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

When I first thought about that question, I went back to my time creating editorial illustrations for OKAYPLAYER. It was one of my favorite projects, combining my love for hip-hop with a comic book aesthetic to tell stories for the publication. But the more I reflected, the clearer it became that the work I want to be known for goes beyond individual projects. It resides in being a support system for creatives finding their way through an ever-evolving landscape — navigating criticism, financial pressure, and client relationships. I fumbled my way through much of that learning process, and now I try to be the guide I didn’t have growing up.

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

My process feels like getting a great short haircut and then deciding to grow it out, sitting through that awkward middle phase. That phase is full of mishaps, ego resets, frustration, disbelief, and just enough unwarranted confidence to push through. It’s hours of preparation, sketching, research, trial and error — falling in love with an idea only to watch it fall apart during execution. Then, when all feels lost, it clicks. The line weights emerge, the colors start to flow, and the concept becomes real. I love that moment. Then I spend the next hour hoping I don’t mess it up.

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

Creative rules are funny because they exist to help artists find a voice in a world where that can be difficult — a language designed to make the work more palatable for those who consume it. I still use rules in my own practice, at least for now. The way I structure my line work is my ride-or-die rule. I divide line weights by two — if my thickest stroke is 12pt, the next is 6pt, then 3pt. That system creates structure and clarity, allowing the artwork to hold together and not get lost, even in the most chaotic scenes.

Name the unsung hero in your Affinity workflow.

My unsung hero is the Erase blend mode. I know — most people react with, “What are you talking about?” — but that blend mode is awesome, and I can’t remember seeing it done this way anywhere else. When you apply it to a shape, it cuts through to the lowest layer of your file, which is usually a white background, depending on what you’re doing. So it seems pretty useless at first — until you place that shape inside a group, and suddenly it only affects the objects in that group. Now you can use that shape to erase objects below, basically cutting things up while keeping everything non-destructive. It lets you go back in and make changes whenever you want. Absolute chef’s kiss.

Is there an Affinity trick you always end up sharing?

Clipping masks. I know that sounds weird, but the ease of creating them — just dragging and dropping elements into each other — completely expedited my workflow. Plus, you can nest them multiple levels deep; it’s wild. I have files with more nested layers than some apartment buildings in the Bronx.

Pope Phoenix

Illustrator

•

United States

•

Affinity Creative Partner

Pope Phoenix is a Bronx-born creative formally trained in illustration, art direction, and graphic design. Working across both digital and traditional media, his practice centers on exploring shared human experiences and the connections that bind us. His ongoing project, ABOUT FACE, examines identity, empathy, and the communal responsibilities we hold toward one another, using portraiture as a space for reflection and dialogue.

Start of section: Creative work

Skip to end of “Creative work” section

Creative work

An exploration of breaking old habits and confronting the tension between what once worked and what is needed now.→

Illustration

Exploring the space where hip-hop and fashion collide, this piece blends realism, anime, and comic-inspired style with Hypebeast energy.→

Illustration

Part of The New Yawker series, this piece reflects on identity, culture, and the conscious choice to step back from digital noise.→

Illustration

A high-energy tribute to Kendrick Lamar’s “TV OFF,” capturing the explosive impact of the now-iconic “Muusstaaaaard” moment.→

Illustration

Skip to start of “Creative work” section

End of section: Creative work

“Having all the tools I need in one custom studio lets me focus on the work instead of figuring out how to move my art between different apps. That continuity keeps the process flowing and allows ideas to develop naturally.”

Q&A

When I first thought about that question, I went back to my time creating editorial illustrations for OKAYPLAYER. It was one of my favorite projects, combining my love for hip-hop with a comic book aesthetic to tell stories for the publication. But the more I reflected, the clearer it became that the work I want to be known for goes beyond individual projects. It resides in being a support system for creatives finding their way through an ever-evolving landscape — navigating criticism, financial pressure, and client relationships. I fumbled my way through much of that learning process, and now I try to be the guide I didn’t have growing up.
My process feels like getting a great short haircut and then deciding to grow it out, sitting through that awkward middle phase. That phase is full of mishaps, ego resets, frustration, disbelief, and just enough unwarranted confidence to push through. It’s hours of preparation, sketching, research, trial and error — falling in love with an idea only to watch it fall apart during execution. Then, when all feels lost, it clicks. The line weights emerge, the colors start to flow, and the concept becomes real. I love that moment. Then I spend the next hour hoping I don’t mess it up.
Creative rules are funny because they exist to help artists find a voice in a world where that can be difficult — a language designed to make the work more palatable for those who consume it. I still use rules in my own practice, at least for now. The way I structure my line work is my ride-or-die rule. I divide line weights by two — if my thickest stroke is 12pt, the next is 6pt, then 3pt. That system creates structure and clarity, allowing the artwork to hold together and not get lost, even in the most chaotic scenes.
My unsung hero is the Erase blend mode. I know — most people react with, “What are you talking about?” — but that blend mode is awesome, and I can’t remember seeing it done this way anywhere else. When you apply it to a shape, it cuts through to the lowest layer of your file, which is usually a white background, depending on what you’re doing. So it seems pretty useless at first — until you place that shape inside a group, and suddenly it only affects the objects in that group. Now you can use that shape to erase objects below, basically cutting things up while keeping everything non-destructive. It lets you go back in and make changes whenever you want. Absolute chef’s kiss.
Clipping masks. I know that sounds weird, but the ease of creating them — just dragging and dropping elements into each other — completely expedited my workflow. Plus, you can nest them multiple levels deep; it’s wild. I have files with more nested layers than some apartment buildings in the Bronx.