When starting any project, I've learned to keep my sketches loose.
They are meant as a guide—not set in stone.
One of the great things about working with vectors is the ability to manipulate each point within a shape.
I find it similar to modeling in 3D—pushing, pulling, and refining until it feels right.
Once the roughs are established, the next step is to send them to the team for approval. This is where I revise any concepts or visuals that don't quite resonate.
Then comes my favorite part: building shapes and adding color.
There is something almost therapeutic about rendering scenes. It gives my brain a rest from the heavy lifting of concepting—a chance to settle into the work and let the details fall into place.