The underpainting is done with watercolour. This is really tricky for few reasons. 
It took me a considerable amount of time to work out the canvas maker that is suitable for the effect. For the paint to give me these beautiful semi translucent washes, the cotton has to be the right grain and correctly primed. The underpainting takes very little room for mistake and even now sometimes I scrap the canvas and start all over.
There is very special fast drying medium used to cover delicate layers with the right amount of thin oil paint and to make the pigment more fade resistant and prevent from any yellowing. 
This stage is repeated many times to build the satisfactory depth. 
I then go with a tiny brush to go over the edges and borders, adding definition with acrylic. 
Final two - the signature, usually on the front (but some paintings I leave unsigned on the front till they are sold, so the buyer can cast his/her wish to see my surname on the front or back of the artwork). And [ta-ra!] the paper planes connected a thin thread which they tied up to each other or the clouds.

The Migration collection is intend to capture the subject of departure focusing on positive effects of separation, leaving, breaking ties.

The paper airplane is a faceless portrait of a traveler, explorer and a pioneer.

Object with simple light emotion bringing back the carefree childhood moments and playfulness.

Imposing or sometimes enveloping this directive element with the clouds I strengthen the message to emphasise the scale of ever-changing terrain around us.

The clouds are big and strong. Paper planes to the contrary — small and fragile.

Not suppose to fly that far or high these little vessels, just like we are, found themselves redefining their limits.

Also the detail that connects paper airplanes comes from my Connected series on paper.

Visual form showing companionship is found in every journey we take.