A really hard thing about all of this visual development stuff is pulling out of your imagination all of the nuances and story that you feel, but don't necessarily see. I know that's vague, but hang in here with me. When I am trying to tell a story, visually, there are certain elements that I want to capture; sometimes it's not necessarily a space as much as it is an idea. Like when Silkwood and Co. head north to investigate the creature - I don't necessarily have a picture in my head of what the north looks like; I know that it's grey and vertical, a lonely and demanding country. There's steel in both the land and the people. So when I sit down to try and draw all that, my goal isn't to draw any particular space - the drawings, the sketches are successful if they capture and clearly convey the idea that I'm feeling about a place. Then it starts to become about design and composition.
I think that's why I like drawing people so much. People are there in real life, there's no need to try and figure out what they are supposed to look like; I already know what they look like! All I have to focus on is capturing the essence of who they are in the portrait. I'm rarely satisfied with what I achieve (what artist is?), but part of the drive is the hope that someday you could find it, someday you can capture in a painting whatever it is that you are wanting to achieve in your art.