The following is about the usual way to make  Tangka

STEP 1. PROPER MOTIVATION

Prior to beginning any work with the tradition of Thangka Painting, it is imperative that the artist cultivate proper motivation. Contemporary western art oftentimes emphasizes self expression and individual perspective. The first step is to allow oneself to be open to learning an artform that has been passed down from teacher to student for many generations. The practice of  thangka painting is to learn to see what is, rather than to communicate one's particular version.   In effect, students has to unlearn his or her preconceptions about art, or what it   is  to be an artist. The vanity of the artist becomes obsolete.  For example, thangkas are never signed, but are consecrated by ceremony upon completion.

The second part of one's motivation has to do with cultivating respect for the practice of Thangka Painting.  It might be safe to say, that traditionally, a Thangka, regardless of content, has but one intent in it's execution...to communicate to the viewer an aspect of enlightened mind. This can happen with every detail of a thangka, such as a flower, a brushstroke as well as a complex deity. The actual deities themselves are not considered solid, theistic beings, but rather represent the enlightened potential that exists within all of us.  For that reason, much care is taken to delicately execute each line, and one's work is never done haphazardly, or frivolously. The artist holds the feeling that their work will point out the self existing sacredness that exists in our world, providing  inspiration and the appeasement of inner turmoil.
 
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 STEP 2.THE FACE OF SHAKYAMUNI BUDDHA
Behind every Thangka is a geometrical graph called a tigse, or measure in Tibetan. Each deity has an architectural map of relative proportions, that provide the structure of a finely executed image. The geometry behind the deity is regarded as sacred, as it evokes symmetry, balance and precision. Some tigses create actual mandalas (sacred circle) to evoke certain mental effects.

The student must painstakingly learn the proper proportions of the Buddha, the basis of all other forms.
 
 STEP 3. THE BODY OF THE BUDDHA
The body of the Buddha includes a tigse as well. The tigse varies slightly between teachers and lineages. It is suggested that the student memorize the lines and proportions of the Buddha. By doing so, he becomes self correcting, and internalizes the basic structure of all of the peaceful deities.
 
 STEP 4. LEARNING TO SEE AND EXPANDING OUT
A student might spend many years perfecting his drawing skills before he has permission to paint. With the help of a teacher, he learns to see line properly and practices other common images used in the environment of a Thangka.
 
 STEP 5. BEGINNING BRUSHWORK
Once the student has shown some accomplishment with drawing, he is given permission to begin brush and ink work. He outlines the pencil with a very fine bristled sable liner brush. The student develops confidence and patience as he becomes familiar with  linework.