Motion design & animation
For Alpha10x, an AI-powered investment recommendation platform, I designed and produced an explainer video that translates complex technology into a clear and engaging visual narrative. The project is built around a semi-3D visual universe created in After Effects, using looping animations to establish consistency, depth, and a strong technological identity. A central element of the video is the UI animation, treated as if operated by a real user. Interface interactions are animated to mirror authentic behavior, guiding the viewer through the platform’s user journey step by step. This approach helps make abstract features tangible and easy to understand. The production combines motion design, editorial pacing, and sound, using After Effects, Adobe Fresco, Photoshop, Premiere Pro, Figma, and ElevenLabs.
Tapukee is a game I am developing solo using GDevelop. It emerges at the intersection of several long-standing passions: animation, music, sound design, and contemplative worlds. More than a traditional game, Tapukee is conceived as a sensory experience—one that is playful, musical, and introspective.
The core mechanic is deliberately simple. The player drifts and glides through a cosmic space filled with celestial bodies—planets, stars, and abstract forms—searching for notes that resonate with the musical background. Progression is guided by listening, exploration, and curiosity. Through this journey, the game gently introduces musical concepts such as notes, scales, and modes, while training relative pitch.
The core mechanic is deliberately simple. The player drifts and glides through a cosmic space filled with celestial bodies—planets, stars, and abstract forms—searching for notes that resonate with the musical background. Progression is guided by listening, exploration, and curiosity. Through this journey, the game gently introduces
musical concepts such as notes, scales, and modes, while training relative pitch.
At the same time, it offers a space for relaxation, supported by ambient soundscapes and a visually trippy, organic universe.
All visual assets in Tapukee are created through an artisanal process. I draw every character, environment, planet, and star by hand. These drawings are then transformed into animated
3D meshes so they can exist within the game engine. This workflow is slow and demanding, but it is a deliberate choice. I value working carefully and patiently, and I have a strong attachment to authentic, handmade creation. Even when using digital tools or AI-assisted workflows, preserving intention and honesty in the process is essential to me.
This long-form, hands-on approach allows me to continuously refine my technical skills. Tapukee functions as an ongoing learning ground for tools such as Adobe Fresco for drawing, After Effects for animation, and Ableton Live for music and sound design, as well as AI-assisted tools including GDevelop and ChatGPT. I use AI as a support for analysis and problem-solving, never as a creative authority. Each iteration deepens my understanding of how image, sound, interaction, and emotion intersect.
Developing the game also pushes me to engage deeply with UX and UI design. I constantly question how to guide the player without constraining them, how to make interactions intuitive without over-explaining, and how to balance freedom with structure. These considerations influence interface design, visual transitions, sound feedback, and the overall flow of the experience.
Finally, Tapukee is an exercise in narrative rhythm. I apply principles of storytelling to the game’s progression—alternating moments of discovery and calm, managing tension and release, and shaping an emotional arc rather than a competitive objective. The narrative is non-verbal and emerges through movement, sound, repetition, and pacing.
Through Tapukee, I explore game development as a poetic and sensory medium, where animation, music, and interaction form a single language. It is a slow, demanding, and sometimes fragile process—but one that feels deeply sincere. For me, that sincerity is the project’s true value.
No Strings Attack is a short film that opens with a fictional 2D platformer game, entirely designed and animated in Photoshop and After Effects. The game-like introduction establishes the film’s visual language and narrative logic, blurring the line between interactive mechanics and cinematic storytelling.
The film was written, directed, edited, sound-designed, and motion-designed by me, and produced within one week for the monthly screening of Kinoloop Berlin. It was later awarded Film of the Year by audience vote at the annual gathering of the Berlin-based collective Film Makers and Movie Nerds.
The project reflects my interest in merging game grammar with film language to create concise, concept-driven narratives under strong creative constraints.
Q&A is a fully hand-crafted animated short film, drawn and animated using Adobe Fresco, with animation created partly frame by frame and partly through compositing, timing, and rhythm work in After Effects. Every visual element was drawn by hand, and the sound design was entirely handcrafted as well, reinforcing a tactile, human presence throughout the film.
The project was born out of a growing discomfort with the widespread reliance on AI for creative expression, particularly in areas meant to remain personal, expressive, and human. While artificial intelligence can meaningfully assist with repetitive or technical tasks, its overuse in creative decision-making often leads to repetitive patterns, flattened aesthetics, and homogenized results. Q&A was conceived as a form of resistance to that drift. I am deeply attached to things that feel true—to intention, imperfection, and authorship. For this reason, the film was created entirely by me, from drawing and animation to editing and sound design, with AI used only as a technical assistant when necessary, never as a creative partner. The project asserts the value of human-led creation in an increasingly automated landscape.
By embracing slowness and manual labor, the film preserves the traces of the human hand—hesitation, correction, and intuition—as essential parts of its language. In doing so, Q&A affirms a belief that meaning in animation is not optimized, but patiently built, frame after frame, through presence and care.
Aka: @rotomaniak .