Graphic designer and art director building identities, character systems and illustrated experiences.

Sisterhood of the Knives (SOTK) is a dystopian story world expressed through a 2,000-piece generative character system. Released on Solana as an NFT collection, its lore follows rebel scientists who clone Hana, the last surviving Devi, into an underground sisterhood trained to resist the Solus Via. I developed the concept and visual system, produced approximately 70% of the illustration work, and led a three-person illustration team.

That narrative became a five-race character system with a layered rarity hierarchy and more than 200 interchangeable traits. Bodies, hair, hairpins, hands, weapons, accessories and backgrounds were drawn separately; every component needed to combine cleanly while preserving silhouette, colour balance and personality. At the 1/1 end of the system, Hana X, Hana 0, pastel variants and mutated Hanas extend the core races; mutated characters combine traits from two races. Across 2,000 outputs, I directed the team to keep the world, character logic and visual language consistent. The collection minted out and remains listed on Magic Eden.

Designer at a tourism and regional revitalisation company in Tokyo. Logos, illustration systems, campaigns and print for programmes across various tours all over Japan.

Most of this work has to do two things at once: read as credible to an overseas traveller who knows nothing about the region, and read as respectful to the Japanese partners and municipalities who have to sign it off.

Three sub-brands on one platform, drawn to be told apart at sixteen pixels.

Enjin ran three services under one product, and users could not tell which one they were in. Each service got its own mark so the mark itself did the wayfinding, before anyone read a label. Client marks and product marks sit elsewhere on this page and across the rest of the site.

A panda mascot carried across hundreds of daily social pieces for an Indonesian language-learning app, plus educational animation and marketing video.

The interesting constraint was consistency at volume: the same character had to read correctly across idiom cards, vocabulary cards, national holidays, celebrity collaborations and recruitment posts, in two languages, every day for two years.

Fourteen pieces made in my own time, under the name ktsn. Gentle and minimal on the surface, with something slightly "off" underneath is the vibe I always try to aim for.

Released across Foundation, Formfunction, Hic et Nunc, Rarible and OpenSea, some as commissions for other collections.