NOT A DRAWING — A DESIGN THAT LIVES WITH A BODY

Likeness rests on a few critical edges — eye spacing, the tip of the nose, the corners of the mouth — not on detail. Get those right and the rest follows.

Portraits, animals, objects — rendered in soft grey wash or full black and grey. Freehand is the slowest work I do and usually the most rewarding: it is built in sessions, layer over layer, until the depth reads correctly from both near and far.

Work spread across several sessions that gathers the whole arm into one composition. Parts are planned for the flow of the whole, not one by one.

Symmetry, repetition and precise spacing. Large Scale work is measured before it is drawn: I map the piece to the body's axis so the pattern stays true when the arm bends. Clean, structural, and unforgiving of a shaky line.

Shading built entirely from dots. Mythology & Sculpture trades speed for texture — a soft, almost printed gradient that no other technique gives you. It pairs well with geometric and blackwork pieces, and it rewards patience on both sides of the machine.

On short-haired breeds there is nowhere to hide a mistake. On black fur, volume can only be described with reflected light.

For work that wraps and has to follow the surface, the pattern is resolved directly on the skin rather than on paper.