I draw.
That's the half you can see. The other half decides what stays the same when the next product is nothing like the last one.
No stock imagery: every drawing that reaches the packaging is drawn for that brand. No stock characters, no generated label art.
Why
Nothing to remember.
Good products get forgotten. Not because they are bad — because there is nothing to hold on to. I give them something to remember. So — be a brand.
What
Finding the face.
Becoming a brand is like finding yourself. Like finding your own face — a face that can be a colour, a pattern, a style. Whatever makes a product memorable helps with that. That's what I do — I help find the face.
Who
Artist who builds.
I'm Alex. I trained as a painter. Easel painting, drawing, anatomy, composition — the long academic route, the kind where you spend a year on a plaster cast and think about quitting twice a week.
I stayed with drawing, but I found I like drawings that leave the studio. A canvas stays in one room. A label travels through shelves, bars, kitchens and hands — a few thousand at a time.
Craft
Made, not assembled.
Characters, textures and type are made for one brand and go nowhere else afterwards. Where a project needs its own letterforms, I draw those too — I like that part more than I should.
It takes longer than assembling one from ready-made parts. It's a different job.
Discipline
The other half.
Illustration is just a half. What makes it a brand is the boring part underneath — the grid, the hierarchy, the rules that let the seventh release still look like family with the first.
I like the boring part. Some of these systems have been running for years, extended into flavours, merch and taproom walls nobody planned for at the start, and they still hold.
Customers
Who ends up here.
Founders — who want a brand that survives a real shelf, from the person who actually answers the emails.
Art directors — who need an illustrator that knows what a dieline is, respects a deadline, and sends files that print without a phone call at midnight.
The studio
Better with company.
The drawing is always mine. But when a project needs a photographer, a retoucher, or a second pair of eyes, I bring them in — I have people I trust, and the work comes out better for it.
What doesn't change: you talk to me, not to an account manager. There isn't one.
From the first sketch
to the print-ready file.
I work remotely. It's you and me.