My Painting Process: From Blank Canvas to Finished Work
I don't believe in magic; I believe in discipline. This is how I build a painting, from the first sketch to the final layer in my Mumbai studio.
In this artist talk, I discuss my process for creating a large 7x5 feet canvas, from the initial idea to the final execution.
A behind-the-scenes video of me working on a large mural-style painting, showing the model, the studio setup, and the painting in progress.
Here I am in the studio at Sir J.J. School of Art, working on the large canvas for "Knitting her thoughts." You can see the scale of the piece.
Painting outdoors in the campus of J.J. School of Art. I often find inspiration in my immediate surroundings.
A shot of me working on the "Confused" painting, showing how I build the composition directly on the canvas.
The studio setup for the large mural painting, showing the light coming in through the beautiful arched windows of the J.J. building.
A work-in-progress video of my painting "Contrast of life," showing the early stages of blocking in the figures.
An in-process shot of a monochrome oil painting, with the live model sitting in the background.
The empty studio space at J.J. School of Art, where my large painting "Knitting her thoughts" was created. The atmosphere of this place is a huge inspiration.
A close-up of my oil paint palette next to a flower. The thick, buttery texture of the paint is part of the impasto technique I love to use.
About The Process: From Blank Canvas to Final Piece
You won't find a rigid, automated formula in my studio because I prefer to let the work evolve. Sometimes I start with a detailed pencil study, and other times I jump directly onto the canvas with oils to let the composition breathe. If you commission me, I document the layers as they grow, so you see the piece evolving rather than just receiving the final product.
At the Sir J.J. School of Art, I learned that painting is physical labour. My process begins with intent but always leaves room for intuition. When I start a 7-foot canvas, I am not just applying paint; I am solving a spatial puzzle. I often use impasto—thick, textured applications of oil paint—to build depth that looks different under changing light.
Whether it is a delicate watercolour of a temple or a complex oil portrait, my approach remains the same: accuracy first, emotion second. I use archival materials, like 300 GSM cotton paper for watercolours or museum-grade linen for large commissions, ensuring the work stands the test of time.
Clients often ask why I do not use sketches for everything. It is because the adjustments made while painting directly are often where the soul of the work lives. If you commission a piece, we start with a consultation to define the vision, then I share regular updates from the studio. You are part of the journey, not just a buyer waiting for a result. This is about capturing a moment or a personality, not just filling a wall.
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