Planning vs. Improvisation in My Work: A Balancing Act

When it comes to my creative process, I live in a strange middle ground between planning and improvisation. There’s a blueprint, sure—but I never quite know how things will turn out. My Uncommon Animals of the Alphabet kids’ book is a perfect example of this. On the surface, it might seem like a carefully orchestrated project. Each animal has its own “passport-style” portrait, set against a thematic wallpaper background. This wallpaper nods to the old tradition of taxidermy trophies hung on walls—except instead of lifeless heads, these are living, breathing animals demanding to be seen and heard. It’s conservation, but wrapped up in a fun, engaging style that hopefully sparks curiosity rather than guilt.

This level of conceptual planning is necessary. Without it, the book wouldn’t have its unique look or message. But within that framework, things get wildly improvised.

The Sketch: Chaos on Paper

Every time I sit down to sketch a new animal, I feel like I have no idea what I’m doing. It doesn’t matter that I’ve drawn hundreds of creatures before—each new one feels like uncharted territory. Will its shape come together easily, or will I be fighting against the page? I won’t know until I start. The sketching process is a pure, messy exploration. I let the pencil wander, chasing interesting shapes and personality rather than rigid accuracy. It’s as much about discovery as it is about drawing.

Digital Illustration: Controlled Experimentation

Once I move to digital, things start to feel more structured—but only slightly. The process has a certain rhythm, but there’s still a lot of improvisation involved. Colors, textures, and details evolve on the fly. Some animals demand bold, graphic lines, while others need softer, more delicate shading. I often surprise myself with how an illustration turns out, because I never follow a strict formula.

The Wallpapers: Unpredictable Patterns

The wallpapers in the book—those playful, sometimes hypnotic backgrounds—are another mix of planning and spontaneity. The idea of creating repeating patterns inspired by each animal’s natural environment is intentional. But the execution? That’s all about happy accidents. I experiment with placement, repetition, and contrast until something clicks.

So… Planning or Improvisation? Both.

I couldn’t create something like Uncommon Animals of the Alphabet without a solid foundation. But I also couldn’t breathe life into the illustrations without a sense of improvisation. The balance between the two is what keeps things exciting. I never fully know how a piece will turn out, but somehow, I always manage to pull it together in the end.

That uncertainty—the leap into the unknown with every new sketch—is what keeps me coming back.