THE PROCESS — C.A.R.V.E.

1. Capture

Real References– I never start with a blank screen or AI; I start with reality. Whether I am shooting bracketed HDR architectural photos, styling product props in the studio, or researching traditional historical mechanics, every project is anchored by capturing precise, real-world references

2. Analog

Original Observational Sketches– Next, I take those references to the sketchbook. Relying on traditional observational studies, I combine elements and solve physical problems on paper. This is where unique IP is born—plotting out anatomical joints or brainstorming visual mashups organically before a single digital line is drawn.

3. Refine

The Details– As I begin the process of converting the original art into digital designs, I meticulously refine the layout and structural mechanics. For complex engineered paper products, like my 3D Tunnel Books, this means calculating rotational axes and ensuring the physical mechanics will actually function in the real world. For our cut cards I look at the scale and space between architectural details as well as the connectivity between letters to ensure that they can be cut properly and pieces are not lost.

4. Vectorize

Refined Vector Art– I scan the original sketches onto the iPad and then recreate the line work by hand using the Apple Pencil. These files are then imported into Adobe Illustrator and refined even further to create simple smooth paths and scalable vector art. Every curve is evaluated for maximum visual impact, and functional on output utilizing specific line-weight and kiss cuts to ensure the designs pops off -on into- the page.

5. Execute

Print Production-Ready Files — Great design should also have great margins. In this step, I source materials, test a prototype, and hard-proof the designs. I engineer the digital assets—such as nesting die-cut components perfectly into the waste space—to minimize material costs, ensuring the final product is built for cost-effective mass production.