At this point in time, Adam was deep into getting ready for "BlackKklansman" with Spike Lee, so he's in full on Flip Flannel Daddy mode; he'd reverted to what I think is his default rangy build, but still big, hair in that beautiful feathered center parted longish bob, and bearded. He looks hot in this, and I'm not referring to the rizz fairly rolling off of him, but rather the fact that I think that sweater was at least one layer too many for the temperature of the day; in the photo I used for reference, he's distinctly flushed, and to me he looks a tiny bit flustered with the way he's knitted his brows, quirking them upwards at the center ever so slightly. I think perhaps it was snapped right before he slipped that sweater off, a last second opportunity to catch him with a slightly less guarded expression on his face, mouth dropped open in what looks a lot like a small "o" of surprise.

Photo used for reference taken by Matthew Brookes in Oct 2017 for the 12 Dec 2017 edition of British GQ.

About 40 hrs of painting time for this one, several hours of which were devoted to rendering the stitches of that sweater, a couple more just for the fine hairs on the backs of his hands, and then I fell down the absolutely-truly-bananapants-level-of-detail hole when rendering the textures and marks on his face. Yes, I really did paint as many of the pores on his nose as my sanity would let me, and a few more besides. My favorite tiny obsessive details are the webbing of wrinkles on his knuckles, the fine wool fibers curling up out of the cuff, and the fact that you can tell that sweater was knitted from worsted weight yarn if you look closely enough. But Cello, you say, didn't you swear off painting knitted things after you did that self portrait? Yes, dear reader, I certainly did. This was a pretty hilarious self-own; you should have heard the cursing and laughing when I realized how I'd set myself up with this one.