untamedartists

I can't remember the last real portrait I did. I'm a wildlife artist and it seems that that's all I want to do. However, in Egypt recently I managed to get quite a few really good references of Egyptians with amazing character-laden faces. I thought it would be a good idea to do a WIP with this particular fellow, one of the Tourism and Antiquities guards in Karnak, a massive temple complex. Normally these guys hang around looking like they are working, but when no official is looking, they'll take you round the areas that no one lets you see (according to them) and then demand money once you've done it, and that's when you realise you've been had!! This guy was ok though. He showed us stuff and then slunk off without asking for anything.

So, I gridded his face, and working at a size of 11" square to fit an existing frame I have, using soft pastels, I chose my surface. This is one of the most important parts. I chose terra cotta colourfix paper which closely matches the colour in his skin tones. If you get this choice right, you can enjoy the process. If you get it wrong, you spend the whole time fighting with the surface, trying to get the look you want.

This is the initial grid and drawing process, and then a bit of blocking in where the basic colours are.



Now it's time to start on the skin, tighten up the eyes and base-paint the beard stubble



Here I'm working out how to go about that beard stubble. It's new to me, though a bit like short fur on some animals so some of the techniques are similar. I'm also starting to try and make the skin look more like skin.



I've got some shapes wrong, so now's the time to fix that. His chin was too wide and I've moved one of the eyes. He is a bit squinty anyway, so I've got to capture that without it looking wrong.
I'm really trying to blend the skin a bit more to get it to look weather beaten and leathery. He's spent his life out in the sun and his skin is showing it. It's not just a natural 'Egyptian' look. Here's an example of what the sun can do for you. The guy below is similar in skin appearance, almost


But look what happened when we asked him to remove his turban (he did this to put it on my son's head)



I need to get this right.



I still have a bit further to go. The mouth especially needs finishing and I've hardly touched the turban and shirt.

Oh, if you are wondering where his other shoulder is, he does have one, but he's got his arm round my son so his right shoulder appears much higher than his left, which is out of shot.

So, what's this got to do with wildlife (other than life in Egypt can be pretty wild!!)? Well, it's been a real challenge for someone used to painting animals. Let's face it, the average person wouldn't have a clue if I got the shape of an elephant's trunk wrong, or put its knee too high up on its leg. But if I get a face wrong, people will notice straight away, so it's been a good lesson to me in working accurately. In wildlife art, whether you paint tightly detailed pieces or loose impressionist pieces, anatomy is king. You must get it right and an exercise like this can tell you how well you are going in the world of accuracy.

There's just a bit of clean up to do on this guy but it's pretty much finished now.

You've done a brilliant job on this fella Patrick. I though it was amusing how when they remove the turban they are so pale. I think you've captured the weathered and wizened face very well. I call feel the leathery skin and the tired eyes. I'd probably suggest some more work on the turban and adding a suggestion of the lower shoulder for balance but that's not much to do. Top job!

Thanks Leigh. I definitely turned a corner doing this piece and picked up some valuable confidence.

I've just finished another portrait. I know it's not wildlife, but it is of an African we met when we were on a wildlife trip in Malawi. This is the wife of the chief of Chilicoti so I've called it Chief Chilicoti's Wife. It's soft pastels on Terra Cotta Colourfix, 10" x 16"

These are both amazing portraits Patrick. They add another dimension to your work.