This is where the work comes from — and the one page where you get the instruments. Every project starts as a mess of marks before it becomes a plan. So make a mess. The table is yours; the sheet won't mind.
SNAP ON locks your strokes to the 8pt grid — the same snap the measure tool uses. Turn it off to draw freehand. This is how my sheets start, minus the eraser dust.
Drag the brackets, the accent square, and the objects — circle, ring, triangle, line, and a big block. Build any mark you like (try one big object framed by the brackets), export it, keep it. This is the whole visual language of the site: brackets that frame, one decisive mark, a plate number.
“If you want to build a ship, don’t drum up people to collect wood and don’t assign them tasks and work, but rather teach them to long for the endless immensity of the sea.”
Italian Renaissance. Its architecture, art, and literature taught me that proportion is the feeling — beauty and structure are the same decision.
Hiking the West Side of Oʻahu. Where the work resets — ridgelines, trade winds, and the long view back over the coast.
Amélie (2001) · The Intouchables / 1+1 (2011). Two films I keep returning to — for their warmth, their color, and the way one small human moment can carry a whole story. My reminder that design should make someone feel something.
Always learning. I keep discovering new techniques and technologies — it’s how the work keeps growing, and how it keeps shipping on time.
Steve Jobs. Maybe never the best at the hardware — but the one unafraid to take the first step and to ship from experience. The reminder I keep: have the nerve to move first.