When Feeling Finds Form: A Conversation with Sket.chboo
Portrait artist Sket.chboo, the artistic name of Amna Mehroon, approaches graphite not simply as a medium, but as a language. Her work is grounded in emotion, atmosphere, and the quiet discipline of observation.
After completing a postgraduate degree in English literature, Mehroon realized that no traditional career could match the fulfillment she found in drawing. Inspired by the Japanese philosophy of ikigai—the search for purpose through the intersection of passion, mission, vocation, and profession—she began exploring art not only as a practice, but as a life path.
Working primarily in graphite and charcoal, Mehroon builds portraits through careful layers of light, shadow, and tone. For her, the power of a portrait lies not in perfect resemblance, but in the emotional presence of the subject.
We spoke with her about practice, patience, medium, and the quiet rituals that shape her work.
Interview
THE NOUN:What usually draws you to a particular image when deciding what to draw?
Sket.chboo:
What makes me stop at an image is mostly the beauty and emotion—the aura it radiates. Especially when it comes to BTS, the emotion in their images often pulls me in.
Sometimes it depends on my own emotions, and many times it’s about challenging myself as an artist. I don’t look for aesthetic perfection. I look for depth and shadows that allow layering—something I can bring out beautifully with charcoal or graphite. I love drawing eyes because they speak even without words.
When I look at a picture, I begin to analyze it immediately. I visualize how it will appear on paper: the highlights, the contrast, the layers. The emotion in the image is usually the first thing that makes me pick up the pencil.
THE NOUN:When you compare your early work to what you create now, what changes stand out to you?
Sket.chboo:
When I look back at my early work and compare it to what I create now, there’s a big difference—mainly in technique, control, and intention. In the beginning I focused too much on the outcome. I rushed the work because I wanted it to look as realistic as possible. I would jump into details without building enough layers or blending. Now I take my time. I analyze the image before I even start sketching.
My understanding of values has changed a lot. Earlier it was just shading. Now it feels more like sculpting with layers of shadow and highlights. I’m no longer afraid of darker values when they’re needed. Drawing consistently has given me a deeper control and understanding of the medium.
THE NOUN:Portraits often look effortless when finished, but the process is demanding. Which part requires the most patience for you?
Sket.chboo:
For me, the most demanding part of rendering a portrait is definitely skin. It may look simple at first, but when you start drawing, you realize how complex it is. Skin is made of subtle transitions and shifts of tone that bring everything together. There should never be harsh lines. The values have to melt into each other so the portrait feels seamless.
This is where I become the most patient. Skin cannot be rushed. It requires working in layers and carefully building the highlights and transitions. It’s demanding, but I find it very therapeutic. It forces me to slow down and be fully present with the drawing.
THE NOUN: What is something you’re still actively working to improve?
Sket.chboo:
Hands. I find them very unforgiving. A slight difference in proportion or angle can make them look stiff or unnatural. Portraits I have drawn thousands of times, but when it comes to hands I still feel like a beginner. I’m constantly practicing them. Hands carry emotion—softness, strength, vulnerability—and capturing that correctly is something I’m still refining. I can already see improvement, but it’s an area where I continue to grow.
THE NOUN:You work primarily in graphite. What draws you to this medium?
Sket.chboo:
Graphite is often underestimated. Many people don’t consider it expressive, but for me it expresses intensity beautifully, especially in portraits. Working in black and white is powerful. With just two tones you must express every value—light, shadow, and depth. Darkness defines the form and highlights give it life. Graphite forces me to be patient and observant. I think there is a rawness in monochrome portraits. It feels timeless.
THE NOUN: Your work occasionally moves into watercolor and colored pencil as well. How does that change your approach?
Sket.chboo:
When I shift into watercolor or colored pencil, my entire mindset softens. With graphite I feel structure and control. With watercolor there is more intuition and flow. You cannot force watercolor the way you build graphite layers. You have to allow the water to move and blend naturally. Colored pencils require another kind of awareness. Because I work in realism, I become very mindful of temperature, undertones, and subtle color shifts. Changing mediums isn’t just about materials—it changes the entire energy of the work.
THE NOUN: Do you have a particular environment or routine when you draw?
Sket.chboo:
A calm and quiet atmosphere is very important to me. I usually draw at night because it feels peaceful. There are fewer distractions, and I can fully immerse myself in the process. I also have a small ritual. I make myself a warm cup of blue tea and play my playlist—usually ambient music. It helps me focus and gently pulls me into the world of drawing.
THE NOUN:When do you feel most creative during the day?
Sket.chboo:
I enjoy drawing during the quiet parts of the day, especially evening or nighttime. The peacefulness helps me concentrate. There’s less noise and fewer interruptions, which allows me to invest myself completely in the drawing. Daylight is beautiful, but if I had to choose, I would always choose nighttime.
THE NOUN: What does your workspace look like in the middle of a drawing?
Sket.chboo:
It becomes a little chaotic. Pencils everywhere, erasers, blending tools scattered around. There’s usually graphite powder on the desk and my hands are messy. But that’s part of the process. All of it contributes to the artwork coming together. It might look messy, but it means I’m working—and something is slowly taking shape.
THE NOUN:How does your approach change when you are working on a commission for someone else?
Sket.chboo:
My approach becomes more careful because commissioned work is often deeply personal for the person requesting it. Someone is trusting me with something meaningful—something they may want to cherish for the rest of their life or give to someone they love. Because of that responsibility, I focus even more on accuracy and details. I pay attention to expressions and the structure of the face so that the portrait truly represents them.
With personal work, I feel more freedom to experiment and express ideas in my own way. I’m also a perfectionist, which can be both a blessing and a challenge. I always notice small imperfections first. But that also pushes me to give my best in every drawing. Both personal and commissioned works are meaningful to me in different ways, and I feel blessed to be able to do both.
THE NOUN: In a world where images are constantly reproduced digitally, what makes a hand-drawn portrait special?
Sket.chboo:
A drawing carries the presence of the artist’s hand. Every line and every pencil stroke reflects the time, effort, and years of practice behind it. It’s not just an image—it’s a process. When someone looks at a drawing, they’re seeing hours of observation and care embedded in the work. A printed image may have value, but a drawing carries a human touch that makes it feel more authentic and soulful.
Contact
Instagram — @sket.chboo
Sket.chboo interview in The Noun No. 001—The Archivist editorial spread below. Access fully issue here.
