Fantasy was the door I came into illustration through, and it is still the work I reach for first. I like worlds with rules, creatures that look like they eat and sleep and get rained on, and places that feel found rather than invented. My work is detailed and heavily textured, and it is usually quiet rather than epic: the moment after the battle, the market on a wet morning, the thing in the reeds watching you pass.
When I design for someone else’s world, my first job is to learn its logic. I read what you have, ask questions that are probably too literal, and sketch until the world starts answering back. Creature design starts with how the animal lives. Diet, climate, and temperament shape a silhouette more honestly than any amount of decoration, and a reader can feel the difference even if they never name it.
I am comfortable working alone from a written brief, and just as comfortable inside a team with an art director, a style guide, and a schedule. Sketches come first either way. I would rather show you five rough directions than one polished guess, because the cheap stage is where a world’s look should be argued about.
Most of my fantasy work is commissioned for games, books, and worldbuilding documents: creatures and characters, locations, art bibles, and the covers and interiors that carry a story into print. The pinned pieces above are a fair sample of where my hand sits naturally. If your world is darker, softer, or stranger than what you see here, say so in the brief; stretching toward a world’s particular strangeness is the part I enjoy most.
If you are building something and wondering whether I am the right fit, the short brief below takes about five minutes, and I reply within one business day with an honest answer about fit, timing, and budget. If I am wrong for the project I will say so, and where I can I will point you toward someone better suited.