Tilda Publishing
a quiet new year’s night — a boy on the couch, watching tv
soft pinks, blues, and greens, inspired by childhood memories, when the singers on tv felt magical and being with adults wasn’t nearly as interesting
soft pinks, blues, and greens, inspired by childhood memories, when the singers on tv felt magical and being with adults wasn’t nearly as interesting
new year's meal
this illustration started as a simple pose study from roller-skating references, but when i drew the boy and the girl together, a small story appeared on its own
tie your skates first
this illustration started as a color experiment, focused on flat shapes, limited palette and working without shadows
inspired by 1950s animation design, i wanted it to feel like a cinematic frame aimed directly at the viewer, with a slight sense of humor
inspired by 1950s animation design, i wanted it to feel like a cinematic frame aimed directly at the viewer, with a slight sense of humor
bathroom scene
from a technical side, this illustration focuses on flat color, strong contrast and simplified anatomy, using a bold red background to keep the composition graphic and direct
from a narrative perspective, it captures a quiet moment — a character alone, relaxed, suspended between intimacy and everyday boredom
from a narrative perspective, it captures a quiet moment — a character alone, relaxed, suspended between intimacy and everyday boredom
late night channel
a black-and-white illustration focused on gesture, closeness and quiet intimacy
the scene captures a calm domestic moment, where simple silhouettes and contrast carry the emotion rather than detail or color
the scene captures a calm domestic moment, where simple silhouettes and contrast carry the emotion rather than detail or color
soft routine
this illustration started with a simple idea: i wanted to try something more serious than the scenes i usually draw
i built the scene by working from flat color shapes first, placing large blocks to decide where each figure and object would sit. this helped me set the depth of the image early on: the foreground, the glass, and the room behind it all came from that initial layout of shapes
i built the scene by working from flat color shapes first, placing large blocks to decide where each figure and object would sit. this helped me set the depth of the image early on: the foreground, the glass, and the room behind it all came from that initial layout of shapes
I SAID WHAT I SAID
it is my small tribute to alice in wonderland, a story that always fascinated me with its strange tone and endless visual interpretations
i wanted to show alice not as a naive girl, but as a bold and rebellious character, capturing the moment she defeats the queen of hearts with a flamingo
i wanted to show alice not as a naive girl, but as a bold and rebellious character, capturing the moment she defeats the queen of hearts with a flamingo
alice's victory
a cinematic illustration focused on perspective and character mood
the low angle and close-up hand create depth, while the patched suit and clashing colors hint at a worn, slightly absurd personality
the low angle and close-up hand create depth, while the patched suit and clashing colors hint at a worn, slightly absurd personality
boring road
it started as a halloween illustration i began in mid-october
the first idea was much more straightforward: a classic horror setup with a monster or a masked killer behind the door, and a girl terrified in the foreground. but while working on it, i realized i didn’t want to go fully into horror — instead, i wanted something that felt more like a 2000s teen thriller, with drama and awkwardness instead of actual danger
the first idea was much more straightforward: a classic horror setup with a monster or a masked killer behind the door, and a girl terrified in the foreground. but while working on it, i realized i didn’t want to go fully into horror — instead, i wanted something that felt more like a 2000s teen thriller, with drama and awkwardness instead of actual danger
almost a horror scene