The Graffiti Mural Process: From Sketch to Wall
It takes more than just a spray can to make a vision real. Here is the grind behind my wall murals, showing how I turn blank spaces into something loud and alive.
The artist and the art. This reel shows a glimpse of me at work and the diverse range of murals I create, from powerful portraits to high-octane automotive art.
A quick look at my artistic journey. This video montage shows snippets of different projects, from digital sketching on my tablet to painting clouds on a ceiling and creating large-scale portraits.
Working alongside students at St. Claret College in Ziro. Their energy and support were a huge part of making the 100-foot mural project a success.
A shot of me smiling while working on the colorful abstract section of the Ziro college mural. This project was filled with good vibes and new friends.
The community gets involved. Students and locals in Ziro watched and supported me throughout the painting process, making it a truly collaborative experience.
A student from St. Claret College trying her hand at painting. I love it when my projects inspire others to get creative.
About The Process
Everything starts with a digital mockup. Before I ever touch your wall, we lock in the design so you know exactly what’s coming. For high-traffic areas or exterior facades, I prep the surface with proper cleaning and priming, then apply heavy-body professional acrylics and weather-resistant sprays to ensure the art survives the elements.
My process is about longevity as much as the aesthetic. If we are working on a 100-foot exterior wall, I don't just start spraying. I handle everything from scaffolding logistics to UV-protective clear coats.
For interiors, especially living rooms or cafes, I focus on the matte finish to prevent glare from your lighting. Whether it is a portrait requiring 5-10 days of detailed glazing or a quick-hit graffiti lettering piece for your office, the technical approach changes, but the hustle stays the same.
I treat my workspace like a lab. I use top-tier brands like Flame and Cosmos for my aerosol work because they give me the control I need for sharp lines. For brush-work, I stick to artist-grade emulsions that hold their color. If you have a specific idea—a botanical theme, a street-style tag, or a hyper-realistic portrait—we start with a conversation about the vibe. Once the design is set, I manage the surface prep, crack filling, and layering so you don't have to worry about the maintenance.
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