Adrià Tormo: the art of geometric abstraction

For Adrià Tormo, illustration is a way of giving form to what doesn’t yet exist. Under the name Tormius, the Spanish artist blends geometry and abstraction into bold vector illustrations made in Affinity. In this interview, he reflects on his influences, creative process, and the challenges of building a career in art.

Tell us a bit about yourself and how you got started as a visual artist.

I’m Adrià Tormo, the artist behind Tormius. I was born in Xàtiva, a town in the interior of Valencia, and I’ve lived here all my life, close to the Mediterranean Sea. Since childhood, like most kids, I had creative impulses, but it wasn’t until I began studying graphic design that I started shaping myself as a visual artist—drawing on references and learning from the worlds of both design and art. While studying, the concept of Tormius was born in my mind, and that’s when I knew I wanted to dedicate my life to it.

What inspires your work?

My work is inspired by many different sources. Kandinsky was the first artist to impress me in a way that felt completely different—he made me realize there were other ways of creating art beyond the traditional approach. I take many references from classic movements such as De Stijl and Polish Formism, and lately I’ve been deeply inspired by the drawings of Dalí and Picasso—particularly Picasso’s Vollard Suite and Dalí’s lithographs of the Pantagruelian Excesses. Depending on the piece I want to create and the style I need to give it, I draw inspiration from one influence or another. Having references to lean on is essential; they help you communicate your message more clearly, especially when you look to those who have already expressed their ideas in a masterful way.

How did you develop your geometric style?

I was never good at traditional drawing, so I’ve always looked for different ways to express myself. I never abandoned the foundations of drawing—I study them so I can break the rules once I know them—but for me, those foundations are geometric shapes. When I start drawing them, my mind immediately shifts into a geometric plane, and I begin deforming before I’ve even finished forming. Geometry and the possibilities it brings inspire me: disconnected lines, impossible shapes, the endless outcomes it offers—which is really the basis of everything. Visually, I’m drawn much more to geometric and abstract work. I believe there’s a whole new dimension to explore—something more appealing to the human eye when you move away from linearity and what the eyes already know. In my work, I try to interpret what doesn’t exist yet.

Talk us through your creative process; how do you turn your ideas into finished artworks?

My creative process is a little chaotic, in the sense that I almost never start with a concept in mind. The lines are the ones that speak to me and tell me what they want to become. With a blank canvas, I begin drawing random lines and shapes, and as they evolve, they reveal what they want to turn into. That’s when I start to see what I’m going to create.

If I need to make a piece with a defined theme, I usually do many different sketches until the abstract lines emerge that say, “hey, I want to be this concept.” Sounds crazy, I know haha.

Right now, I’m also carving a path into digital painting, without using vectors, which opens up a new direction and another resource for me to work with. I’ll be using it alongside my vector work, keeping vectors as a tool for projects that require precision.

How do you choose colour palettes for your illustrations?

Choosing the colour palette is probably the most complex part, because that’s where everything comes together. You can have a strong sketch and clean line art, but if the colours don’t work, the piece loses much of its strength. I’ve had to learn a lot about colour, and I still have plenty to learn.

Generally, I don’t use apps or ready-made palettes—I prefer to group colours that I feel work well together and then apply them by eye. Still, I believe it’s something you have to take very seriously and never stop learning about, which is why I’m always adding new resources and trying to improve with every piece.

You’ve been using Affinity since the early days. What first impressed you about the app, and why do you continue to use it?

I love Affinity! From the very beginning—more than eight years ago, when I was studying graphic design—it was my go-to for all my college projects, and I fell in love with it. Its simplicity and the fact that I could own it without worrying about a subscription made it the perfect choice. To this day, I still use it because it feels like home. Not only because I’m used to it, but also because I trust Affinity—the company has always been transparent. With constant free updates and the way the team treats its users, you really do feel valued and appreciated as a customer.

Do you have any favourite features?

I love the Global Colours feature—being able to adjust an entire colour palette on the fly to get the finish I want, without redoing everything from scratch, is amazing. I’m also a big fan of the Contour Tool and the Slice Studio, both of which have saved me a lot of time!

Is there a piece of artwork that you’ve created that you’re particularly proud of? Could you tell us about it?

One of the pieces I’m most proud of is Witness, which a few years ago was exhibited on the giant screens in Times Square, New York. Witness represents a geometric and abstract scene where I wanted to convey the feeling of being observed, through the many eyes it contains. Eyes have since become a signature element of my style. The piece also reflects the evolution of my work and how I’ve gradually pushed myself to create more complexity in my art.

Another piece I’m especially proud of is Ethereal Hare. Thanks in part to this artwork, I was recently able to sign my first major international client!

What do you feel is the biggest challenge you’ve faced as a digital artist?

For me, exposure is still a challenge. I’m a reserved person who never really shared much on social media—not even in my teenage years. Often I struggle to post because I don’t want to be annoying, and most of the time I simply forget to “create content” outside of my artwork.

For example, yesterday my wife and I ordered pizza, and while I was placing the order I thought, “I’ll post a photo on my Stories.” Of course, I only remembered again after I’d already finished the pizza haha. Many times I have to push myself or remind myself to generate content to share. It’s not that I don’t enjoy it—I actually love sharing parts of my daily life with friends and people who follow my art—I just tend to forget.

What advice would you give to an artist who is just starting out?

Experiment with different things, explore, and have fun. Don’t be afraid to fail—and if something doesn’t work, let it go and move on to the next project. Build a solid, consistent personal brand; branding concepts are real and incredibly useful.

Work on your website and socials—keep them updated, clean, and easy to use. Give them the importance they deserve, because they’re your “personal agents,” working for you even while you’re busy elsewhere. That’s where many of your opportunities will come from.

If you choose this path and it’s truly what you love, go all in!

Lastly, where would you like to see yourself in five years' time? What would you like to have accomplished?

Five years feels like a short period when you think long term. I suppose the best answer is that I’d like to be happier—and nowadays, that alone already feels like a lot to ask.

When you put time and love into something, the results follow. In the coming years, I’ll keep giving my time and love to Tormius, which is no longer just a project but my life. Whatever I achieve, and wherever I end up, will be a direct reflection of the effort I’ve put in.

Discover more of Adrià’s creative world at tormius.com, and connect with him on Instagram and Twitter to follow his latest work.