The next phase is to sketch it on paper, because I need to have a global view of it—I can’t compose by adding little bits here and there, I need to be able to see the global picture (no pun intended) whenever I want. Once I’m satisfied with the sketch, I fire off Illustrator and import it in as a locked model that I place under my work layers.

After this, it pretty much depends on the subject itself. I tend to draw paths first and fill them once the shapes are completed (else the selected color starts to fill them and hides the sketch behind, which is annoying); I’ll adjust them later if needed by moving the anchor points, but with practice and a sketch underneath, normally I don’t have to do that very often.

Completing a piece, now this is another story. The “Elements” are somewhat of a particular case, since I worked on them when I had back problems and cound’t keep sitting for long in a row, which makes it hard for me to estimate the time needed. In general, if I focus really well on a piece, it can be a matter of 4 to 20 hours, depending on the level of detailing (sketching and planning not included). It took me longer in the beginning, though, when I was still knew at it and didn’t know the software well.

As for the Japanese themes, I don’t think it’s a specific influence on vector-based art as a whole (what I’ve seen often referenced to, on the other hand, is Art Nouveau; vector works quite well with this style). However, it’s true that I’m interested in it on a personal level, hence why it appears regularly in my works.