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The thing that weighs the most on how your final artwork turns out is the amount of time you have and the speed at which you can move.

It's all in how you arrange the thing... the careful balance of the design is the motion.

I always think I know the way a novel will go. I write maps on oversized art pads like the kind I carried around in college when I was earnest about drawing. I need to have some idea of the shape of the novel, where its headed, so that I can proceed with confidence. But the truth is my characters start doing and saying things I don't expect.

You need to find the size of performance that's appropriate to the material, appropriate to the shot, or appropriate to the scene.

The general direction seems to be becoming fairly clear to me, but every new piece is a small adventure.

The level of detail and craft is something that's inscribed within the original design concept. And so when I begin to draw, I know what kind of detailing I want the building to have.

It's kind of like trying to make straight lines from curves, but involving shapes that sort of dictate what the curves are, if you like, and the difference between two separate pieces creates a third transitional piece if you like.

If you look at the skeleton, the start is very important.

Cuts of clothes and shapes of clothes are really important.