Nigel Artingstall ranks among Britain’s leading wildlife artists, with his work owned by some of the world’s most famous individuals. Represented by prestigious galleries and successfully exhibiting at Royal Academy events Nigel’s work is highly sought after. We spoke with Nigel to learn more about his life as a professional artist and his practice.

Can you tell us how you started as an artist?

I began to draw birds at primary school and in my spare time. I had a keen interest in birdwatching and joined the Young Ornithologists Club so it naturally became the subject of my drawings and paintings. By the time I was at secondary school I was getting commissions for my drawings and slate etchings from school teachers.

What do you think about education in art?

I enjoyed my art lessons at Turton High School very much it was my favourite subject. My art tutor Donald Dakeyne, a very successful artist in his own right, and to whom I am very grateful. I think Donald knew how I wanted to paint. He allowed me to explore this which helped me to paint in a more detailed way. I have developed my technique over the years but I think my art education, particularly the encouragement I received, was an important initial step in the direction I took my work.

You paint wild animals and birds, how do you select a subject to paint?

The subjects I paint are usually British mammals and birds. I work from many photographs but I always use the image with the best pose that has really caught the character of the subject. I then choose a background that would best contrast and compliment the subject. Then I will start to add soft focus detail with an airbrush for distant detail and build up and increase the focus for more closer detail. 

Can you walk me through your process of a painting from concept to finish? Do you work predominantly from photos?

I usually work from my own photographs or sometimes images taken by a friend who is a wildlife photographer. I don’t simply copy the photo as is, as it may not always be possible to capture the exact pose required. So some alterations are made at the sketching stage.

When I am happy with the pencil drawing of the subject I place masking film over the sketch. I carefully follow the lines as accurately as possible with a pencil. The film is removed and I then cut it out accurately and replace it carefully.

The next stage is a gouache watercolour wash. I start with a very pale colour as a base and build on it with diluted gouache in an airbrush. A background is then built up by applying lighter colours first then darker colours.             

When I am happy with the background the mask is removed. The subject is then painted in with watercolour and detailed with a fine sable brush.

Which painting of yours are you most proud of, or consider a particular favourite?

One of my favourite paintings is entitled “The Catch” it is a painting of an Osprey catching a trout. I think larger works are more impressive. Capturing the motion of the bird and the water dripping from the trout as it’s plucked from the water was greatly enjoyable. I had this kind of image in mind even before I saw the photograph my friend took at Loch Garten – it wasn’t long after that I started work on it. The painting sold in my exhibition the same year.

What would be your dream art commission?

I paint much of my work for galleries for general sale in the Lake District and Chester. I have also exhibited in Woodstock in Oxford. I’ve been lucky enough to sell my work to very well known people and TV celebrities, I also take commissioned work too.  Fingers crossed one day a commission will come my way from an internationally renowned TV wildlife expert. It would be a true honour for me as they really know their subjects and there are many fantastic artists to choose from.

What is a day in the life of a professional artist like?

I feel very lucky to have made, what was my hobby, into my profession. To make a living at this you have to manage your time well. I have always liked to start work early so its unusual for me to not be working at 6.30am. I work then until around 6 pm five days a week. 

As I work from my studio at home it’s easy to get distracted with other jobs that need attention. If everything with a painting is going good then the days pass by quickly.

I also produce my own limited edition prints so I will occasionally take a day to top up print stock. I find this aspect of my job is an enjoyable change.                      

Where is your studio?

My Studio was built in 2005 in my back garden. We had decided that we like where we lived and had no desire to move house, and with a second child on the way that I should vacate the spare  bedroom.

Its  only 12 x 24 ft but serves its purpose well with plenty of natural light to work in. It also has the additional benefit of overlooking wooded parkland which has proved to be a very handy for wildlife photography too.     

Do you have any advice or tips for artists who are trying to master wildlife painting?

There are many very talented wildlife artists and they paint in many different styles. I prefer the more photorealistic painting style myself. I think as long as your understanding of wildlife anatomy is fairly good any style of work with a good composition will get your work noticed.

Getting your work on display in front of people is my advice. It worked well in my first few years when I attended local and national country shows with my trade stand.  

You work with the RSPCA & RSPB, can you tell us more about that?

I have been lucky enough to have my work selected by wildlife charities including the Royal Society for the Protection of Birds for their calendar and greeting card ranges. This not only raises much needed funds for these fantastic charities but it also helps the right people see my work and also directs people to my website: www.nigelartingstall.com

Keep up to date with Nigel via his website, instagram or facebook