I explore and express my love of the natural world through creating accurate and realistic, highly detailed portraits. I enjoy learning about each subject before capturing them on watercolor paper or canvas. I work with colored pencils predominantly, as their sharp points and ability to layer allows for intricate detail and texture, with each piece taking hours to gradually build to a realistic finish. 

Equus Quagga | Zebra, acrylic on canvas, 27½ x 27½" (70 x 70 cm) The zebra has always been one of my favorite animals. I love their striking markings and amazing sounds! This acrylic painting was the second wildlife portrait I completed in a hyper realistic style, each part presenting new textures and challenges, like adapting the lighting to create the result I had imagined. I wanted the piece to focus completely on the zebra, so I kept the background very plain. I love the contemporary look this gives the piece, and it’s a style that I have continued to use in each of my wildlife pieces since.

 

Ceratotherium Simum | White Rhino, colored pencil on watercolor paper, 9.8 x 9.8" (25 x 25 cm)  Repetitive patterns, lines or wrinkles were things I found very difficult to follow from a reference, so I challenged myself to take on something that incorporated them all, creating this rhino study. I worked on a heavier paper for this piece, which took the pencil slightly differently than what I was used to, adding another challenge, but fortunately one that paid off. As I developed a technique that worked for me, I found the striking horn and thick armor-like skin are extremely interesting textures to draw.

 

Another one of my preferred mediums is acrylic. Although not as highly regarded as oils, high quality acrylic can be more archival than oil due to their lightfast properties, and as they dry much faster, they allow for precision and detail to develop quickly. I use incredibly small brushes to paint the hairs individually, with each section of hair or fur requiring multiple layers to build a dense and realistic result. Using negative space to create focus on the subject, my wildlife pieces adopt a more contemporary look.

The Rush, colored pencil on watercolor paper, 39.3 x 39.3" (100 x 100 cm) This piece (with detail shot included) was commissioned by a company specializing in high quality accessories for field sports. As part of the partnership, we have been donating to the Game and Wildlife Conservation Trust who help to preserve and protect the countryside and wildlife here in the UK. As this piece was so large, it required me to work upright on an easel, tackling one bird at a time. Applying the colored pencils gently in layers helped to create a very delicate and soft finish on the feathers. Just like the rhino, this piece included many challenges, such as the complex patterns, backlit feathers and capturing movements.

The Rush (detail), colored pencil on watercolor paper, 39.3 x 39.3” (100 x 100 cm)

 

From a young age, I have worked hard to develop my ability and skill, always seeking ways to improve the accuracy of my pieces. I love to challenge myself to achieve realism in my work. I want the viewer to feel as though the portrait could take a breath at any moment, creating lifelike detail which allows them to see and appreciate the beauty of each animal. It is my intention with each portrait to capture life, character and movement. Making the eyes feel alive is often the most crucial part, hence the reason they are usually the first thing I complete. —