Sketchbook Studies and Creative Process
A deeper look at the raw sketches, alternative angles, and work-in-progress shots that eventually become my finished ink illustrations and tattoo concepts.
An alternate view of my tangled vine drawing.
A wider shot of the vine drawing in my sketchbook.
Another angle of the completed vine illustration.
A close-up detail of the intricate leaf patterns.
The vine drawing in my sketchbook, seen from a different perspective.
A detailed close-up of the central part of the vine drawing.
Another shot of the vine drawing on a sketchbook page.
A final close-up of the vine and leaf patterns.
A digitally shaded version of the multi-eyed portrait.
A cleaner, high-contrast scan of the multi-eyed portrait.
About Additional Work
When I start a custom illustration, I do not just jump to the final ink. I share pencil drafts first to establish the composition. This gallery shows that progression, how I move from faint lines to those dense, layered patterns you see in my main pieces. It is a transparent look at how I build an image, so you know exactly what the process looks like before we start your piece.
I keep my sketchbook open because that is where the real, messy work happens. You will see alternative angles of the vine illustrations and a full progression of the multi-eyed portrait here. It is not just about the final output; it is about the ink-on-paper journey.
When commissioning a piece, whether it is a standard ink illustration on 180-220 GSM cartridge paper or a premium 300 GSM original, the workflow remains the same. I start with a pencil draft to lock in the layout. Once we align on that, I begin the inking. This gallery highlights that layering phase. You can see how I use stippling and cross-hatching to build depth. If you are looking for a tattoo design, you can use these process images to see how I handle negative space and line flow, which makes for a cleaner stencil when it hits the skin.
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