Interfaces in Motion
Tools used: Figma for interface design and Adobe After Effects for animation and transitions.
Bringing everyday UI elements to life through movement, clarity and personality.
A collection of animation studies exploring how buttons, cards and search controls appear, change and communicate. This work brings together my UX/UI practice and visual storytelling background, showing my attention to both the appearance of an interface and its behaviour over time.
Know Your Counterparty
Figma for brand assets and logo, Adobe After Effects for animation and transitions.
Giving a compliance platform the pace and confidence of a modern product
KYCK screens counterparties for sanctions, PEP and adverse-media risk, so the brand has to read as precise and trustworthy before it reads as clever. I carried the identity I had designed for KYCK into motion: the deep near-black base, the sky and violet accents, the single amber action colour, and the check-mark that doubles as the brand's signature. The script moves in short, declarative beats, from Know Your Counterparty to a confident close on the mark, so each line lands like a statement rather than a sales pitch. Timing and easing stay crisp and deliberate, because in compliance the promise is not excitement, it is certainty. The piece shows how I take a brand system from static identity through to how it behaves and speaks over time.
Amico in / Motion
Tools used: Adobe After Effects for animation and transitions.
A four-stage brand presentation, told through motion instead of static slides.
The frame opens empty. A single circle grows to reveal the interior, then divides into a row of shrinking discs, one room read in sequence. Edges soften as they split and sharpen as they land. The type builds in as the discs settle, closing on the 1/4 counter. The image leads and the words follow, the same restraint behind Amico's refined, liveable interiors.
Generative Alchemy
Figma for visual assets and layout, Adobe After Effects for animated typography, charts, compositing and transitions.
Making the connection between materials, manufacturing and AI visible.
Generative Alchemy’s OPTAM platform uses AI to connect materials data with manufacturing processes. The animation combines layered graphics, moving typography and charts, with timed reveals guiding attention. Structured grids convey precision, while flowing lines visualise connections, making a complex technical story easier to follow.
Pets Know First
Tools used: Google Flow (Veo 3.1 and Nano Banana) for stills and animation, ChatGPT for character and set reference sheets, ElevenLabs for narration, Suno for original music and ffmpeg for editing, sound and captions.
Short animated stories about
the things pets notice
before we do.
A series of thirty-second animated episodes for YouTube Shorts, built as a repeatable production system: character reference sheets, six-angle room packs, a still approved before every shot is animated, one narrator, an original music library and a fixed caption style. The work brings together my UX/UI practice and visual storytelling, from writing and character design to direction, editing and publishing, with consistency treated as a design problem: every character and every room has to look the same in every episode.
București 1985
Tools used: Higgsfield (Soul 2.0 and Soul Cinema for the character and the stills, Seedance 2.0 for animation), Claude for research, direction and the edit, ffmpeg for grade, grain, sound and the typewriter title cards.
Thirty seconds in the winter of 1985, in the clothes, the streets and the silence of the last decade of the regime.
A short film in which I walk through communist Bucharest as it looked in 1985: a television address, a flat with an icon and an oil lamp, a queue in the snow, the building site of the House of the People, a bodegă at night. It was built shot by shot from a written production spec, in the register of the Romanian New Wave, which meant working against the defaults of AI video: deep focus, flat winter light, a locked camera, the subject small in the frame, muted browns and greys. Authenticity was researched before anything was generated, from the synthetics people actually wore to the block architecture and trolleybus wires that make a street read as Bucharest and not Moscow.
The character was the hardest part, and it was treated as a design problem. I trained myself from a curated set of photographs, on two models compared on identical prompts, and kept the one that held my face. The period restyle broke the likeness the moment it touched the face, a brown perm produced a stranger in the right coat, so the rule became: restyle the surface, never the face. The coat, the fur hat and the sneakers are 1985; the hair and the face are mine. Every still was approved for likeness before it was allowed to move, each shot names the one thing permitted to move in it, and the cut is straight, grained and finished with typewriter titles, because the point was a film that looks found, not generated.