From Pencil to Paint | The Material in My Art Work

Today I want to talk about the materials I use in my work.

My professional career started with simple black-and-white pencil drawings in A4 size. At first, they were experimental — quick attempts to test ideas. Then I completely fell in love. Welcome to the world of black and white. I suddenly realized how much was possible with pencils ranging from 9H to 9B (who said you have to stick to 2B or 4B?). The drawing journey sometimes becomes just about making marks and rubbing them off — and from that foundation, everything else develops.

My drawings like this one is highly detailed, with a variety of marks, tones and lines

Pencil and graphite allow me to build space slowly and deliberately. In my drawing process, I construct environments through layered line work and shifting perspectives, gradually adding characters, people, and smaller but significant elements. There is something deeply satisfying about creating depth without color — only through pressure, density, and repetition. The surface becomes a field of quiet energy. Every erased line leaves a memory. Every darker area carries weight.

When I moved into color, my approach and energy changed. I began working with watercolor on paper, which is a much more intuitive material — and unlike pencil, there is no rubbing off.

A typical example of watercolour, gouache and ink used in a sigle work

Because of that, my process became more pre-planned. I would sketch first, then paint. I often use flat, vivid color fields because I enjoy the clarity they bring. Color simplifies and strengthens the image. It also allows humor to enter more easily. Figures can become slightly exaggerated, playful, or subtly strange. In this way, technique shapes atmosphere.

I often combine different water-based materials within a single work. Watercolor creates soft variations and delicate layering. Gouache gives me solid, matte areas of color. Ink adds a vivid yet transparent intensity. Each material behaves differently, and I enjoy allowing them to interact on the same surface — sometimes cooperating, sometimes resisting each other.

Acrylic on canvas, 100 x 120 cm, 2025

Around 2015, I began painting on canvas using both oil and acrylic. This was another game-changing moment for me. One major shift was time. Oil, of course, requires patience because of its drying time, but scale also became an important factor. My works grew larger. The way I plan a painting changed completely. Color choices became more considered, and the spatial structure more complex. Sometimes the result moves toward a more realistic rendering; at other times, the flat application of acrylic creates a bold, almost comic-like impression.

Looking back, each material has shaped not only the surface of my work but also the way I think. From pencils to paint, every transition has expanded my language as an artist. Material is never neutral — it guides decisions, suggests possibilities, and quietly influences the story that unfolds on the surface.