The Art of Mysore Painting: Our Traditional Process
Go behind the scenes to see how I bring divine figures to life using 24kt gold leaf, traditional gesso, and 35 years of artistic discipline.
Every custom painting begins with a freehand sketch. We specialize in crafting unique postures for deities without any tracing, ensuring each artwork is one-of-a-kind.
Line drawing in motion. This is the foundational step where the entire composition is carefully laid out on the board before any gesso or color is applied.
A glimpse into the divine sketches of Lakshmi, Saraswathi, Muruga, and Rama Sita as they are prepared to take shape in the exquisite Mysore painting style.
We are excited to be working on a customized, very small Mysore painting sized at 10x8 inches. This video shows the initial sketches for the set.
We’re working on a compact 11x8 inch board of Lord Balaji. The process starts with this detailed line drawing, which serves as the blueprint for the entire painting.
Here is the new line drawing of Lord Krishna, a creative piece by Artist Raghavendra B B. The intricate details are all drawn by hand before the next stages begin.
The gesso work is the most intricate part of a Mysore painting. Here you can see the process on a small-sized Lord Ganesha, where we bring depth and elegance to the artwork.
Intricate gesso detailing in progress for a Lord Ganesha painting. This paste creates the raised, 3D effect on jewelry, crowns, and architectural elements.
A close-up of the gesso detailing in progress. This foundational step is crucial for creating the rich, sculptural elegance that Mysore paintings are known for.
Watch as intricate gesso work brings this painting of Lord Balaji to life. The delicate sculptural effect adds depth, turning the divine form into a masterpiece of grace.
About Our Process: Sketch to Gold
I never use stencils or tracing. Every single line—from the initial pencil sketch to the 3D gesso relief—is drawn freehand to ensure the divine proportions remain authentic and uniquely yours.
When you commission a painting, you are receiving the result of a process I have practiced for over three decades. It begins with the sketch. I draw the deity's form directly onto the heritage mounting board, adjusting the proportions to ensure the posture and mudras are traditionally accurate. There is no printing or tracing involved; my hand is the only guide.
Next comes the gesso work, which gives my paintings their signature depth. I apply a paste to create raised architectural details—the crowns, the jewelry, and the pillars of the mandapa. This requires a steady hand and precise timing, as the height of the embossing determines how beautifully the gold will catch the light later.
Finally, I apply the 24kt pure gold leaf. This is an offering, not just a decoration. The leaf is delicate and requires immense patience. I layer it carefully over the embossed gesso areas to create that radiant, permanent glow that Mysore paintings are known for. Once the gold is set, I use watercolors to paint the expressions, skin tones, and background details using techniques passed down through generations. The entire process, from the first sketch to the final varnish, is a meditative practice. Whether it is a small 10x12 inch portrait or a 5-foot heirloom commission, the method remains the same: meticulous, traditional, and devoted.
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