Entry tags:
Adam Driver #100 (Burberry Hero)
In which I finally paint the sacred tits.
Even with this many portraits of Adam under my belt, I'm nowhere near done working my way through the feast of photos that have been taken over the last 10 years. We're going through a bit of a dry spell at the moment, but the treasure trove from autumn of 2019 continues to be a gift that keeps on giving, and this particular photoshoot is an especially fine example. I loved reading the interviews he gave about his work on this ad campaign; it was something so far outside his usual round of work, and you could tell he was excited and intrigued by the concept presented, as well as the execution. He even admitted to watching the commercial, which is extraordinary!
Limned in that beautiful early morning light, it's clear Adam has already been in the water; his hair is still wet, the tips shining and teased by the wind into fine spiky tendrils, and there's droplets scattered across the expanse of his chest, especially just below the girdle of his collarbones, which are hidden under the thick layer of the clavicular heads of his pectoral muscles. The one on the right is rounded, fully engaged by the tension he's putting on his arm by pulling up on that fistful of mane; he's using it as another anchor to help him twist his torso, the first being the tight scissoring of his thighs around the horse's withers as he's lifting himself up, tucking his tailbone and engaging his abs to spectacular effect.
His left pectoral is lying relatively flat, stretched out by his left arm as it reaches up and back, opening his chest and allowing us to appreciate the swooping lines of the serratus muscles over his ribs which lead our eyes up to to Adam's shoulder and curve of his deltoid muscle, down the cut of his tricep, and the beautiful long line of his large cephalic vein running to the crook of his elbow. He's carrying just a little bit of tension in the back of his left hand, the tendons leading to his fingers are raised, veins visible, but the fingers themselves are draped softly.
If it seems like I'm spending an inordinate amount of effort describing his physique, well, you'd be right. But Adam stated in every interview that he worked very hard to achieve the physique he felt best complemented that of the horses he'd be working with, and it seems a damn shame to let that go unremarked upon. Besides, I've never painted this much of him unclothed before, so I'm seizing the chance to wax lyrical about all the beautiful anatomy he's got on display.
Some favorite tiny details I discovered while painting this are the flock of tiny scars scattered over his ribs (mementos, I'm sure, of an active childhood), the halo made by the fine dusting of hair on his forearms, and the sparks of his sparse body hair catching the light down his centerline.
Photo used for reference was an incredibly high res promotional still from Burberry's "Hero" campaign, generously shared with me by the ever awesome![[profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
vanshots on twitter.
About 31 hours of painting time for this one, and that's not including the three tries it took to figure out the goldilocks size for the canvas; too small and I can't render fine details, too big and it's just impossible to keep track of where I am on the page, even with a grid.
Even with this many portraits of Adam under my belt, I'm nowhere near done working my way through the feast of photos that have been taken over the last 10 years. We're going through a bit of a dry spell at the moment, but the treasure trove from autumn of 2019 continues to be a gift that keeps on giving, and this particular photoshoot is an especially fine example. I loved reading the interviews he gave about his work on this ad campaign; it was something so far outside his usual round of work, and you could tell he was excited and intrigued by the concept presented, as well as the execution. He even admitted to watching the commercial, which is extraordinary!
Limned in that beautiful early morning light, it's clear Adam has already been in the water; his hair is still wet, the tips shining and teased by the wind into fine spiky tendrils, and there's droplets scattered across the expanse of his chest, especially just below the girdle of his collarbones, which are hidden under the thick layer of the clavicular heads of his pectoral muscles. The one on the right is rounded, fully engaged by the tension he's putting on his arm by pulling up on that fistful of mane; he's using it as another anchor to help him twist his torso, the first being the tight scissoring of his thighs around the horse's withers as he's lifting himself up, tucking his tailbone and engaging his abs to spectacular effect.
His left pectoral is lying relatively flat, stretched out by his left arm as it reaches up and back, opening his chest and allowing us to appreciate the swooping lines of the serratus muscles over his ribs which lead our eyes up to to Adam's shoulder and curve of his deltoid muscle, down the cut of his tricep, and the beautiful long line of his large cephalic vein running to the crook of his elbow. He's carrying just a little bit of tension in the back of his left hand, the tendons leading to his fingers are raised, veins visible, but the fingers themselves are draped softly.
If it seems like I'm spending an inordinate amount of effort describing his physique, well, you'd be right. But Adam stated in every interview that he worked very hard to achieve the physique he felt best complemented that of the horses he'd be working with, and it seems a damn shame to let that go unremarked upon. Besides, I've never painted this much of him unclothed before, so I'm seizing the chance to wax lyrical about all the beautiful anatomy he's got on display.
Some favorite tiny details I discovered while painting this are the flock of tiny scars scattered over his ribs (mementos, I'm sure, of an active childhood), the halo made by the fine dusting of hair on his forearms, and the sparks of his sparse body hair catching the light down his centerline.
Photo used for reference was an incredibly high res promotional still from Burberry's "Hero" campaign, generously shared with me by the ever awesome
vanshots on twitter.About 31 hours of painting time for this one, and that's not including the three tries it took to figure out the goldilocks size for the canvas; too small and I can't render fine details, too big and it's just impossible to keep track of where I am on the page, even with a grid.
