When did you first feel like, “This is it. This is the work I want to be known for”?

I first felt this during a collaboration with a fashion designer. We were planning to launch a clothing line, but when the project fell through, I created a costume for myself instead. While working on it, I developed a series of strange creatures that appeared on the lining and embroidery. They felt unexpected, as if they had appeared on their own, and that moment stayed with me.Inspired by this, I developed the characters further and created the series that became The Endless Forest. That’s when I realized I had found my visual language and a world I wanted to continue expanding.

Which part of the process is your favorite, and why?

I enjoy moving between different stages of the creative process. I especially like coming up with ideas, sketching, and imagining what the finished piece might look like — that part really inspires me. At the same time, I can’t stay in that mode constantly, so I also appreciate the later stages, when the basic shapes are defined and I begin adding texture and volume. This part is enjoyable too, as I can listen to music, read, or watch something while working, and it becomes a more relaxed experience.

Are there any creative rules you swear by, or break just for fun?

I don’t follow strict creative rules, but I do keep a loose daily structure that supports my workflow. Mornings are usually reserved for ideas and sketching, when my mind feels the freshest. Afternoons, on the other hand, are better suited to more technical tasks, like refining details or working on textures.This rhythm isn’t rigid and shifts depending on the project, but it has stayed fairly consistent over the years. At the same time, I like to leave space for spontaneity. Once or twice a week, I set the schedule aside and work more intuitively, following my energy and curiosity.

What’s something Affinity just gets right?

My transition was quite gradual. It started in 2020, when I was looking for software that could import vector graphics into EPS files cleanly, without unwanted artifacts or distortions.As I worked with it more, I became increasingly comfortable with vector workflows and genuinely enjoyed the tools. The turning point came when I realized I could seamlessly combine both vector and raster graphics within a single program. That flexibility made a huge difference to my process, and from that moment on, Affinity became my primary tool.

Is there an Affinity trick you always end up sharing?

I often share one simple approach: working with layers and masks in a non-destructive way. Instead of erasing, I use masks to refine shapes and textures, which gives me much more flexibility to adjust things later without losing detail.I also like to group elements early on, especially in more complex compositions, so I can move and edit parts of the illustration more intuitively. It may sound simple, but it really speeds up the workflow and keeps the process feeling flexible and easy.

Mary Maka

Illustrator

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Animator

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Serbia

Mary Maka is an illustrator and animation director whose work is inspired by mythology and a deep connection to the natural world. Passionate about drawing from an early age, she always knew she wanted to follow a creative path, later earning a Master’s degree in graphic design alongside additional training in animation directing. For over 15 years, Mary has worked across design, illustration, and animation, continually evolving her visual language. More recently, she has embraced a nomadic lifestyle, traveling and drawing inspiration from new environments, nature, and observation.

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Creative work

A nostalgic piece where simple childhood kites become magical creatures→

Illustration

A lush jungle scene inspired by Sri Lanka's ecosystems→

Illustration

A playful hybrid creature exploring form and character design→

Illustration

A detailed repeat pattern combining insects and plant life→

Illustration

Repeat pattern

A dynamic editorial illustration exploring evolution and adaptation→

Illustration

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End of section: Creative work

"Affinity supports my creative process from the first sketch to the final composition. When creating whimsical worlds, I rely on tools that seamlessly combine vector and raster elements, and Affinity gives me that flexibility, allowing me to experiment freely with shapes, colors, and textures as I transform my sketches into fully realized pieces."

Q&A

I first felt this during a collaboration with a fashion designer. We were planning to launch a clothing line, but when the project fell through, I created a costume for myself instead. While working on it, I developed a series of strange creatures that appeared on the lining and embroidery. They felt unexpected, as if they had appeared on their own, and that moment stayed with me.
Inspired by this, I developed the characters further and created the series that became The Endless Forest. That’s when I realized I had found my visual language and a world I wanted to continue expanding.
I enjoy moving between different stages of the creative process. I especially like coming up with ideas, sketching, and imagining what the finished piece might look like — that part really inspires me. At the same time, I can’t stay in that mode constantly, so I also appreciate the later stages, when the basic shapes are defined and I begin adding texture and volume. This part is enjoyable too, as I can listen to music, read, or watch something while working, and it becomes a more relaxed experience.
I don’t follow strict creative rules, but I do keep a loose daily structure that supports my workflow. Mornings are usually reserved for ideas and sketching, when my mind feels the freshest. Afternoons, on the other hand, are better suited to more technical tasks, like refining details or working on textures.
This rhythm isn’t rigid and shifts depending on the project, but it has stayed fairly consistent over the years. At the same time, I like to leave space for spontaneity. Once or twice a week, I set the schedule aside and work more intuitively, following my energy and curiosity.
My transition was quite gradual. It started in 2020, when I was looking for software that could import vector graphics into EPS files cleanly, without unwanted artifacts or distortions.
As I worked with it more, I became increasingly comfortable with vector workflows and genuinely enjoyed the tools. The turning point came when I realized I could seamlessly combine both vector and raster graphics⁠(opens in a new tab or window) within a single program. That flexibility made a huge difference to my process, and from that moment on, Affinity became my primary tool.
I often share one simple approach: working with layers and masks in a non-destructive way⁠(opens in a new tab or window). Instead of erasing, I use masks to refine shapes and textures, which gives me much more flexibility to adjust things later without losing detail.
I also like to group elements early on, especially in more complex compositions, so I can move and edit parts of the illustration more intuitively. It may sound simple, but it really speeds up the workflow and keeps the process feeling flexible and easy.

Colorful illustration of a stylized savannah landscape filled with animals including a giraffe, elephant, lion, and birds, set among layered trees and plants under a glowing sun.