Dragan’s work is distinguished by a strong sense of imagination and visual storytelling. His images often introduce characters who appear to have their own identities, histories, and narratives. Through character design, setting, expression, and carefully considered details, he communicates a sense that there is a much larger story existing beyond the frame.
In this interview, we explore the ideas and imagination behind Lnk__design, his approach to character and storytelling, and the creative process through which he develops these distinctive visual worlds.
1. Background & Creative Identity
Dragan, before we get into the world of Lnk__design, can you tell us a little about yourself and the creative interests that have shaped the way you see the world?
I'm a graphic designer with experience across television and the gaming industry. Curiosity and a constant desire to explore have led me to work on a wide range of projects, each of which has helped shape my visual language. Film, music, books—and art in all its forms—continually influence my creative process, often in ways I only recognize subconsciously.
What first drew you towards visual art and creative expression? Were there particular forms of art, storytelling, design, photography, film, or other influences that stayed with you?
Film—and science fiction in particular—first drew me toward visual art and creative expression. Movies like Blade Runner, The Terminator, and 2001: A Space Odyssey did more than shape my early interests; they influenced how I think about atmosphere, world-building, and storytelling. My tastes have naturally evolved over time, but that early foundation remains central to the way I see and create.
Was storytelling something you were always interested in, or is that something that developed through your work with images?
Storytelling has always been there. I've long loved reading, especially horror and fantasy short stories, and imagining worlds—or simply keeping my head in the clouds—has always felt natural to me. What came later was the knowledge and experience to give those ideas a clearer visual form. Even after years in marketing and design, I still hesitated before publishing my first personal image—one created entirely outside the boundaries of a commercial brief.
2. Characters and Visual Storytelling
Your work often feels as though each character has a story of their own. How do you approach creating a character and giving them a sense of identity and history?
It depends on the piece. Sometimes a subtle feeling or a single scenario is enough to suggest who a character might be; at other times, I imagine an entire backstory. I'm most interested in capturing moments where the emotion isn't fully spelled out. Rather than imposing a single, obvious meaning, I like to leave space for viewers to form their own interpretations. I believe that when we look at someone else's art, we naturally project a bit of our own feelings into it.
Your characters often communicate a great deal without words. How important are details such as clothing, expression, posture, and setting?
When I want to communicate an idea through an image—or more often, a series of images—every detail matters. That’s why I love creating artwork in series, attempting to draw the viewer deeper into the story and the central concept. It opens up brand-new possibilities once someone accepts the surreal logic of a particular place or creature.
What makes a character feel complete to you? Is there a particular moment when you feel that they have developed a life of their own?
Determining whether a character feels complete comes purely down to intuition and experience. Of course, a character is sometimes just a secondary presence, while nature or the surrounding environment serves as the main story. I usually step away for a few days and then review all the images again. When publishing a series, the arrangement of the images and the background music are also crucial—everything serves the goal of immersing the viewer into a new world.
3. Building a Visual World
Where does an artwork usually begin for you? Is it a character, a scene, a feeling, a story, or perhaps a single visual detail?
Every artwork begins with an idea and a story. The inspiration can stem from a concrete narrative, a fleeting feeling, or sometimes just a specific texture, material, or shape. We are constantly exposed to visual stories; everything around us is designed and holds its own history, so inspiration is endless. The challenge is to focus on what truly matters to me as an individual and translate that into an image.
Your images combine very different elements, including human figures, natural textures, architecture, and surreal forms. How do you decide which elements belong together within a particular visual narrative?
This stage involves a lot of experimentation. I enjoy testing combinations of the organic and inorganic, the natural and the artificial. A great deal of my work is inspired by nature itself. At other times, I draw on past experiences, looking for inspiration in classical artwork or modern design.
Do you see AI primarily as a tool, a medium, or something closer to a creative collaborator?
At this point, artificial intelligence is a tool used for research and generating imagery that could otherwise mostly be created through traditional means, but I hope that in the future it can evolve into a form of creative collaborator. Whether AI will manage to develop distinct characters and truly connect with a human creator as a partner remains an open question—because without individuality, we are destined to stagnate, all thinking and liking the exact same things. The ideal AI models would be those that develop alongside an individual human: models that grow, feel, suffer, rejoice, and evolve together with us.
How do you feel about the ongoing discussion around AI-generated imagery and the question of authorship? Where do you believe the art exists within your own process?
The question of authorship has become especially blurred in the age of AI. Even before, it was possible to subconsciously use something you had seen elsewhere in your work, but now a large part of the underlying process is completely hidden. Still, the idea, aesthetics, and creation are a process, and the author remains responsible for the final outcome.
The question of authorship has existed forever—is the art the photograph itself, or is it what is captured in the photo? Will future works require listing everyone who served as an inspiration under every image? When using AI, I feel more like I am directing the process—guiding the idea, lighting, atmosphere, emotions, actors, and textures—and letting the tool finish the execution. Working with AI has stripped away all my excuses, such as not having a good enough camera, models, or resources. It simply forces you to look in the mirror and say, "I just have to make this happen."
Has working with AI changed your understanding of what it means to be an artist?
What art is and who qualifies as an artist are questions I'm not even sure I knew the answers to before the emergence of AI. Now, that question is even more complex. If a machine manages to create something that evokes a strong intellectual and emotional response in people, does art then depend entirely on the viewer?
How important is the community around your work? Does the response from other artists and viewers influence what you create next?
The community and environment are important, but they don't directly dictate what I will create next. The creative process is a form of communication—it's good to listen to what others think, as you sometimes discover things about your work you weren't consciously aware of. Ultimately, however, the act of creation is deeply personal, so everything rests on your own vision.
4. Looking ahead
You have created work that suggests movement and larger narratives. Do you see yourself exploring video, animation, or other forms of storytelling more deeply?
I am already exploring the possibilities of video formats and would love to try my hand at a short film. The speed at which technology is developing is incredible—things that were once unimaginable will soon be easily accessible. In video, I would like my work to retain something mystical, understated, and suggested, much like in the still images I post. I still have a lot to learn before a full video project is ready, but there are some short-form tests on Instagram that hint at the direction this could take.
How can people reach out to you and which services do you provide?
You can send a direct message on Instagram, though email is preferred. Through Lnk__design, we offer virtually all marketing and creative services. Depending on the project and its specific needs, I use my industry experience to assemble the team best suited for the job.