Step by step
DRAFTING
Initially, I like to have a clear understanding of the key elements desired in your commission. This includes the purpose of the artwork, how it will be displayed and of course a little bit of information on the animal I'm drawing. An example of the questions I may ask:
- Which reference photo do you want used as the primary example?
- Are there any specific details you would like to ensure are incorporated into the portrait (this could be markings, expressions, colours, accessories etc)?
- Would you like a background in the portrait or just a plain background? (This can include different colours)
- Is there a pose or particular way you would like your pet to be portrayed in the photo?
- Would you like the portrait to just include the face, or extend to the neck or shoulders?
While this can feel a bit tedious, it's an important step that ensures our concepts align to avoid surprises or miscommunications.
DRAWING
This step is the most time consuming as my art process requires experimenting with colours, techniques and tools to achieve the right outcome. My primary materials include Copic markers, Prismacolor pencils and Bristol paper. I've spent years practicing these mediums and forming a process that best showcases my artistic abilities.
- Firstly, I begin with a simple draft, sketching out proportions and key features with lead pencil. Once I am satisfied with the result, I add further detail and outline the sketch with a Prismacolor pencil of choice, erasing the lead pencil. This is done because Copic markers tend to smudge lead pencil, however do not have the same effect on Prismacolors.
- When it comes to Copic markers, I prefer to work in the order of dark to light. Any dark areas are filled in with a black Copic marker first, and then I gradually build up to brown and grey.
- I add in any undertones (this can be done with blue, purple, red or yellow) and then I can begin to flesh out the first layer of the portrait.
- Details are next, this includes the eyes, nose, mouth and ears. Once this is done, it allows me to see the portrait in full and make corrections if needed.
- Finally, I return to the Prismacolors, which are useful for adding depth that markers can't always achieve, and creating texture for the fur and whiskers.
DELIVERING
I always scan my artworks digitally before printing the finished copy. To polish it off, I run the scan through Photoshop, which gives me the ability to apply minor adjustments as well as remove any unwanted marks in the background. It is also helpful in resizing and formatting the digital file for sharing. Other than that, there is very little digital manipulation to my work.
For my prints, I use 260gsm photo paper, which comes in either a satin or gloss finish. While I generally print in A4, I'm able to do custom sizes if that is what's desired. Each print is enclosed in a plastic sleeve, which is then taped gently to a thick sheet of cardboard to ensure the paper doesn't warp or get damaged during its journey. Another protective layer of clear cello wrap is added before it gets delivered to the post office.