Who we are.
Three brothers, artists for over twenty years, building the tool we always wanted.
Three brothers, one editor.
We grew up drawing, moved through every creative tool we could get our hands on, and kept running into the same wall: the tools were either too shallow to matter or too heavy to enjoy. So we built Stew, where the complexity stays under the hood and the fun stays with you.
As a kid I lived on Jetix and Fox Kids, and all I wanted was to make things move.
I am still that kid, just with twenty years of drawing behind me. Stew is that dream with a door on it: a place where anyone can animate something wonderful and send it into the world. I draw every day, and I sign my work Nadir K.
The hardest engineering belongs under the hood.
If an artist ever has to think about our code, we did it wrong. Ali draws too, which is exactly why the engineering behaves: every line of code here is treated like a pencil line, deliberate and there for a reason.
If it moves, it should move beautifully.
Master of animation. Erkan decides what Stew does next, and nothing ships until it moves right: every ease, every bounce, every frame held to the standard of someone who has animated for a living.
AI should not make the art.
It should hand you the pencil. AI here helps you learn the tool faster and clears the busywork, so the fun part stays yours. Every pixel and every dot matters, and so does every line of code.
Why a raccoon?
Yes, that is the story.
For years, every single night, a family of raccoons climbed the fire escape to Nadir's window and did their best to start a conversation. He started drawing them. They got names, then whole stories, and the one running the operation was called Stew. The joke never ended: it became this company, and the family gave Raccoon Street its name.
Creating assets should be as fluid as writing code.
Design, animation, and development as one process, not separate tools stitched together. We are removing the gap between idea and implementation.
And this is Stew, our raccoon.