“Tim”, one of the last and largest of the giant tuskers (Loxodonta africana): Original

Description

25% of proceeds go to Amboseli Trust, home to Tim for 50 years.

Winner of the 2021 Pollyanna Pickering Award from Artists for Conservation and a part of their juried exhibit, 2021/2022.

Big Tim was beloved by hundreds of thousands of people worldwide and was a major attraction at Tsavo, his home for 50 years. He was, according to Tsavo gamekeepers “intelligent, mischievous, and good-natured – a genuine gentle giant”.

Tim had survived attacks with spears by farmers during his frequent night raids on crops, was almost drowned in a mud pit, but was saved by Tsavo gamekeepers with help from the Sheldrake Elephant Trust, and was constantly sought by poachers. Despite years of such near-misses, he died of natural causes in March 2020.

I started by arranging the David Yarrow image on my laptop in Photoshop, trying out different sizes and colors of the background panel, which, as usual is drawn to golden ration dimensions (1: 1.618). I extended and curled the trunk, but the rest of the image is fairly faithful to David’s photo. The reference photo was black and white but I wanted to capture late afternoon, early sunset golden amber hues to highlight the bumps and ridges that characterize Tim’s features.

I then did a series of small-scale studies to establish a palette and make a final paper selection.

I only used three brushes for the entire painting, my Marie’s #6 pointed round synthetic sable (which comes to such a fine point, and holds so much media, that it is ideal for even hyper-fine details such as the skin pebbling between each wrinkle), and my Loew-Cornell 1″ oval flat, for larger washes. I used a 2″ Princeton synthetic mottler for the background wash, which I was unhappy with as it kept shedding black bristles everywhere!

The palette was limited to Alizarin Crimson, Hansa Yellow, Permanent Orange and Burnt Sienna, with touches of Prussian Blue and Payne’s Grey for depth. The pebbled texture was achieved by liberally sprinkling sea salt over very wet washes of color, then overpainting the resulting texture with fine lines to accentuate pebbling and define larger wrinkles and cracks.

I used Lanaquarelle 300 lb rough, from Legion Paper, after testing 7 different high-end watercolor papers to see which best suited my techniques of large, smooth gradient washes, wet-on-wet, deliberate blooms, seas salt application, multiple layers of glazing and spot lifting.