Yevhen Nevelskyi — Ukraine
AI film direction, graphic and product design, illustration. Three separate rooms — pick the one you came for.
Product imagery and printed graphics for physical goods. Work that has to match a real object on a shelf, not just look good on a screen.
Two case studies ↓Cinematic short-form directed frame by frame, not generated in one pass. Brand films, product advertising, and series.
Watch the film ↓Drawing on its own terms. No case studies here — the full archive lives on Behance.
See the archive ↗Design — 2024
Thirty printed designs across three thematic directions, each composed to survive being cut in half and printed at the size of a house key.
Brief
Macro Plus Trading, a Ukrainian gift and corporate-merchandise wholesaler, prints custom artwork on 91 mm Victorinox knives. The brief laid out an ongoing programme of thematic directions — animals, birds, zodiac signs, year symbols, vyshyvanka patterns, Ukrainian and military symbols, nature, cars, cities — each holding three to four competing variants.
A direction reads like this: bear → polar, brown, in the forest. Thirty designs across three directions were delivered and printed.
Constraints
Two scales, not one canvas. Front and back are seen separately in the hand and side by side in the product shot, so an image has to work both ways.
The Victorinox cross holds a fixed position at the top of the front scale. It cannot move, and on full-bleed designs the artwork prints underneath it — so the artwork has to give it somewhere to sit.
Full coverage ships as raster; anything less has to be vector, print-ready. And the finished object is the size of a house key: whatever the image is, it has to read at that size, on a shelf, from a metre away.
Decisions
Blue above, yellow below: the Ukrainian flag built as a real horizon rather than a graphic device — a sunflower field under open sky. National symbolism a Swiss product line can carry, readable at thumbnail size before any detail resolves. The peacock-feather set solves the same idea as a diptych: one scale blue, one scale yellow, a single feather on each. The abstract set strips it further still — no subject at all, just blue pouring into yellow across both panels.
Three answers to one question, and the knife's two-panel construction is what makes the second and third possible.
In every version the top of the front scale stays calm — open sky, flat blue, quiet colour. The Victorinox cross lands with nothing behind it: the one place on the knife where the brand mark is guaranteed to read.
Process
Every direction went to the client as three to four competing variants, mocked up on the actual knife rather than shown flat — at this scale a design either survives the object or it does not.
Selected artworks were prepared for print in matte and gloss finishes, and the printed knives were then shot on white for the product listings.
Result
Thirty designs printed across three directions, and the collaboration continues on a rolling basis.
Watch on YouTube ↗ The printed knife, in hand
Design — 2025
Eight listing images per product, across a ninety-product range of goggles and helmets — generated from the brand's own reference photography instead of shot in a studio.
Brief
A sports retailer had to put a winter range live for Black Friday and could not use its own product photography. The files existed, but the angles were wrong, the light was wrong, and no two products matched each other.
Roughly ninety products — ski goggles and helmets. Each one needed eight images: three-quarter, left, right, rear, the strap laid out flat, the three-quarter again on transparent background, and the product worn by a male and a female model. Junior products needed child models instead.
Constraints
This is not a brief with creative latitude. A reference set fixed the exact tilt, framing, scale and position of every shot, and every product in the range has to land on it 1:1 — otherwise the listing grid reads as ninety separate photo sessions instead of one.
The lighting is specified too. A flat render gets rejected: the lens has to carry a particular highlight, the same highlight, on every product.
Strap branding is asymmetric — a logo block on one side, the wordmark on the other — so left and right views are not mirror images of each other, and getting them the wrong way round is an error a customer can see. Lens tint has to match the physical product: a rose lens delivered as bronze is a returned order.
Frame geometry has to survive the jump from studio shot to model shot. Same nose bridge, same corner radius, same proportions on a face as on white. And everything ships without shadows, because the client composites one shadow layer across the whole catalogue so it is identical on every listing.
Decisions
The prompt is built once and treated as a fixture. Background, gradient, light and camera position are locked in it; the product description is the only variable. Ninety products then come out of the same room rather than ninety separate rooms, and the consistency the client is paying for is structural instead of something chased shot by shot.
The people are fixed: adult male, adult female, boy, girl — same framing, same helmet, same mountain, same light. Only the goggles change from product to product. Nobody is regenerated, so faces and locations stay stable across the entire range and the catalogue reads as one campaign.
Nothing ships straight out of the model. Defects go under generative fill, the frame is rotated and scaled by hand until it sits on the reference geometry, and strap detail that generation softens gets painted back. The work that makes it usable is the part after the render.
Process
A pilot product went through several rounds of correction first — lens colour, strap orientation, the three-quarter angle, the highlight — until the client signed off that one product as the standard. Everything after that is measured against it.
Production then ran in packs of five to fifteen products, with a review between packs so corrections propagate forward rather than being repeated.
Result
A full listing set per product — eight images, matched to spec, delivered in batches against a hard seasonal deadline, with no photo shoot.
Film — Story 9 · 2026 · 50 min
Two boys, two ways of seeing the world, and the day both their fathers lose everything.
Watch on YouTube ↗ 50 min
About
One boy is clever. The other only looks rich. When the money goes, both land in the same hard reality — no comfort, no cushion, no easy future waiting.
One survives on his wits. The other learns, too late, what money was never able to buy. A story about pride, family, survival, and the exact moment childhood ends.
Fifty minutes is the difficult part. Continuity of face, place and pace has to hold across hundreds of generated shots, and holding it is the work — a film is directed, not prompted once.
More films
Taking commissions
lustrator256@gmail.com