My sketchbook is where I work things out before the clay even touches the armature wire. This section is filled with anatomy studies, quick charcoal sketches, and observation notes to keep things honest.

I use drawing as a way to slow down and actually see the structure beneath the surface. Most of these studies are the groundworks for my sculptures, while leaving room for expression and interpretation. Some pages are loose and fast, while others are more measured. But all of it goes into helping understand how the forms interact and the subject caries itself. The sketchbook also allows me to hone in on details that may not be available later on when I’m sculpting - providing invaluable reference- and opens things up to test ideas, solve problems and stay sharp between larger projects.