younger or more specialised designers.

It’s not about stepping away from making, but about helping teams turn good ideas into great visual products. At the same time, I want to keep learning—there are still countless techniques, formats and ideas to explore.

Thanks, Stephan!