For many years, I’ve explored drawing, traditional art-making, and pen-plotting techniques as part of my practice. More recently, I’ve dedicated myself to bringing these ideas together and developing them into a more focused body of work.

My inspiration comes from illustrations, collage, patterns, nature, architecture, landscapes, and cosmic forms. I often begin with photographs, shapes, colors, or textures, then transform and reinterpret them into drawn forms through computational methods. This process allows each piece to evolve naturally.

Image 1: Hand-finishing a plotted work on paper.
Image 2: Creating an acrylic wash on canvas using techniques such as dry brushing and washes.

My computational drawing process starts by creating a visual foundation, often inspired by photographs, patterns, or natural and architectural forms. From there, I work across pen, ink, and acrylic on paper and canvas, layering marks, textures, gradients, washes, and other hand-applied techniques to build movement and depth. I often let the texture of the material become part of the artwork itself.

A screenshot of my artwork created using the open-source design tool Inkscape.

I use Isograph pens with 0.3 mm tips and archival quality ink for most of my work. These pens create sharp, consistent lines that last over time. Working with them can be both exciting and tricky. Sometimes the ink flows perfectly and the drawing looks crisp, while other times the pen might dry up in the middle of a long process or leave tiny dots where it paused.

One example I remember is when I was working on a large drawing overnight. Halfway through, the pen’s ink started running low and the lines became lighter. At first I thought it ruined the work, but in the end it added a unique texture that I could not have planned. Challenges like this are part of why I enjoy plotting with Isograph pens. The results are always a balance between good surprise.

Image 1: 0.3 mm technical pen – precise line work.
Image 2: Refill technical pens with archival-quality ink – long-lasting and reliable.

Along with technical pens, I also enjoy experimenting with brush pens, gel pens, and marker pens on the plotter. Each type of pen brings its own personality to the artwork. Brush pens create soft, expressive strokes that look almost hand drawn. Gel pens are great for very fine details and often leave a glossy finish on the paper. Marker pens are bold and smooth, and they work well when I want to create solid textures or areas of deep contrast.

Using these pens with a paper is not always easy. Sometimes the brush tips catch the paper in unexpected ways or gel pens skip if the flow is uneven. I remember once using a silver gel pen on dark paper and the lines shimmered beautifully, even though the ink skipped in places. What I thought was a mistake ended up becoming the most interesting part of the drawing.

These small surprises make each art piece unique. Every pen has its quirks, and I like finding ways to let those quirks become part of the final artwork.

Image 1: Brush tip pen – for expressive, variable lines;
Image 2: Gel pen (0.07 mm) – for fine, precise details.

The choice of paper makes a big difference in how the artwork looks and feels. I often experiment with different paper weights and textures to see how they interact with the pens. Heavier papers like 300 GSM can handle more ink without warping and give a solid base for detailed work, while lighter papers sometimes create softer, more delicate results.

The effect also changes depending on the pen. Marker pens tend to sink into the paper, creating strong, bold areas of color but sometimes leaving rough edges or a textured fill. Brush pens, on the other hand, flow more smoothly on certain papers, making gradients look soft and natural. On rougher paper, the brush tip picks up the texture and creates a more organic, almost painterly effect. I enjoy these differences because they make each artwork unique. A small change in paper weight or surface can completely transform the mood of the piece.

Image 1: Gel pen texture on 300 GSM paper.
Image 2: Permanent marker texture on 300 GSM paper.
Image 3: Line study with varying thickness and smoothness.