Behind the Art: My Creative Process
Dekho kaise main mere art pieces banata hoon. From that first light pencil outline to the final frame, here is a sneak peek into my studio and how I pour my faith and focus into every handmade sketch.
A timelapse video showing the drawing process for my Maa Durga portrait. It starts with me at my light table, then moves to the detailed shading of her face with charcoal and pencils.
This process video shows the creation of a charcoal sketch depicting a soulful, romantic couple. It demonstrates my ability to create emotive art beyond spiritual themes.
A work-in-progress outline sketch of Lord Shiva standing on a mountain peak. This is the first step before the detailed shading process begins for my Mahadev artworks.
The initial outline sketch for my popular Shiva and Parvati artwork. Every detailed color portrait begins with a carefully drawn graphite foundation like this one.
The work-in-progress pencil outline for the Siya Ram artwork. This shows the foundational drawing that sets the stage for the final colored pencil piece.
A close-up of a work-in-progress charcoal sketch of Shri Krishna. You can see the initial layers of shading on the face, which slowly build up to create a realistic portrait.
The gridded outline of Maa Durga on my drawing board. I use the grid method for larger or more complex pieces to ensure perfect proportions before I start shading.
The initial pencil outline for a portrait of Lord Ganesha. This is the first stage of my drawing process, where I map out all the details before adding depth and shadow.
A work-in-progress shot of a Ganapati Bappa drawing. Here, you can see the face and trunk are partially shaded, showing how the image emerges from the paper.
A short video showing the final step of my process: framing the artwork. Here, I am carefully placing my finished Shiva-Parvati painting into a frame before it's ready for display.
About Behind the Art: My Creative Process
Before a single shade is added, I use the grid method to map out every proportion on the paper. Whether it is a deity or a couple portrait, this foundation ensures the expressions look real. It takes patience, but that is the secret behind getting the eyes of a portrait just right before I start building depth with charcoal or colored pencils.
When you order a portrait, it is not just about a final picture. It is a journey. Everything starts with a conversation about what you want—a specific Mudra, a particular expression, or a mix of photos to create something new.
For black and white pieces, I use 200gsm ivory paper and a mix of graphite for skin tones and charcoal for those deep, moody blacks. I layer it carefully, using a fixative spray so the charcoal does not smudge during shipping. If you want color, I use wax-based Polychromos pencils. I burnish the paper to get that paint-like, smooth finish that does not fade over time.
For my larger acrylic works, it is a whole different game. I use heavy-body paints on primed cotton canvas. These pieces take about 20-30 days because I work in multiple layers to get the colors right, and I finish every canvas with a gloss varnish to protect against moisture and dust.
Finally, everything gets framed with love. I use synthetic wood frames with a glass front, pack it in heavy-duty, 7-ply boxing, and send it your way. Whether it is a Krishna portrait for your mandir or a couple's sketch for your wall, my studio is where it all comes to life.
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