Drawing is the most fundamental tool in my work as a production designer. It is not simply a means of representation, but the primary way I think, explore and communicate ideas.

I began drawing with pencil on paper before my professional practice evolved to embrace digital workflows, 3D visualisation and emerging technologies such as virtual reality to develop concepts, explore space and communicate ideas for film. More recently, I have returned to drawing by hand. The immediacy of pencil on paper offers a more instinctive and tactile way of thinking, where ideas emerge directly through the act of drawing.

A drawing may begin as a quick sketch in conversation with a director or cinematographer, resolving narrative, spatial or technical problems in real time. It may evolve into a conceptual visualisation exploring atmosphere, architecture and theme, before becoming a construction drawing that guides how a set is built and photographed.

Production drawings are rarely artworks in themselves. Their purpose is to communicate ideas with clarity, connecting directors, cinematographers, art directors, construction teams and craftspeople through a shared visual language. They balance imagination with precision, creativity with practicality.

Below are drawings from a range of projects—some realised, others remaining as explorations. Created for different purposes and at different speeds, they all share the same aim: to give form to an idea before it becomes reality.