Is it ‘right’ to copy?


By Niloufer Wadia

Today, for the nth time, someone directed me to a hobby artist’s social media feed saying, “I think that’s a copy of your work.”

It was.

These are the emotions that run through me in roughly the same order each time, – Oh no, not again! How bloody shameless! How dare they! That’s a lousy /really good copy. Damn, what shall I do about this?

At this point if I can, I access the account where invariably half a dozen people have already congratulated the “artist” on great work, I leave a short, often rude comment about how they seem to have forgotten to credit me /ask my permission. I leave it several times on various related posts, sometimes marking the people who have inquired about buying the product.

Ultimately, I push the episode out of my head and let it go simply because it’s built up so much unnecessary negative energy within me, and probably already eaten into at least an hour of my time if not more. Often others goad me on saying, “You should sue them!” Errr…. Really? Lawyers, our court system, time, money, negative energy? I don’t have enough to spare.

This happens about once a month at least. I don’t flatter myself that I’m “famous”; I barely do a dozen paintings in a year. It’s possible my style is just really simple to copy.

The thing is, just because I don’t move further on this does not mean it doesn’t matter to me. It does.

I am appalled at these people. And I have some things to say to them.

If you are copying then remember this:

  1.  If you’re copying work on a regular basis, please don’t call yourself an artist. Copying is really great for practice and learning, but it belongs on your private desk, not on social media.
  2. If you’re selling copies of my art or products on which they are printed or painted then you’re not just copying but a thief. I’ve had more than one incident of this by reasonably well known brands and this makes me the most furious. It’s always blamed on a junior level artist or outside vendor. Both these hold little water in my book. You, the art director / buyer / quality control manager are ultimately responsible, and don’t you wonder even once where your designs come from? Also, it speaks very poorly for your awareness that you don’t immediately recognize something familiar. If you go through products of companies who copy one image, you will see a pattern; a lot of Indian miniatures and tribal art and several vaguely ‘familiar’ pieces. Obviously your artists lack creativity and you should keep a particularly sharp eye on their output. Whatever may be the case, do NOT profit off me.
  3. Some people apologize very nicely or even ask permission before hand, which I give happily, and then add a note to their social media, “inspired by the fantastic art of Niloufer Wadia”. Thank you for the flattery but please be clear, this is not “inspiration”. For example, I was inspired by the art of Bolivian artist Alfredo Lopez, Thota Vaikuntam and Jamini Roy to realize I really could create ‘fine art’ while sticking to my love of graphics and flat, large, flowing shapes. I was inspired by a Gond art workshop I did to incorporate small complex patterns in my backgrounds. I’m inspired by the colour combination used by some fashion designers, and always inspired by traditional Indian jewellery. I do sometimes use references material for costumes, patterns, a kind of flowers or bird. Everyday I’m inspired by new artists’ work. But it must all come together to form a piece of art that is completely unique, different from the ‘inspirations’ and wholly mine.
  4. If somebody looks at your work and mistakes it for mine or knows it’s origin immediately, then be assured, this is not inspiration, but copying – usually an exact copy.
  5. When I’m feeling nice or the artist is very young, I suggest to them that they may use my style perhaps but should put their own elements into the image, changing it so it’s unrecognisable.
  6. Don’t say you found it on Google. That doesn’t absolve you of wrong doing. Everything on Google, whether a photograph or a painting /illustration or of course an article, was created by somebody and so belongs to that person. If you want details check in ‘tools’ for release specifications. Some art is Creative Commons, ie., open for use, either because the creator is very long dead or very generous. Others have limitations. And even if it’s just the image of a caveman’s painting, if you’ve copied it exactly, it’s a copy, not ‘inspiration’.
  7. I’m not an expert at copyright and all the laws involved but there is no question that the creator of a piece of art is its owner, even if the art is sold to a collector.

I hate to say this but every single experience I’ve had of this kind is from India and the Indian sub-continent.

I’ve been to group art exhibitions and even the well acclaimed Chitra Sante in Bangalore where at least 70% of work is a recognizable copy of some artist’s or another; I’m really not exaggerating. At this years’ Chitra Sante my 11 year old said loudly at least half a dozen times, “look mamma, your painting!” Some were really, really bad and it was actually just embarrassing rather than upsetting because these were of course self proclaimed ‘artists’. It’s very clear that we are absolutely unaware of the need to ask permission to use art or imagery and have absolutely no respect for the creator. It also speaks volumes of the naivety, stupidity or shamelessness that in this age of social media where you can find anything at all in seconds, you imagine that your crime of copying will go unnoticed.

Precisely because its so easy for young people to access anything they want via the Internet today, I feel very strongly that this and ethics in general should now be covered in the classroom and certainly in art schools.

Believe me, artist, when every inch of your artwork is your own creation, you’ll feel a special glow from within and it will be noticed. And then even if someone says, ‘oh that looks like the work of So-and-so, (and I get that a lot) you can say proudly, yes, I’m a fan, but it’s inspired, not copied.”

To others, I would like to say, please call out an artist when you see an obvious copy. Point it out. Sometimes it’s difficult because you may know them well, but do it anyway, privately. Express how you’re concerned they may be breaking the law. But do it so they realize they can’t get away with it.


Everyday we come across so many works that are copies. Some even find their way into exhibitions and are sold. With artists posting their work on social media this is becoming commonplace. We wanted to bring to our community the views  and anguish of an artist whose has been at the receiving end of plagiarism too many times. Make the pursuit of art an enjoyable experience that makes you happy and does not hurt another artist. —The TAEP team

7 things you need to work with Soft Pastels

By Geetanjali Saini

Role-playing is exciting! Isn’t it? Practically all through my school years, impersonating a teacher was my favourite; our Godrej cupboard turned into a makeshift blackboard (a greyboard to be exact), chalking away school notes to imaginary students with a seriousness that was self-laudable. This charade spilled over into my bachelor days, followed thereafter by a considerably long disconnect. The fascination for chalk and board never really died though and it wasn’t until years later that I realized this, until it manifested as love at first sight upon spotting a box of soft pastels in a hobby store in Sweden. Soon after, moi and soft pastels dived into a very intimate, intuitive affair that has now graduated into a steady, going-strong relationship. Rolling a pastel between my fingers, colours dusting off and tracing out mountains or rocks on paper is instantly calming, flooding me with long cherished childhood memories.

Pastels are essentially pure powdered pigments with a small amount of binder, rolled out into chalk shaped sticks (either round or square edges). Commercially they are available in the following versions; soft, hard, pan and pencils. While I love using a brush and various mediums that go with it, the charm of holding a pastel and blending with one’s fingers is almost otherworldly. To get started, the following assemblage works for me.

Material to get started

A set of soft pastels:

As a beginner one can experiment with a basic set of 12 or 24 and later add to the repertoire. I began with one from Staedtler, that I still use because of its creamy consistency and some brilliant colours in that collection.

Kneaded eraser:

Knead-able eraser or a putty rubber serves a dual role. It can be used to lift colour as well as a blending tool.


Apart from one’s fingers, one can also use more pointy blenders like paper stumps, Q-Tips.


Best to use paper specially formulated for pastels that has enough tooth to hold the pigments especially while layering. It can be a textured paper or one with a sandpaper like surface. Personally, I prefer using tinted paper over a boring white background.

Pastel pencils and hard pastels:

These come real handy when laying down groundwork/initial sketch. They are also used for creating marks, sharp lines or adding final embellishments to the artwork.

Clear gesso:

When coated on paper, canvas, cardboard etc., it creates a surface with enough tooth to lay your colours on. I have often used it to coat paper with little to no tooth or texture to begin with, yielding excellent results. Oftentimes artists coat an underpainting with one to several layers of clear gesso and once dry, work over this surface.


Comes in a spray bottle and should be used outdoors, in a well ventilated space, preferably with protective gear. Frequently, this is replaced with readily available hairspray, which works, but to ensure longevity of your artwork it is recommended to invest in a good quality charcoal/pastel fixative with UV protection.

There isn’t a set routine that I follow; experimenting with different pastel brands and papers is part of the process. I do pay heed to safety measures since pastel work generates fine pigment dust.

The basic technique involves either an underpainting on paper or a basic sketch laid out with pastel pencils followed by filling it in and blending with the colour palette of your choosing. The final step is fixing your artwork right away and framing it behind glass. I sometimes do away with the fixing bit as it tends to darken the painting a shade or two. In case you don’t mind a muted tone, fixing is recommended. Framing is essential, as an exposed pastel painting will gather dust, impossible to get rid of, unlike acrylics or oils. This is considered a big drawback by many artists despite the beauty of the medium.

Wish to get started on this adventurous journey? You may begin with browsing through Youtube videos and artist blogs. In case you are looking for a personal teacher instead, look no further 😉


TAEP expert team recommendations

Mungyo Gallery Artists’ Soft Pastels – 48 Colors Or if you are an artist who loves to work on location Mungyo Soft pastel half sticks. For the artist on student budget try these Camel Soft Pastels

Cretacolor kneadable Eraser  or Milan Kneadable Eraser

Mont Marte Pastel & Charcoal Paper Stump Blenders or Cretacolor Paper Stumps

Canson has some wonderful paper available in different colours  HempBuff, Azure,  Dawn Pink, Lime,  Dark Blue Canary etc.   If you want to try a whole range of colours without spending too much try BRUSTRO Artist’s Pastel Papers 

Try DERWENT Pastel Pencils  for initial drawing and highlights.

If you have smooth paper to begin with, give a fine tooth by applying Liquitex Professional Clear Gesso 

Don’t forget to fix your beautiful work with student budget fixative from Camel Camlin Kokuyo  or with Pebeo Extra Fine Pastel, Pencil and Charcoal Fixative  if you are in the mood to splurge.

If you have any queries do leave a comment and we’ll get back to you at the earliest.


3 Tips to Choose Pens for Doodling

By — Hazel Kamath

I love doodling my observations and thoughts about life, people, politics, and everything around me. Doodling helps me relax, unwind, and be myself. Drawing little patterns and designs while having a hot cup of coffee enables me to pen down my feelings and opinions without being judged for what I am!

I am sure you feel the same when pursuing any form of art. But thoughts and ideas aren’t the only pre-requisites for creating an art piece. The right tools play a crucial role too!

The one thing I hate to use when doodling are those jammed ballpoint pens lying around my desk. No matter how hard I try, they refuse to complement my artistic frame of mind!

The internet is full of information and recommendations on the most suitable doodling pens, most of which are either not valid or sponsored by a specific brand. That’s one reason I love to write for TAEP! The blog is purely for artists and the tips and recommendations shared are practical and unbiased and advocate brands only based on the artists’ personal experience.

I draw every day and during the past five years I have accumulated a boatload of pens, wasted money, bought the wrong set of pens, and regretted buying them too! So, what you will read in this article are the lessons I have learned during my doodling journey (which continues till date!).

Regardless of whether you aspire to be, a regular doodler or a bullet journaler, here are three things you must consider before purchasing a doodling pen.


Pro Tip 1: The Ink

The pen for doodling is distinguished based on the colorant or the ink. It can be a dye, ink, and alcohol, water, or oil based pen.

Alcohol-based pens dry quickly. For instance, Sharpies are all-purpose, permanent, water-resistant markers and are alcohol-based. Water-based pens, such as Sakura Permapaque markers can be used in art journals and for calligraphy work. Most brush pens are water-based and the ink is water-resistant when dry.

The paint markers, such as Sakura Pentouch paint markers are oil-based and can be used on porous and non-porous surfaces, namely plastic, wood, glass, ceramic, paper, and metal.

I prefer using Sakura Pigma Micron, Staedler Pigment Liner, or Tombow Dual Brush Pen for doodling as the ink in these pens does not smear, is permanent, fade-resistant, and works best on almost all kinds of paper. When working on a darker surface, I use Sakura Gelly Roll pens that offer fluorescent and smear-resistant ink with cool glowy effects.

Doodling is a stress-relieving experience. The last thing you want is to use a pen that bleeds on the paper or doesn’t write freely, hampering your creative thoughts. When visiting an art store, ask the store-keeper for a few tester pens, enabling you to choose the pens you are comfortable using.


Pro Tip 2: The Pen Feed or The Point:

Choose a pen that writes freely without you having to apply too much pressure. On the other hand, be wary of pens where the ink gushes out if you apply too much pressure. For instance, I once bought a Sakura Pen-touch and put too much pressure while writing, causing the ink to gush out and ruin my artwork.

My favourite set of pens

Sakura Pigma Micron Pens  a ‘must have’ for every artist, work best for doodling and bullet journaling. Depending on the thickness you require, you can choose from a wide variety of tip sizes this brand offers. The brush pen is great for calligraphy, adding depth to your doodles, and filling the empty spaces.

Sakura Pigma Micron PN(Plastic Nib) pens have durable nibs, hence are best for everyday doodling or when you are travelling. Its clear plastic nib (polyacetal plastic) versus the needle-point nib in Sakura Pigma Micron pens makes it smooth-flowing and hard-wearing.

I would also recommend Staedtler 0.5mm Pigment Fineliner for its uniform and smooth lines. It is similar to Sakura Pigma Micron in many aspects, namely the barrel size, the pen weight, the grip, and the ink. However, I find Staedler’s tip slightly softer in comparison to the Microns. So, keep that in mind when you use either of them.

Doodling away on the main door of my house using the Letraset Promarker

If you like doodling on walls or doors, try the Sharpie permanent marker  or the Letraset ProMarker, which is available in various colours. The Sharpie Ultra Fine Point and Fine Point can help you create various patterns, adding dimension to the surface you are working on. The Letraset Pro Marker offers twin tip (broad and chisel) and uses high-quality permanent dye.


For doodling on ceramic mugs, I bank on the fine tip Sakura Pentouch Ceramglass markers.


Pro Tip 3: Artist and Storekeeper Reviews

I am sure most of you are already doing this. Nevertheless, I would like to share that I give a lot of importance to what other artists have to say about using a certain pen or an art tool. At TAEP meets and other art forums, I talk to other artists to understand why they use a particular pen or brand for sketching, doodling, or technical illustrations. This helps me get an outsider’s perspective.

Moreover, a few art storekeepers take a genuine interest in sharing their knowledge about pens, paints, and other art materials. Talking to the store-owner about the various brands and art tools can help you choose the most suitable pen for your art.

The right doodling pen serves as a great companion throughout your doodling journey. Not every pen may fit your style of doodling, yet you must keep researching and experimenting with different tools till you find your ideal doodle-buddy. In this post, I have tried to share my experience with the various pens available for doodling and how they work best for me.

Feel free to share your doodling experiences and the tools you used. After all, we all learn from each other and get better by the day!


Interesting Tips for Pen and Ink Art


By — Shantala Palat


Pen and ink drawing is one of the most visually varied art practices in history. Over the centuries, ink has been used in many different types of art, be it calligraphy, tattooing or art sketches and formal drawings.  In fine art, ‘pen and ink art’ is  the technique of creating drawings with use of coloured ink dip pen or a reservoir pen.


Many of us may not know that ink drawing contributed immensely all throughout the human civilization. The earliest drawings are the cave paintings where they drew images of how to start a fire and hunting methods. The drawings gave us an idea about how man lived and has ignited the imagination of humans for generations. In modern times, the ink drawing is used for illustrations whether it is for advertisements, editorial cartoons or comics. Hence ink drawing has shaped our imagination, creativity and morals since our childhood through comics, storybooks and others.


Today India’s contemporary pen and ink artist Shantala Palat shares some interesting tips on this art form.



For ink drawing, you need a pen, nibs and ink. Artists generally prefer waterproof ink as when it gets dry, they can paint over it and the ink will not  run or bleed.

However, while holding the pen, the  artist must take care to make the marks gently with the nib or else rough or abrupt handling of the pen  can cause the ink to fall on the paper and thus, ruining the artwork in the process. Also, a slight change in pressure will change the thickness of your lines. These are some pointers which you need to get used to at the outset.


Choosing the Pen

For sketches and drawing, different pens are used. Thick markers are used for large shadows as they are  big and chunky and cover a lot of paper quickly. And sharper/pointed pens are used for smaller shadows and thick continuous lines. Consider all the characteristics of a pen such as how it will perform with respect to colour, thickness or whether you are able to handle that particular pen easily. Be attuned to any pen that can make the work distinct.


Holding the Pen

Remember that  a simple change in the way how one holds the pen can add an extra dimension to the drawings and make them special and unique so that they stand out from other artists.


Adding water

In ink art, putting the colour tones can become a challenge. One suggestion is to try rubbing a bit of water onto your fresh ink lines to create softer tones. In a pinch, softer tones alongside ink lines create a wonderful contrast and will make your drawings a little more lifelike.



The gift of art

The Govt. Primary and Middle School, Sangla. Notice the playground and the boxing ring. On the right is the town across the Bapsa river and in the top left is the forest guest house where we stayed.

My husband and I went for a long awaited vacation to the Kinnaur region of Himachal Pradesh. Since this was to be more of a relaxed photography trip we made overnight stops at Fagu and Nogli. Then it was on to Sangla. The last 4 km drive up to the forest guest house tested my hill driving skills to the max. The road was non-existent. It was mud path with mountain on one side and sheer drop on the other. That it was just the width of the car and there were no fence or parapet along the drop and the entire stretch was slushy after the morning rains did not help. Finally reaching the guest house we were rewarded by a beautifully preserved British era house.

We sat in the gazebo sipping our hot drinks and eating maggi when we noticed a school below. There were a bunch of kids exercising. On enquiring from the caretaker we found out that they were all aspiring boxers. Jagannath, the caretaker then told us that his daughter is a notional level boxer who studied in the same school before she moved to Hisar for higher education. The headmaster of the school was a national boxer who lost an eye in a bout. Now he has made it his mission in life to teach kids in the small hill town the sport. They kids have responded by winning medals at national level. We decided to go to the school the next day and meet this inspiring teacher.

Boxing practice.

I was carrying my art material along, hoping to capture the beauty of the majestic Himalayas on the trip. What better way to spread art than to share it with the kids? With that thought in mind we decided to visit the school and see if they’d entertain a city artist to take some of their valuable time. So we walked up and down the mud path to the school with an open mind. Once there I introduced myself to one of the adults there. I had no idea if he was a teacher or an office staff. I told them that I was an artist from Delhi, visiting their town for a vacation and if I could spend some time with the kids and do a short art session with them. I was then introduced to their art teacher Mr. Raj Prakash Negi.

Path to the school.

Well, hill towns are small places and everyone knows everyone. So it was no surprise that Jagannath had already called up the art teacher and they were expecting us. We were unable to meet the famed headmaster as he was out on work but we were  accorded a warm welcome by the other teachers and they were happy to let me hold an art session with the kids. I was apologetic about encroaching on their time but they said that this was the beginning of the session and it is not every day that someone comes to interact with the kids.

We went to class seven classroom and were greeted by the students in the long drawn good morning that transported me to my school days. There were about 15 smiling kids with curious eyes wondering who I was. I introduced myself and told them that we’d be doing some painting. Their excitement was electric. Now which kid doesn’t want to skip a regular class and paint? I told them that’d we’d be working with watercolours and asked if they had used them before. Then fell the bombshell.

The kids said no and their teacher told us that the material is not available in Sangla and even if some things were available, the kids were too poor to afford it. A set of Camlin watercolurs costs 120, less than a cup of your favourite café latte at Starbucks and it was way out of reach for this kids. I looked back at their smiling faces with neatly combed hair and clean, ironed uniforms and realized how much we take for granted. Mr. Negi told us that a couple of years ago the school fees was 8 rupees and a lot of kids could not even afford that and dropped out. Now there is no fees till middle school so all of them come to school. They see the privilege in the education and respect it.

I asked the kids what do they use and they brought out their packs of small sketch pens. A tiny pack of watercolor sketch pens that a Delhi kid would turn up its nose on even as a return gift. (Sorry but most city kids are entitled brats). My husband then suggested that I should teach them with what is available to them. So I taught them how to use water to dissolve the pigment of the pens and make watercolor like paintings. But since I was carrying a lot of paper and extra paints I wanted them to experience working with brushes too. I asked them to make groups of four so they could share. In a blink of an eye they made groups with their friends. Then started some happy experiments with flowing colours and brushes. Some paper was sacrificed in enthusiasm when skies were painted brown and rivers green. New paper was provided.

Artists at work
Waiting to share the limited supplies.
Output of an half hour session.

One little boy wanted a new sheet and when I asked what happened to his he said that it was spoiled. I looked at his painting and decided to teach him how to salvage it. A few strokes and it was looking better. So I asked him if he was happy now. He nodded but the smile was missing. I knew that since he had not gotten a new paper unlike three other kids he was feeling cheated. Without a word I walked to my bag and brought him back a new sheet. His smile lit up the room.

Mr. Negi showed me their school projects. The school holds regular art competitions for the kids. They draw a lot of things but when left to draw without instructions they paint their beloved mountains. They live a taxing life. Walking to school 4-5 kms everyday. No access to adequate stationery and other facilities but they do not complain. They are not cynical and have a very cheerful outlook. It was a wonderful experience for me. The bell rang and the kids left for their mid-day meal feeling reluctant to leave behind their paints and brushes. One girl said to me, ‘Ma’am aap bahut pretty ho (Ma’am you are very pretty.),’  and made my day.

My husband and I decided to do something for these kids and their teacher who could have gone to a big city for a job but stayed to teach the kids of his town. If possible I’ll go again, maybe for a week to teach these kids art. But till then I’ll send them some material that will let them explore and enjoy the creative journey. TAEP is about exchanging art so it fits right in. Hope I’ll have more members pitching in.


Text and photos: Aarti Uppal Singla

Glimpses of India Art Fair 2017

By — Aarti Uppal Singla

As each year passes the visual treat at India art fair is getting better. Presence of contemporary artists is increasing. The masters have their place firmly entrenched but it is the new blood that makes things interesting. Apart from big Indian galleries especially from Delhi, Mumbai and Chennai artists from Spain, Singapore, Nepal, USA, Uk, Amsterdam etc. made their mark.

The large installations were reduced in number but then I did not miss them as I’m more intrigued by details. And those I found in plenty in the intricate lace like work of artist from Mumbai. The technique is magical as the artist first sketches, then embroiders the delicate botanical illustrations and then removes the cloth leaving behind the fragile thread skeleton. Pinhole portraits by a Spanish artist were something new.

Simple strokes and dots made a lot of interesting artworks.

Politics and humour also found its way in the work of a Nepali artist.


The icing on the cake was etchings by Salvador Dali showcased from the personal collection of a gallery owner from Singapore.

And then there was this.



Sketch meet at book & stationery fair — TAEP #40



By Aarti Uppal Singla

The Book and Stationery Fair at Pragati Maidan became the venue of our last sketch meet. Since there was a lot of walking involved we decided to carry along just one pen/pencil to sketch.

We met outside the stall of our favourite art suppliers Foremost India. Meeting them is like meeting old friends. After buying some stationery and having a look at the fair we decided to sit down to sketch. We were lucky to find an empty stall right opposite the Foremost stall. We settled there comfortably to draw, much to amusement of passersby and patrolling cops.

Over, coffee and sandwiches, courtesy Mr. Lochan, laughter, conversations and sketching ensued. We were joined by some new comers and a little girl who had so much fun that she did not want to leave.

A small sample of drumming and beat boxing added to the merriment.  Hope to have more such fun events.

You can see more images here.

Tipi tipi tap: The Colour Game — TAEP Meetup #39


By Aarti Uppal Singla

Remember the beloved childhood game of ‘Tipi tipi tap’ where one would call out a colour and the others players would scamper to get anything with that colour to be safe. We decided to play that game with a difference. One of the group members gave us a colour from around us and we sketched everything we could see in that colour.

Since we were meeting at Starbucks (N Block Connaught place) the first choice was green and everything from their logo to the sippers and lights were drawn.

There was a little confusion over the venue as there are two outlets in CP so we had people coming in late but the fun was un-ebbing. Moving from green to red to blue we covered a lot of colours amidst laughter and some good nature leg-pulling.

A very special thanks to the staff of the cafe for being supportive and providing us with all the chairs we needed while we occupied 4 tables for almost three hours.

You can see more images here.

Buying brushes — TAEP Meetup #38


By Aarti Uppal Singla

Having bought a whole lot of art material in the last meet up we were still missing something … brushes. No artist can pass up a chance to buy cheap and yet good material hence we got together to buy brushes. I contacted an old gentleman who is known in art circles by the name ‘Brush Baba’ to bring along his pitara of brushes just for our group.

Dr. Suman graciously offered us the premises of her workplace to gather. Despite the rain and heavy traffic we all made it at the scheduled time of 3 pm and then began the long wait for brush baba to turn up. The waiting period was well spent discussing watercolour paper and other tools.

After a long wait our man turns up and we were not disappointed when he laid out his wares. There were brushes of sizes and types to suit all our needs, for watercolours, acrylics, oils and calligraphy. He even had beauty brushes! Reasonably priced they fulfilled our requirements and were worth the wait.

Visit to Foremost Agencies — TAEP Meetup #37



By Aarti Uppal Singla

For our thirty first meet up we visited the warehouse of Foremost India. An Aladdin’s cave for the artists, the warehouse stores quality art material from brands such as Sakura, Mungyo, Rembrandt, Royal Talens, Milan, Shinhan, Artbin, Campap, Schneider, to name a few. It is like a roster of countries from all continents. There was something for everyone from the student to professional calligrapher, the acrylic artist and watercolourist.

The owners, Mrs Lochan and her son Harsh were very gracious hosts treating us to snacks and drinks and allowing us to try out the various pens and colours before buying them. The generous discounts they gave brought smiles on everyone’s faces.