Behind the Scenes: The Making of Hyper-Realistic Portraits
See how I turn a blank page into a living memory. From the initial grid lines to the final layer of charcoal, here is the 90-hour process behind my portraits.
Watch the untamed brilliance of Ranbir Kapoor's 'Animal' come to life in this short timelapse of my charcoal drawing.
From 2017 to 2021, this is a look at my artistic progress. It took a lot of determination, dedication, and self-discipline to get here.
A close-up look at the process of drawing a hyper-realistic eye. Every detail, from the reflection to the lashes, is drawn by hand.
A different style of videography showing the creation of my Zayn Malik portrait. I worked on different surfaces and sheets to achieve this final look.
SIKEEEE! A fun reel showing the 85 hours of work that went into my portrait of Baseer Ali, from the first line to the final shade.
A step-by-step look at my 85-hour portrait of Baseer Ali. You can see the grid lines and how I build up the layers of graphite and charcoal to create a photorealistic effect.
A step-by-step look at my 85-hour portrait of Baseer Ali. You can see the grid lines and how I build up the layers of graphite and charcoal to create a photorealistic effect.
A step-by-step look at my 85-hour portrait of Baseer Ali. You can see the grid lines and how I build up the layers of graphite and charcoal to create a photorealistic effect.
A step-by-step look at my 85-hour portrait of Baseer Ali. You can see the grid lines and how I build up the layers of graphite and charcoal to create a photorealistic effect.
A step-by-step look at my 85-hour portrait of Baseer Ali. You can see the grid lines and how I build up the layers of graphite and charcoal to create a photorealistic effect.
About The Making Of: A Look Behind the Scenes
Every piece I create starts with a precise grid layout, a technique I rely on for 100% anatomical accuracy before I even pick up my graphite. By mapping out the facial structure first, I ensure the likeness is spot on, and then the real work begins. I spend 30 to 90 hours building layers of shadow and texture, whether it is the shine in hair or the deep creases on a shirt, ensuring each drawing feels as solid and real as a photograph.
When you look at a final piece, you are seeing the result of days spent in the zone. I work exclusively with high-grade graphite and charcoal on 200-250 GSM acid-free paper, because the canvas matters as much as the hand behind it.
My process is methodical. After the grid is set, I don't rush. I focus on skin pores, fabric textures, and light reflections—the tiny details that most people miss but the eye instinctively recognizes. For complex A3 portraits with multiple subjects, this process can stretch up to 90 hours.
Once the shading is complete, I seal every piece with a professional matte fixative. This isn't just to keep the charcoal from smudging; it is to protect the art for years. I provide work-in-progress photos throughout the journey, so you aren't just getting the final result—you are seeing the transformation from a simple sketch to a finished portrait. Whether it is a tribute to a legendary actor, a family memory, or a hyper-realistic study of a friend, my goal is always the same: to catch the soul of the subject, not just the outline.
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