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After a week of feasting on appearances at the Heroes and History Makers gala and NYFF, we all expected Adam to quietly disappear again for at least a month, maybe surfacing for a Veteran's Day event somewhere if we were lucky, which meant it was a delightful shock when he appeared at the Circuit of the Americas race track in Austin, Texas during the pre-race preparation for the F1 Grand Prix of the United States only 6 days later.
Sporting a week's worth of scruff, Adam was casually decked out in what has become his fall 2023 uniform of a black pocket tee, softened with wear and washing, and black skinny jeans. Rambling along in his beloved old boots from "Tracks," his entourage scurrying to keep up with his long-legged lumbering gait, he toured the pits, recorded what was to become a short promo for the Grand Prix, and eventually met up with Michael Mann and the Ferrari race team to shoot a small segment that aired just before the race on Sunday.
I'm not sure exactly when in the day the reference I used was taken, but I'd guess it was fairly early on, probably around the time he was filming his monologue about how F1 is about family. His hair is wind teased only around the edges, and Austin's ever present heat and humidity hadn't yet had a chance to weigh down the loft that Amy had given his hair. His cheeks are a little flushed, likely due to the warmth of the day; it was forecast to be 95F later that afternoon, a sharp contrast to the weather in NYC, which had been cool with highs in the 60's.
The light behind him is bringing out the beautiful ruddy undertones in his hair, some of which might be due to the dye he seems to have gone back to using to downplay his silver strands, much to my dismay. There's no dye on his stubble though, and there are two glorious silver sparks burning amongst the bristles on his chin, along with the long white scar that usually blends into the pale tones of his shaven chin or hides under his beard. Stubble highlights it, the surrounding skin darkened by the hairs that aren't quite long enough to cover the shine of the scar yet.
Since he's not smiling, the crinkles and dimples are pretty quiet, though there are faint tracks on his cheeks marking where they appear; in particular, there's a vertical line on his right cheek next to his mouth from that one especially deep dimple, and there are delicate fans of fine lines across the crests of both his cheekbones. Another fun detail was the way this angle and lighting showcases the deep set of his eyes; you can see the narrow outer edge of his left eye socket framing his eyelid as it leads from the end of his eyebrow down to the swell of his cheekbone.
Photo used for reference was taken by Chris Graythen on 19 Oct 2023 in Austin, Texas, at the Circuit of the Americas racetrack.
About 23 hours of painting time. It was interesting to see what I had to adjust to get the colors to work on this one after mostly finishing the black and white underpainting; I had inadvertently made the skin tones just a touch too bright and needed to turn down the intensity a little. I've included the monochrome-ish version just for fun.
Sporting a week's worth of scruff, Adam was casually decked out in what has become his fall 2023 uniform of a black pocket tee, softened with wear and washing, and black skinny jeans. Rambling along in his beloved old boots from "Tracks," his entourage scurrying to keep up with his long-legged lumbering gait, he toured the pits, recorded what was to become a short promo for the Grand Prix, and eventually met up with Michael Mann and the Ferrari race team to shoot a small segment that aired just before the race on Sunday.
I'm not sure exactly when in the day the reference I used was taken, but I'd guess it was fairly early on, probably around the time he was filming his monologue about how F1 is about family. His hair is wind teased only around the edges, and Austin's ever present heat and humidity hadn't yet had a chance to weigh down the loft that Amy had given his hair. His cheeks are a little flushed, likely due to the warmth of the day; it was forecast to be 95F later that afternoon, a sharp contrast to the weather in NYC, which had been cool with highs in the 60's.
The light behind him is bringing out the beautiful ruddy undertones in his hair, some of which might be due to the dye he seems to have gone back to using to downplay his silver strands, much to my dismay. There's no dye on his stubble though, and there are two glorious silver sparks burning amongst the bristles on his chin, along with the long white scar that usually blends into the pale tones of his shaven chin or hides under his beard. Stubble highlights it, the surrounding skin darkened by the hairs that aren't quite long enough to cover the shine of the scar yet.
Since he's not smiling, the crinkles and dimples are pretty quiet, though there are faint tracks on his cheeks marking where they appear; in particular, there's a vertical line on his right cheek next to his mouth from that one especially deep dimple, and there are delicate fans of fine lines across the crests of both his cheekbones. Another fun detail was the way this angle and lighting showcases the deep set of his eyes; you can see the narrow outer edge of his left eye socket framing his eyelid as it leads from the end of his eyebrow down to the swell of his cheekbone.
Photo used for reference was taken by Chris Graythen on 19 Oct 2023 in Austin, Texas, at the Circuit of the Americas racetrack.
About 23 hours of painting time. It was interesting to see what I had to adjust to get the colors to work on this one after mostly finishing the black and white underpainting; I had inadvertently made the skin tones just a touch too bright and needed to turn down the intensity a little. I've included the monochrome-ish version just for fun.
