//I create creatures for games. The kind that make players stop and stare before they attack.
My journey started as a street artist, then moved to gallery exhibitions, and later into the literary market, where I worked for nearly ten years across the entire production chain: from layout to complete graphic design, including covers and illustrations for authors from Brazil, Austria, and the United States.
//I create creatures for games. The kind that make players stop and stare before they attack.
My journey started as a street artist, then moved to gallery exhibitions, and later into the literary market, where I worked for nearly ten years across the entire production chain: from layout to complete graphic design, including covers and illustrations for authors from Brazil, Austria, and the United States.
I learned from book illustration that you can't just draw what's written—you need to complement the text with implied layers. I always dig deeper than the brief, adding visual storytelling that wasn't explicitly requested but makes the work richer.
Most intuitive artists in my niche don't have the technical foundation. I do. Anatomy, Gestalt theory, composition, it's not just about "drawing pretty." It's about knowing why something works and making it work intentionally.
My prices run higher than average because I overdeliver. Consistently. Client testimonials all say the same thing: "Asked for X, got 10 times better." I'd rather take fewer projects and blow minds than churn out forgettable work.
I learned from book illustration that you can't just draw what's written—you need to complement the text with implied layers. I always dig deeper than the brief, adding visual storytelling that wasn't explicitly requested but makes the work richer.
Most intuitive artists in my niche don't have the technical foundation. I do. Anatomy, Gestalt theory, composition, it's not just about "drawing pretty." It's about knowing why something works and making it work intentionally.
My prices run higher than average because I overdeliver. Consistently. Client testimonials all say the same thing: "Asked for X, got 10 times better." I'd rather take fewer projects and blow minds than churn out forgettable work.
//I create creatures for games. The kind that make players stop and stare before they attack.
Self-taught artist who moved from sculpture to traditional painting to tattooing to digital illustration. From Bauru, Brazil to Porto, Portugal, specializing in horror, sci-fi, and dark fantasy for games.
Works from home drinking coffee and listening to music. Uses AI as a tool in the process (not to generate finished art—as part of the workflow). Hates being photographed. “When someone points a camera at me I instantly get weird hahaha!”
Ex-tattoo artist who quit because he was tired of doing Vasco da Gama logos and infinity symbols with girlfriends’ names. “I wanted to make art that mattered.” Father of two. “I’m just a nice guy who wants to pay his bills. I just happen to love monsters.”
Currently working on a Kickstarter project set to deliver in 2026. Lives in Portugal but works weird hours across timezones. Discord, late-night coffee, always delivers. Perfectionist who gets obsessed with details nobody will notice—like the 300-year difference between Templar and Greek helmets.
// My work is driven by strong references, both classical and contemporary, always applied with intention, I don’t collect names; I absorb visual language.
Carpenter, Del Toro, Cronenberg, Kurosawa, Robert Eggers, Ari Aster.
Lovecraft, Barker, Tolkien, George R.R. Martin, Junji Ito, Shintaro Kago, Alan Moore, Stephen King, Edgar Allan Poe.
Goya, Caravaggio, Rembrandt, Doré, Beksiński, Mucha, H.R. Giger.
Kim Jung Gi, Even Amundsen, Filipe Pagliuso, Victor Harmatiuk, Frank Frazetta, Mike Azevedo, Raffa Grassetti, Victor Maury, John Patrick Gañas.
Dark Souls, Castlevania, Bloodborne, Diablo, D&D, Baldur’s Gate, Clair Obscur, Elden Ring.
