Studio Work and Artistic Process
A glimpse into my studio practice, where I experiment with new materials, refine my portrait techniques, and keep my skills sharp through daily sketching.
A short video showing the process of creating a portrait study of an old man, from the initial sketch to the final watercolour layers.
A close-up video showing the fine brushwork used to add details and texture to the moustache in a watercolour portrait.
A work-in-progress watercolour portrait, showing the initial layers of colour and shadow.
A very basic initial line sketch for a portrait, establishing the core features and proportions.
A quick watercolour study sketch of a man's face, created using Supervision watercolours. These exercises help keep my skills sharp.
Three 30-minute online portrait demonstrations done in oil on canvas. These quick studies are about capturing the essence of the subject efficiently.
A monochrome figure study in oil colour on canvas from my college days. This was foundational practice in understanding human anatomy.
Another angle of the same figure study, showing the brushstrokes and tonal variations.
The new layered watercolour set from Supervision. I am always excited to experiment with new materials to see how they can enhance my work.
My two sons, my little artists, exploring colours on World Art Day. Seeing their joy reminds me of why I started painting.
About Studio Work & Inspiration
I believe that a finished painting is only as strong as the initial sketches behind it. My studio work often begins with loose, quick watercolour studies, sometimes even with my sons joining in, to understand light and composition before I commit to large Arches paper. It is in these quiet experiments with high-grade mineral watercolours where I truly refine my technique and prepare for commissioned projects.
The work you see here is the laboratory for my larger paintings. When I am not travelling for live demos or workshops, I spend my time here, testing how different pigments from Supervision Watercolours interact with 300 GSM paper. This practice is essential, not just for maintaining my craft, but for troubleshooting the specific technical challenges that arise when painting live in front of an audience. Whether I am doing a quick monochrome figure study or a detailed portrait sketch, the goal is to capture the essence of the subject with efficiency and clarity. These preparatory steps allow me to offer you better quality during private commissions or group workshops, as I have already resolved the complex lighting and tonal issues during these sessions. If you are interested in how I approach a specific portrait style or want to see my materials in action, I am happy to discuss my process in detail.
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