A pencil holds open the field of possibilities. So does a piano keyboard. The artist can hover, sketch, abandon, return, restart — the cost of exploration approaches zero. The tool stays out of the way of the thought.
Most software does the opposite.
Every menu, every wizard, every “are you sure?” dialog narrows the field of possible moves. The interface becomes an argument the artist has to win before being allowed to make work. We design for the opposite direction — toward the pencil’s posture, not the wizard’s.
A tool that constrains is a tool that costs.