From 20 Rejections to My Own Design Studio
When Numbers Stopped Inspiring Me
For a long time, I worked in finance — an environment where precision, analytics, and flawless logic are everything. But even there, I stood out most in presentations: structuring complex data, turning numbers into clear stories, and communicating ideas visually so they actually landed.
Over time, it became clear that my real strength wasn't just in calculations — it was in how I presented results. That realization pushed me to build something of my own, where visual communication skills became the main instrument.
The Dream: Working as a Real Designer
When I started looking for a new job, I focused on positions where I could combine my financial background with visual communication. I wanted to be in an environment that values creativity and attention to detail — working on identity projects, packaging, and illustrations — everything that shapes a brand's image.
20 Rejections: The Moment That Changed Everything
I went through two or three dozen interviews, and over time it became routine: preparation, call, waiting for an answer. Most often they said I lacked experience or my portfolio wasn't strong enough. One rejection stuck with me — after a long process, they wrote that they had "decided to go with a candidate with a more relevant background."
After ten rejections, I started getting tired. After fifteen, I caught myself thinking I was moving too slowly. There were moments when I wanted to pause, just to catch my breath. But every time I came back, because I knew: there was no other way.
That's when I made the decision that changed everything: if the market wasn't ready to give me a chance — I would create that chance myself.
First Steps in Freelancing
I found my first client almost by accident: a friend of a friend saw my work and asked if I could help. My first paid job was a small logo — I agonized over every line as if my entire future depended on it. About a month passed from deciding to go freelance to getting my first real order, and the whole time I doubted whether I'd made the right call.
What scared me most was that there might simply be no clients. The moment I realized it was working came when my second client found me on their own — without me trying to convince anyone.
Building Real Partnerships
As a freelancer, I quickly understood that the key difference from employment is in how you're evaluated. In job interviews, I was judged by my resume and a few minutes of conversation. Working with clients, what mattered was the real work: quality, speed, understanding the brief.
One of my first clients was Star Food — they needed labels for a new product line. The project went well, and they entrusted me with their logo, then a full visual concept. We've been working together on an ongoing basis ever since.
Baloon Party came to me for a comprehensive brand book — from visual identity to every element of their corporate style. The collaboration with Laser Craft started with a logo and grew into a long-term partnership covering all their graphic needs.
From Design to Book Illustration
I came to children's books quite naturally: at some point I noticed that what inspired me most were soft, warm stories and characters. My first book was for toddlers — short stories about a little raccoon, and I still remember how nervous I was sending the first sketches.
In book illustration, I find more freedom and emotion than in commercial design. When I draw for children, I feel like I'm creating a small world that someone will later immerse themselves in — and that's an entirely different feeling.
Today my portfolio includes six book projects: "The Nutcracker," "Wild Swans," "Winter Adventures," "Star Team," "Sigurd Fights the Dragon," and "Secrets of the Sea." Each one represents months of work, dozens of sketches, and the search for the right visual language for every story.
What I've Learned Along the Way
Twenty rejections taught me more than any job interview ever could.
Rejection isn't a verdict — it's a redirection. Every "no" brought me closer to my own path, which turned out to be far more interesting than any staff position.
Clients value results, not diplomas. Not a single one of my regular clients has ever asked where I studied. They care about one thing — the quality of work and the ability to understand their brief.
Long-term partnerships are built on trust. Star Food, Baloon Party, Laser Craft — they all started with one small project. Quality work turned one-time orders into ongoing collaboration.
If you're looking for an illustrator for your book or a designer for your brand's visual identity — I'd love to discuss your project.
Want to work together?
I'm available for children's book illustration, branding, and visual design projects.
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