• Increase font size
  • Default font size
  • Decrease font size


Tess and Molly

Tess and MollyYou don't know me, I am Carol's husband. Carol commissioned you to do a portrait of our two lovely girls Molly and Tess for Christmas. No doubt she told you that we lost our wee Molly in November after a long fight with renal failure.

Our feelings are raw just now and I'd like to tell you how much I appreciate the portrait. I can't thank you enough. It means that we now have a permanent picture of Molly which memory can't erase.

Molly was such an intelligent, brave and kind-hearted dog and you, somehow, have captured her eyes exactly. If the eyes are a window into the soul of a dog, then you have been given a gift to show that soul in your paintings.

It is unbelievable that you only had a photo to work from!
 

From My Sketch Book

These sketches are taken from a number of my sketchbooks, and show some of the work behind a few of the images that have gone on to become full scale pieces, and used for card and print designs.  Sketching is an important part of any artists' day, it keeps motivation going and builds on skills already in place, stretching their ability.  More sketches are added on a regular basis, so please keep checking back, to see more examples from my sketchbook.

By far the majority of my sketches are in pencil, it's a clean and easy media to work with whether at home, or out and about, these first two images come from when I lived in Botswana, in Southern Africa.

Lioness Young Elephant
Lioness about to set off stalking Young Elephant playing in water

Some sketches are more detailed than others, these two examples of Indie as a pup are very brief and suggestive, using only a soft pencil

Indie pup Indie Face
Indie Pup Indie detail of face

As well as working in pencil, some of my sketches are in other media, these two examples are in ink fineliner.

Scottie Dog Doberman
Scottie Dog Doberman Sleeping

Asleep in the WashingThis particular sketch in pencil, was done from a photograph I took of Indie and Tau, when Tau was a young pup.  Indie was resting her head on Tau, while they were both 'Asleep in the Washing' - the image has gone on to be a popular card, and is also available as a limited edition print.  It is one of my favourite pencil sketches of the two of them, and the final piece can be seen here.

 

Watercolour sketches to me convey a simplicity that is sometimes lost with this media, and sometimes pieces can appear overworked, almost like acrylics.  Although there are no hard and fast rules about how watercolours should be used, the way the media works best is to allow the semi-translucent nature of the media work, and this can only be done by keeping any layers of colour to a minimum, and allowing the light to reflect back, through the watercolours.  When I was learning to use watercolours, we weren't allowed to use black, grey or white, we had to mix black and grey using colours, and we were not allowed to use white.  Although I do now cheat and use black, I rarely use white, using the media surface to provide bare, or lighter patches, with the aid of masking fluid where required.

These three watercolours show a german shepherd in various sleepy poses, and convey the lovely translucent feel from the media.

German Shepherd Sleeping German Shepherd Sleeping German Shepherd Sleeping

My first love in sketching animals as a young girl was always horses, and I still love to draw them, these three pencil sketches are quite brief.

Mare and Foal Horse Jumping New Forest Ponies
A mare with her foal Brief study of a horse jumping A new forest mare with her foal

And three more sketches in different media

Pony Ink fineliner Watercolour
Quick chalk pastel work Ink fineliner A fun watercolour

Maisy sketchThe subject for this pencil sketch has also been used as a chalk pastel.  The mare in question, Maisy, is used as garron, and has her foal by her side in the chalk pastel study, which can be seen in the equine gallery here.

 

 

As well as animals and birds, I love drawing scenery, and doing studies of flowers.  These three pictures show different styles using ink, and gouache to give bold designs, as well as a detailed study.

Ink fineliner sketch of flower bed Gouache sketch of flower bed Ink study of leucanthemum
Ink fineliner sketch of a flower bed Gouache sketch of a flower bed Ink fineliner study of a leucanthemum flower

Windswept Springer sketchOf course by far the most sketched subject in my sketchbook, are working dogs, and I am lucky to have a supply of good photographs to work from, that I use to practise and develop the drawing, before setting it out to portray in a more serious style.  This first image, went on to become the portrait of a springer bitch 'Windswept Springer', which has made a popular greeting card as part of the Gundog Pencil Study set.  The final piece, 'Windswept Springer' can be seen here.

 

These three sketches aim to capture the movement and character of working cocker spaniels.

Sketch of a roan cocker Cocker in motion Cocker portrait
Sketch of a blue roan cocker Cocker in motion Portrait of a handsome example

The First Grouse sketchThis image started out as a very brief outline sketch of a Labrador dog retrieving a grouse.  The image has been used as the logo for Tarimoor Art, as well as being used as one of the popular Gundog Pencil Study greeting cards, as a limited edition print, and will hopefully be available as one of a set of bone china mugs, exclusive to Tarimoor Art, in the near future.  The final piece, entitled 'The First Grouse', can be seen here.

 

 

Pet Portrait Price Guide

I undertake work in a variety of media, and although the following guide shows the type of work you can expect for an approximate price, the final outcome is dependent upon what you want from a piece, and how much time I will spend completing a commission to your individual taste.

My starting price for pet portraits is £35, these are A4 and done in either pastel, watercolour or pencil; this price excludes P&P, you can choose whether to pay for Royal Mail First Class or Special Delivery within the UK, these are some examples of what you can expect for that price.

Doberman Meg, the Springer Spaniel Breeze, the Labrador Mole, the Labrador Goldie, the Golden Retriever

Pencil Studies: These are done on cartridge paper, using pencils and graphite sticks, producing effects from a sketch, to a detailed pencil study. Prices for A4 start at £35 and prices for A3 start at £85 – I can work in different sizes where required.

web-portrait-indie-tau thumb_detailed-pencil-portrait-a-wise-old-head
A3 pencil sketch (£85) A3 detailed pencil study (£200)

Chalk Pastels: These are done on pastel paper, which is available in a variety of colours.  I use Unison Colour soft pastels, and a mix of harder pastels for shade and light, along with charcoal pencils for detail.  Prices for A3 sketches start at £85, and for detailed studies start at £145 – I can work to larger sizes where required.

chalk-pastel-sketch-maisy-and-foal thumb_chalk-pastel-detailed-portrait-spaniel
A3 chalk pastel sketch (£85) A3 detailed chalk pastel (£145)

Watercolours:  These are done on pressed cotton, which comes in two sizes, 9” x 12 1/8”, and 10 1/4” by 14 1/8”; I also use a variety of boards and can work on stretched paper if that's your preference.   I use Rowney watercolours, and specialist watercolour brushes.  For more detailed work, prices start from £85 for the smaller size, and £145 for the larger size.  I can work to larger sizes where required, and if preferred can use watercolour boards or paper.

thumb_water-colour-and-graphite-labrador-portraits thumb_watercolour-large-magic
Small watercolour on pressed cotton (£85) Large watercolour on pressed cotton (£145)

thumb_pen-and-ink-colour-wash-tall-chimneyPen and Ink Wash: These are done by producing a study in ink, and adding watercolours.  They are on stretched paper, and prices start at £100 for an A4 piece.  The example on the left would be priced at £100.

 

 

 

 

thumb_pen-and-ink-portrait-raptor

Detailed Pen and Ink Study: These are done on cartridge paper, using black ink fine liners, to produce fine detail.  Prices start at £100 for an A4 piece.  The example on the right would be priced at £100.

 

 

 

 

thumb_acrylic-portrait-acerAcrylics: These are done on primed board or canvas, whichever is your preference.  I use Rowney acrylics, and specialist acrylic brushes.  Prices start at £150 for a board sized 16” x 12”, and for chunky canvases, prices start at £230 for 20" x 16", please contact me for a quote for larger pieces.    The example (left) shows an acrylic in progress.

 

 

mixed-media-indie-and-tauMixed media: sometimes using a combination of media produces a stunning effect, the example on the right shows a portrait of my own two dogs done in graphite and water colours.  If you have a preference for a particular style of work, in any media, I will work towards producing a piece that suits your choices.  The example shown would cost £175.

 

Price guide summary:

Pencil Sketches, prices start from £35 for A4, and £85 for A3

Detailed pencil study, prices start from £200 for A3

Chalk Pastels, prices start from £35 for A4 sketches, £85 for an A3 sketch, or £145 for A3 detailed work

Watercolours, prices start from £35 for A4 sketch style, £85 for small (approx A4) and £145 for large (approx A3) more detailed work

Pen and Ink with colour wash, prices start from £100 for A4

Detailed pen and ink, prices start from £100 for A4

Acrylics, prices start from £150 for 16" x 12", and £230 for 20" x 16"

Mixed media, prices start from £175 for approx A3

 

These are just a few examples of the type of commission work I undertake.  Please feel free to contact me if you are interested in commissioning a piece, whether you are in the UK or abroad, there are more examples of my art work, in more media and styles, on my website www.tarimoorart.co.uk; and I am always happy to advise whether your photo would translate well in to a particular media.  You can contact me either by email – This e-mail address is being protected from spambots. You need JavaScript enabled to view it or by mobile – 07500 595555,.

 

Work In Progress

Here are shown various commissions in different media, giving an idea of how I put together a piece.  Each of these pictures are sent to the commissioner, to show them how their work is progressing, and I wait for their approval before progressing any further.

Dexter's layoutThis is another charity auction prize, to help raise funds for the Oldies Club, and is a detailed A3 chalk pastel.  The dog is a doberman called Dexter, and this is the layout.

 

 

 

 

Dexter, Initial Colour Layer Added

And this is the initial colour layer being worked in.

 

 

 

Dexter, some detail added

 

And here, some detail has been put in.  Because of the risk of smudging the paper, to keep it as clean as possible, I work out to the final outline, and generally from top left to bottom right.

 

 

Dexter, some more progress

 

Some more progress, including putting in more highlights, and detail to the muzzle and ear.

 

 

Dexter, portrait half cleaned

 

I decided to take this photograph of the portrait half cleaned, to show just how much chalk dust residue there is left on the paper around the portrait.  It takes approx 1 hour in total, to clean a portrait.  At this stage I will clean around the entire portrait, and clean again once it is finally finished.  I've also scraped peach and yellow dust onto the tan markings and work them in with an estompe.

 

Dexter, Detailed Chalk Pastel Study

 

The final portrait of Dexter, Marian, his owner is thrilled with it, and thinks it's 'perfect'.

 

 

 

 

Layout for A3 detailed chalk pastelThis is the layout for a detailed A3 chalk pastel, the brief outline includes a suggestion of the back and legs, as requested by the commissioner.

 

 

 

 

Akira, first colour layer addedAnd here's the first colour layer, mixing in different colours to get the right sort of base to start putting in a bit more detailed.

 

 

 

 

Akira, starting to put in detailA bit more shading, and starting to put the detail in, I use pastel pencils, and also grind down pastel pieces to give me a sharp edge to work with, and I also scrape pastel dust off and blend in using an estompe to get the effects and colours where I want them.

 

 

 

 

Akira, detail and shading starting to come togetherSlowly putting in detail and shading to the ear, working in purple pastel dust with the estompe to give the correct hue.

 

 

 

 

Akira, putting in further detailNow I've started to add a base layer to the back, and will work in detail to the left hand side of the portrait, moving across to the right, avoiding smudging the work.

 

 

 

Akira, detail to one eye completeDetail to one of the eyes in, and now the portrait starts to really come to life, texture and detail also being added to the back.

 

 

 

 

 

Akira, both eyes adding life to the portraitDetail to both eyes is starting to bring the portrait together, along with some of the colour blending and detail to the right hand ear and also the back.

 

 

 

 

Akira, the detail to the top part of the portrait nearing completionAnd now the detail to the right hand ear is nearly finished, the top of the head is starting to look good.  Some work has also been done adding colour in to the muzzle area, and marking out the areas to work on as I move further across and down the portrait.

 

 

Akira's Progress

 

 

Work adding pastels and texture to the legs, and across onto the chest has begun.  It's important to try and keep the definition between different areas of colour, and get the texture right, and a fiddly job, but one that's very satisfying when you get it right.

 

 

Akira's Progress

A little more work done, which hopefully shows how the texture is slowly added, in this case using pastel pencils on top of the pastel colours, to give the fur a 'real' quality.

 

 

Akira's Progress

 

More progress, we're very nearly there with this one before the final clean up and approval.

 

 

 

Akira, Detailed Chalk Pastel Portrait

 

And here's the final portrait, signed and ready to be packaged up to go to the owner.

 

 

 

 

Pencil layout for watercolour studyThis is the layout for an A4 watercolour on pressed cotton, this is a cocker spaniel, with black and white markings.  The commissioner has asked that the portrait include the dog tag with the name on if possible, so once the layout has been approved, I will mask areas that I want to leave as white markings within coloured areas, which will include his name, and some whiskers.

 

 

 

Watercolour with masking fluide and shading indicatedThe portrait with masking fluid added, and areas of shading and texture briefly marked out.  From here, I will start to use much finer brushes, and work in detail.

 

 

 

Watercolour, adding detailThe detail to the ear is being worked in slowly, with further shading added.

 

 

 

 

 

Waterecolour, further detail added

Further detail and shading added, including the left hand eye.  As the watercolour is added, the masking disappears, this will be removed towards the end, and detail tidied up around the areas.

 

 

 

Final Watercolour of a Cocker Spaniel

 

The final watercolour, masking fluid removed, and all the areas tidied up ready for final approval.

 

 

 

 

 

Layout for detailed chalk pastel of three colliesThis is the layout for an A3 detailed chalk pastel portrait, of three collies, Bella, Lassie and Whisper.

 

 

 

Initial colour layers for all three portraitsThis is the first colour layers for all three, giving a brief idea of the balance of the portraits overall.

 

 

 

Chalk pastel portrait nearing completionHere the two left hand portraits are pretty much complete, with work yet to finish the red and white collie, Whisper.

 

 

 

Final chalk pastel portrait of colliesAnd here's the final portrait, with detail to all three completed.

 

 

 

 

 

Acrylic portrait of Ben, the Springer SpanielThis is the layout for an acrylic on canvas, showing the brief outline of a springer retrieving a pheasant.  The springer, Ben, a much loved working dog, sadly had to be put to sleep, and the owners wanted a portrait of him doing what he loved best.  The piece is being put together from several photographs.

 

 

 

 

Acrylic portrait of Ben, the Springer SpanielHere, part of the background has been put in, and I've tested painting in a few silver birch trees, for the commissioner to see what they would look like, and if that is how they would like the background.

 

 

 

Ben, acrylic portrait of a springer spanielThe rest of the background colour is now in, using a process called stippling, with a hard bristled brush, dabbing the paint and mixing it in on the surface.

 

 

 

 

Pet portrait, done in acrylicsMore silver birch trees added, as I walk my dogs in a birch wood every morning the background woodland has been inspired from memory.

 

 

 

 

Ben, pet portrait in acrylicsAnd the final detail of the birch trunks, with parts of them fading into the background, the next stage will show some stippled foliage.

 

 

 

Acrylic portrait, showing detail to head being put inA hint of stippled foliage, and the main body of colour onto the spaniel's head, starting to show the shadows and highlights.

 

 

 

 

Acrylic in progressMore detailed added to the pheasant and foreground, slowly but surely bringing the portrait together.

 

 

 

 

 

Charcoal layout for ChippieThis is the initial layout for a chalk pastel portrait on cream paper of a staffy, called Chippie.  The layout sketch in charcoal gives them an idea of how the portrait will appear on a sheet of A3 paper, although I ensure the edges are slightly within the actual area I will work on; this is because you can only remove so much pastel and charcoal using a pastel eraser, and so to keep the paper as clean as possible, particularly with such a light colour, I will work out to the final edges of the portrait.

 

 

 

Chippie pastel portrait with initial colour layersHere we have the first colours added, a salmon pink and yellow ochre, to give the lighter sandy colour of Chippie.

 

 

 

 

 

Chippie, pastel portrait in progressHaving worked in the salmon and yellow, I've then added some grey, which will also need to be worked in.

 

 

 

 

Chippie, pastel portrait with shading addedHere I've added some hard black pastels, and because of the yellow, this will mix in slightly green, and so I've added a nice deep red chestnut brown to counteract this effect.  I've outlined the ear a little clearer so that I don't work over into any areas that should remain free of colour, and I've put the background black onto the muzzle which looks very stark initially.  With chalk pastels, I add the shadows and then work in the highlights, it has always worked better for me this way round, giving a feeling of shape and structure to a portrait.

 

 

Chippie, pastel portrait with first highlights addedChippie portrait alongside original photographThis photo shows the current stage of the portrait, alongside the photograph I'm working from, there is a lot more colour mixing to go on, and another round of adding finer shadows and highlights, before starting to put the real detail in, including Chippie's lovely expression in his eyes.

 

 

 

Chippie, pastel portrait of a StaffyThis photo shows an updated outline, pushing out towards what will be the final outline, and checking measurements before starting to put in some real detail.

 

 

 

Chalk pastel portrait of Chippie, the StaffyAnd this picture, shows more detail starting top left, as always, so that I work without reaching over finished detail, with the risk of smudging the portrait.  There is some more work to do to his ear, before moving on to his fore head and face.

 

 

 

Chalk Pastel of Chippe, working on the outlinesA little further along, making sure that I push the work out to the correct outline, as it is virtually impossible to remove pastels once they're down, I always make sure I work within the finished outline and push the work out to the correct outline as I'm going along....

 

 

Chalk Pastel Portrait shown alongside reference photographHere the portrait is shown alongside the photograph, and you can see the colours and shading are starting to fall in place

 

 

 

Chalk Pastel Portrait Approaching CompletionThis is the portrait approaching completion, all the detail is there, any work from this stage will be tidying up and fiddling to get the detail right

 

 

Chalk Pastel Portrait, Chippie the Staffordshire Bull TerrierThis is the final portrait of Chippie, with all the pastel dust removed and any details tidied up before sending off to the owner, who has received the portrait safe and sound, and is thrilled with it, as is, apparently, Chippie!

 

 

 

 

 

Initial layout for a watercolour on board

This is the initial layout for a watercolour on board, portraying the faces of four different horses.

 

 

 

 

Initial watercolour washAnd here, the first colour layer has been added to the faces, giving an idea of the different colours and shapes.

 

 

 

 

Working in layers of watercolour, and putting in detailWork has begun on the horse top left, adding more layers and putting in detail.  I've also started to work on the horse top right, moving inbetween each portrait to allow layers to dry thoroughly.

 

 

 

Watercolour in progress, showing layer workThe horse top left is taking shape, and I am slowly working in the layers on the other portraits.  I've used masking fluid to keep the white markings clear on two of the portraits, and for the whiskers on the paint horse.

 

 

 

 

Watercolour portrait of horses, showing ongoing progressThe horse top left is complete, and the paint horse is progressing well, I've also started working in the darker layers on the horse bottom left.

 

 

 

 

Watercolour portrait of horses, nearing completionThe paint horse is now complete, and I've removed the masking fluid to put in the detail for her marking on her forehead.  Work is progressing nicely on the bay, and I've begun layer work for the chestnut, bottom right.

 

 

 

 

Waterecolour Portrait of Four HorsesThis is the final portrait, masking fluid was removed for the bay and the detail of the marking put in.  The chestnut has a lovely sheen to it's coat, which is hopefully shown in the way the watercolour layers have come together.  The recipient was thrilled with their surprise birthday present, and I was pleased to meet her when I went down to a SSAFA charity day at Cannock Chase, where I also got the chance to meet two of the horses.

 

 

 

 

These are two acrylic portraits ordered as a surprise birthday present, both on chunky canvas (20" x 16"), this shows the layout stage, with a grid in place as an aid to ensure the image is transferred in the correct proportions from the photographs.

Layout stage of an acrylic portrait of two spaniels Layout of an acrylic portrait of a horse in a menage
Springer spaniels on a decorative bench, layout stage Acrylic portrait of a horse in a menage at the layout stage

At this stage the background colour and some of the shading and highlights have been put in

Spaniel portrait with much of the background colour in Acrylic portrait of a horse, background colour in
Background work on the spaniel portrait put in, details, highlights and shading to go Background colour on horse put in, lots of work to do to get the menage texture, before adding details

And these are the final portraits, many hours have been spent putting in all the detail, and getting the highlights and shading right.  The portraits were delivered in time, and were received enthusiastically!

Final acrylic portrait of two springers on an ornamental bench Final acrylic portrait of a horse in a menage
Final acrylic portrait of the spaniels sat on an ornamental bench Final acrylic portrait of the horse in the menage

 

 

 

Watercolour layout on board, layout stageThis is the layout for a watercolour, this particular piece is being done onto board, I also work on cartridge paper, pressed cotton and watercolour paper.

 

 

 

 

Watercolour with initial wash and some detailHere, after an initial wash of colour has been added to the portrait, I've started putting in detail to the nose, and up onto the muzzle.  There will be more colour wash to add to areas of the portrait before adding further detail, to give indications of areas of shadows and define the structure more clearly.

 

 

Watercolour in progressThis shows the portrait set up to work on with the photograph, which, printed out A4 is quite low resolution, and so I am using a magnifying glass to see as much detail as possible, to put into the watercolour.

 

 

 

Watercolour portrait of a LabradorThis picture shows the portrait as it is from the photograph, the dog has what appears to be an eyebrow, going down over his eye.

 

 

 

 

Watercolour, detail of eyeThis photograph shows the detail of the eyebrow, which has been left in place awaiting confirmation from the commissioner that they want this as part of the portrait.

 

 

FWatercolour Portrait of Flintollowing confirmation from the commissioner, work has taken place to put in the detail of the eye, without any eyebrow, the photograph has picked up on a feature that isn't normally there, and the portrait is to be done without it.

 

 

 

 

Watercolour portrait alongside photograph for comparisonThis photograph of the portrait along side the original photo, shows the comparison between the two, the photograph is quite bleached and extra colour has been pushed into the portrait, to ensure it looks as the commissioner wants.

 

 

 

Final watercolour portrait of a fox red LabradorAnd this is the final watercolour, all that's left, is to add my signature following approval from the commissioner.

 

 

 

 

Layout approval

This is the layout sketch for a detailed portrait of a chocolate Labrador, in chalk pastels on cream paper, to give the commissioner the first idea of how the photograph will look translated onto a sheet of A3 pastel paper.

 

 

 

Approval 1After the layout sketch, the first colour layer is added, and some shading and highlights have been mixed in, giving some depth and shape to the structure of the face.

 

 

 

Milo portrait

 

Further colour, shading and highlights have been added, including a dark maroon mixed in around the corners of the eyes, and on the nose and chin, and the eyes have been drawn in roughly, to show the shape and position.

 

 

 

Milo portrait

 

More detail has been put in, working from top left, and the portrait is starting to take shape. The eyes have more detail, and there is more colour work and shading around the muzzle.

 

 

 

Milo portrait

 

Even more detail has been put into and around the eyes and nose and the portrait is starting to come to life.

 

 

 

Milo PortraitMore highlights put in, and more colour, continually comparing to the photograph to make sure that the facial structure and expression are correct.

 

 

 

 

Milo pastel portraitThe detail is starting to show around the muzzle and nose, a lot of small bits of colour, shade and light have been put in to give the texture and shape.  As well as small detail, the eventual outline is being pushed out, I put the outline in, slightly inside where it will eventually be, as it is so easy to smudge and mark the pastels as you are working.  There has also been a lot of work cleaning pastel dust off the pastel paper.  The portrait is really starting to come together, and will hopefully be finished within a few days.

 

 

Milo Chalk Pastel PortraitYet more detail put in on the ear to the right hand side of the portrait, as well as some work put in on the neck.  The highlights in the photograph are very strong, so I've worked on softening them a bit, and have started to put some work in softening the edges to give the effect of fur.

 

 

 

Milo Chalk Pastel PortraitWe are just about there now, perhaps a little bit more softening to do, and the final touch will be to add whiskers to Milo's portrait.

 

 

 

Chalk Pastel Portrait of Milo, the Chocolate LabradorAt this stage, only small but detailed adjustments need to be made, softening some of the highlights a little further, feathering out the edges of the portrait to give the texture of fur, including where there are folds of skin.  Once I'm happy with the final piece, and have got approval from the commissioner, the whiskers can be put in, which really do set the face off, and here we have the final Milo, the original is now on the way to the owner, and I will bite my fingernails until I hear it has arrived safely and that they are happy with it.

 

 

 


 

Overview

commision-caricatures-001Caricature commissions are fun to design, although it can be difficult to think of some way to portray pets in a humorous way.  I ask for some sort of theme for the commission, in this instance, young Pickle is being taught the theory of Squirrel Chasing by her older Aunty Mojo, whilst the Pood (poodle) in the background is whizzing around so fast her bottom has yet to catch up with her.

The commission works in the same way as most, with a very rough sketch, which once approved, is turned into a pencil outline on the correct paper.  At this stage there is still the opportunity to change things around a little, add things in etc.

commision-caricatures-002Once the outline has been approved, it’s turned into a pen line, and the pencil lines are removed.  Colour is then added, as with all my caricature portraits and designs, in colour pencil.

The final stage is adding a slight bit of shading where necessary, with a fine liner, and then the piece is complete.

commision-caricatures-003

commision-caricatures-004

commision-caricatures-005

 
  • «
  •  Start 
  •  Prev 
  •  1 
  •  2 
  •  3 
  •  4 
  •  Next 
  •  End 
  • »
Page 1 of 4

TarimoorArt

Your Cart

Shopping Cart

Your Cart is currently empty.