Featured Illustrations & Motion Graphics
A blend of surrealism, nature, and motion. This collection highlights the editorial, commercial, and personal projects that define my narrative-driven approach to visual design.
This animated poster, part of a "femme-scape" duet, shows how I build immersive, surreal worlds. I use gentle, looping motion and rich, layered illustration to explore themes of femininity and our connection to the environment, creating a piece that is both meditative and emotionally resonant.
This piece for The New York Times Opinion visualizes the complex feedback loop between genetics and environment. It's a prime example of how I translate abstract, scientific concepts into compelling, narrative-driven illustrations for a wide audience.
I create animated book covers that capture a story's essence. This cover for Ray Bradbury's "The Long Rain" uses a slow, looping animation to evoke the story's moody, atmospheric, and surreal science fiction setting.
This frame-by-frame animated GIF shows the process of blossoming and unraveling. It highlights my ability to create raw, personal animations that explore themes of growth and transformation, perfect for artistic social media content that tells a small, captivating story.
An exploration of bioluminescence and womanhood from my thesis project, "The Nature of Being." This piece showcases my signature style of combining bold linework, vibrant gradients, and surreal concepts to explore the interplay between our inner worlds and the natural world.
This is an example of my experimental hand-lettering animation. I created morphing, organic letterforms to convey the psychological feeling of "Euphoric Recall," turning typography into a dynamic and trippy visual experience.
Album cover illustration for the legendary Brazilian artist Alex Malheiros. For this project, I created a vibrant, futuristic world that fuses tropical, coastal, and space-funk elements to visually represent the sonic landscape of the music.
About Featured
I approach every commission as a piece of storytelling, whether it is for a publication like The New York Times or a bespoke brand project. My process starts with a dialogue where we sketch out the narrative beats and the emotional tone before committing to a visual style. This ensures the illustration or animation does more than just look good, it actively communicates the core theme of your story or brand.
My Creative Philosophy
Every project I take on sits at the intersection of my three main interests: science, nature, and the surreal. When working on editorial illustrations or motion graphics, I don't just create a static image; I build a small world. This is why I heavily rely on a narrative-driven process where the concept dictates the visual form.
The Process: From Sketch to Screen
My work often begins with analog explorations—pencil sketches and physical textures—before moving into the digital realm for fine-tuning.
- Conceptualization: We start by aligning on the story. If you are looking for a book cover, we discuss the themes. If it is a social media GIF, we focus on the vibe and the loop.
- The Narrative Draft: I provide initial sketches that define the composition. This is where we ensure the metaphor, such as the bioluminescent themes I often use, resonates with your intended message.
- Motion and Polish: Once the illustration is set, I use tools like After Effects to add depth. Whether it is a 2.5D parallax effect for a Spotify Canvas or a frame-by-frame liquid morph for an experimental poster, the motion is always designed to enhance, not distract.
Why Collaborate?
I believe in transparency throughout the production pipeline. Every project includes two rounds of revisions—one at the sketch stage and one at the final motion stage. This gives us the space to iterate and get the details right, from the color palette to the pacing of the loop. If you want a visual partner who cares as much about the 'why' behind the art as the 'how,' we will likely work well together.
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