Right, it all starts here in my sketchbook. That's where I started to do it like the idea is try to look at how I'm going to arrange the frame, arrange the action and the characters. And when I read Adrian's script, it made me think that I would try and incorporate his idea of having cinema frames, cinema scope, white screen frames throughout the story. But because the story is about the present reality and the cross-alert which is reality and the story is reality and cinema, I decided that the characters and the action would sometimes break out of the frames and sometimes not be contained by the frame at all. Even though it's ultimately contained within the frame, within the page. So you will notice that throughout the story, that things are leaking out or that they are breaking out and slipping off the edge of the frame. It all starts for me with a red pencil or a blue pencil. That's a throwback to my animation training where we draw everything in blue pencil first then it gets cleaned up with a darker pencil. And for me it's a mechanical pencil, never have to sharpen it, always sharpen it. And the blue and the red, when you erase it, particularly the red, it leaves a little bit of staining on the page frame. That's just enough for you to walk with. You don't need a really strong line or a free to be able to clean it up. And for me, I feel like I'm walking a little bit loose, a little bit freer with the red and the blue pencil. I don't feel as restrained. And the fine detail only comes in when I use the putty rubber across it to get it back to its finest, its lightest line. And then I can go to work with it on the dark, clean up. I suppose for me, the whole little comics started years ago when I was little, my older brother was really into comics. So I got into comics because of him and then I started reading the comics that he read. And comics teach you a lot of both composition and story and cinematography. So if you move into video, you film, I think you get a lot of your training from comics because comic artists tend to frame beautifully and they get a real sense of action. And storyboards are effectively comic images and they have that sequential pace to them. So a good comic has the same sort of pace that a storyboard will also have. So you actually feel the action unfolding. I mean, I think for me comics fed into my norms and influences in terms of animation. When I trained as an animator, that was partly because I love to draw, I love comics, I also love film, I love moving images. It seemed like the perfect combination of the two. But the root for me of all of that is pictures on paper. Everything starts out as a drawing. Even if I'm doing something experimental, it starts out as a drawing. So doing a comic for me is kind of getting back to the purest form of drawing visual narrative. The little box's story allows me to... I only got a little bit wild because of the surrealism of the story. You can really play around. And that's why I like the idea of the characters breaking out of the screen, breaking out of the frame. Because that's what the frames here really represent. TV and cinema screens. In terms of my influences, I think... I've never tried to copy anyone else's style, but I think my own drawing style is very, very heavily influenced by my animation training. Because you have to have a very clean line, a very pure line. So it ends up... My work ends up, I think, having a bit of a cartoony animation sort of equality to it. Which I'm really pleased with. I've never tried to undo that because I really liked it. I think, funnily enough, some of the guys I really liked when I was younger had a really dynamic style. They really, really played with their line. People like Mike McMahon and Carlos Sq. They really gave... The line itself had a life to it. The line itself had a character and a quality tool which then fed into the characters. So I don't know if I can't really say I was influenced by the people that I admired. But I think that they were really inspiring from a young age of you as inspired to be as good as the great comic artist. And then these guys are still producing amazing stuff today. People like Mike McMahon is a work of a really, really dynamic and really, really punky. And narrowly style is really, really graphic, but it still couldn't essentially make man. I do try and use real people in my character designs where possible. There's sometimes influence by people I know or sometimes people I see. If I see a really, really interesting face, if I know that my sketchbook to try and jot it down, I do try and memorize that profile or that hairstyle so I can incorporate it into something later on. And members of my family have often featured in my stories, room and drawings, because I know their face as well and other characteristics and sometimes the characteristics that they have shared by the character. So I appropriated and put it on the page. One of the characters in little boxes is based on my younger brother. He hasn't seen this yet. Looking forward to sending in the link so we can have a look.