When I start out working in the mornings, I’ll often warm up by using a large brush, just to get my body moving and to get my arm loose and to bring just some sense of concentration still-pointedness into the process and begin from that point. I’ll do a big giant brush drawings on the floor of my studio and you may walk in, you know, after I’ve been there for a half an hour and the whole floor is papered with drawings and everything. Then I’ll move into the specific tasks of which page is going to happen today.
I often do pages many, many times because there’s some quality I’m looking for that’s not — that may not be quite right. There was a page in Zen Shorts that I ended up doing seven times and finishing all seven pages just to be able to get that precise quality which I can’t even tell you, I don’t even know what it was, but I knew when the page was right. That was the reason for doing that. I do that often. I repaint and repaint and repaint and rewrite and rewrite. That seems to be my process.
