From sketch to finished work
Every painting begins the same way — a rough pencil outline, a question about colour, and a leap of faith.
My workspace rarely begins with complete clarity. It starts with a small tonal sketch in graphite — determining where the shadows will anchor the composition.
Next comes the colour testing. On scraps of torn Arches paper, I mix pigments with a palette knife: ochres, viridian, cobalt, and titanium white. The relationships between these hues only reveal themselves when they dry, as gouache dries slightly darker in light tones and lighter in dark ones.
The thrill lies in that transformation. The moment the brush touches the damp surface, the paper comes to life.