Ivan
Pankov

My process usually begins with a small tonal thumbnail, where I work out the main composition, value structure, and overall mood of the painting. Depending on the work, I may then take my own reference photos with a camera to help develop the pose, lighting, or details I want to include. Once the idea is clearer, I may create a small preparatory drawing and, when needed, transfer it onto the painting surface using a projector. However, I do not always work this way. In many cases, I prefer to begin more directly, sketching the basic structure of the image straight onto the primed surface with oil paint. I often work on primed wood board, as I enjoy the smooth, solid surface and the way it responds to oils. I usually begin with a loose oil sketch or underpainting, establishing the main shapes, proportions, and tonal relationships early in the process. From there, I often develop the image further through a grisaille stage, which allows me to define the form, structure, and light before committing to colour. The colour stage is often more intuitive and experimental for me. I enjoy the trial-and-error process of adjusting tones, temperature, and saturation until the image starts to feel alive. Once the painting is complete, I refine the surface, make final adjustments, and prepare it for presentation or exhibition.

I have always been drawn to drawing and painting. From childhood, I enjoyed doodling, making illustrations, and creating images, but it was around the age of 18 that I began taking art more seriously. I started a self-directed study journey, using Russian academic drawing as a foundation, and this became the point where I developed a deeper appreciation for traditional drawing and painting. My creative path later led me into tattooing, which I practised for around seven years. Over time, my background in academic drawing naturally guided me toward realism tattooing, and that experience eventually brought me back to painting. I began working with oil paint in 2023, and the transition felt natural after years of drawing, studying form, and working closely with realistic imagery. Alongside tattooing and painting, I also explored 3D sculpting and modelling, which further developed my understanding of shape, structure, and form. Today, my practice is focused on oil painting, using traditional techniques influenced by Italian, Dutch, and Russian academic approaches. I am particularly interested in figurative realism, classical painting methods, and the expressive use of light, gesture, and atmosphere.