CAN YOU SPOT WHAT’S SPECIAL ABOUT THESE IMAGES?
Clue: You’ll need to be quick on the draw
At first glance, the most striking thing about these stunning images is the incredible detail. You can see almost every hair on Clint Eastwood’s beard, every ripple of the water the labrador is standing in, every ruffle of fur on its back. the images look like highquality photos.
But amazingly they are, in fact, intricate pencil drawings by scottish professional artist John fisher, who focuses on ultra-realistic portraits of humans and animals as well as landscapes and buildings.
in fact, they’re so lifelike that earlier this month, John was visited by two officers from his local trading standards department about one of his drawings. An anonymous complainant said it wasn’t a pencil drawing, as John claimed, but
must have been created using an app — and would therefore qualify as selling art under false pretences. ‘to say i was taken aback would be an understatement,’ he says. ‘But i invited the ladies in to show how i worked.’
John, 36, has been drawing since he was a small boy: ‘Mainly wee dinosaurs, then doodling in my school jotters.’
On leaving school he studied graphic design, but did not pursue it as a career because, ironically, ‘it involved too much computer work and not enough personal input’.
A career as a chef followed. His previous job — working weekends at his father’s bistro in the North of scotland — involved a four-and-a-halfhour commute each way from his home in Ayr. But it left him the rest of the week to draw.
since John went full-time as an artist a couple of years ago, his success has grown. there is a regular flow of commissions thanks to his facebook page. His works are drawn using a variety of sharp pencils on fine-grained, hot press watercolour paper. An A4-sized portrait can take John 15 hours and will sell for hundreds of pounds.
His ‘trick’, he explains, is to focus on the smallest visible details, usually captured by original photographs. ‘Many artists do not look for the small flaws or blemishes, preferring to concentrate on the tones and folds. i look at individual hairs, to add layer upon layer of realism.’
As for that visit by the trading standards officers? ‘One of the ladies held up a self-portrait i had done and i said: “Now look at your fingers.” they were smudged with pencil lead.
‘they were convinced and said no further action would be taken against me.’