I am a keen observer. I find the most interesting things in life to be the most subtle. In composing my narratives and illustrations, I bring in subtleties I have observed and amplify their voice, not so much that they scream for attention, but enough so that they can be felt by those who may not have felt them otherwise.

When dealing with this intricacy, every little detail matters. To me, the purpose of a narrative is to capture the emotion of a moment in the simplest and most readable manner, yet in a way that is flexible enough to include complexities other acute observers can notice. It is a practice I use in character illustration and animation; paying close attention to the small details of a character’s expression, movement, or habits as methods of signifying their personality or cultural upbringing. These small details are especially effective in motion graphics and film. For me, there is nothing more satisfying as a viewer than noticing hidden references or characters placed strategically within a given work, and it’s even more satisfying to me as a creator when a viewer realizes the hidden reference in a given work.

I develop my artwork as a writer would. Being a novelist myself, I prepare, draft, and revise (and revise and revise and…). In the case of conceptualizing characters, I consider their personality, nurture, and situational circumstances all before drafting. I ask myself, “What is their purpose? Their desires, traits, and abilities?” Even if the detail may be considered pointless or trivial, I nevertheless debate over its importance and relevance based on the underlying goals for the production. “If I am going to add a cool gimmick, what would the rationale behind it be? Should I ignore this reality for the sake of narrative flow?” This practice plays into the choices I make during illustration and revision, and can ultimately be considered world building.