Hello

I’m Natalie Watson, a UK-based artist with a passion for archaeology and heritage. I have a BA in Archaeology from the University of Bristol and have spent my career working in heritage engagement. Inspired by my background in these fields, I founded Wonderful Things Art in 2020 to bring the wonders of ancient Egyptian art to life.

Through my reproductions and reconstructions of ancient Egyptian art, I strive to create not just stunning pieces but also meaningful connections to the past. Each artwork I craft is a window into the ancient world—an invitation to explore its rich history, intricate artistry, and fascinating stories.

Read on to find out how I create my reproductions or browse my portfolio!

I'm always looking for new opportunities, so contact me if you have a project in mind. I do private commissions, retail, and merchandising.

DP05 - Hunting in the Marshes Original.jpg

Research: The Foundation of My Work

The starting point for all my reproductions is thorough research. To create accurate and meaningful pieces, I delve into the context of the original artwork—examining where it was discovered, the period in which it was created, and, most importantly, its intended purpose.

I gather references and articles from reputable sources, meticulously studying archaeological reports, modern-day photographs, and even 3D scans to capture the essential details. Early sketches and drawings by travellers and archaeologists are invaluable as well. These often preserve details that have since been lost due to site damage over time, helping to clarify aspects that are difficult to discern in modern imagery.

This commitment to understanding the past ensures that each reproduction is not just visually accurate but also deeply rooted in the rich history and culture of ancient Egypt.

The Drawing Process

One of the fundamental principles of ancient Egyptian art is the organisation of space. Scenes are carefully structured using an underlying baseline, with horizontal guidelines to maintain order and balance.

When starting a new piece, I set the proportions of my digital canvas in Photoshop and draw the baselines and registers that define the composition. Following an ancient technique, I use red for the initial draft of my guidelines, tracing over them in black before deleting the original marks.

To ensure accuracy, I place transparent photographs of the original artwork beneath my canvas, aligning proportions and layouts meticulously. Modern photography can introduce distortions, such as lens curvature, so I adjust for these and account for any damage or warping caused by time.

I use a simple black pencil tool on a new layer in Photoshop, zooming in as closely as possible to achieve the precision employed by the original artists. For intricate details, I add background layers with high-resolution close-up photographs to recreate the fine details of the carved surfaces. Where sections have been damaged or lost, I reference examples from the same period or site to fill in the gaps, ensuring the style remains true to the ancient artists’ techniques.

Adding Colour

Ancient Egyptian art uses polychromy, filling in the outlines with solid blocks of contrasting colours which were chosen as much for their symbolic meaning as they were to accurately illustrate the subject.

The artists adhered to standard colours and patterns for their depictions and hieroglyphs, so even when the paint layer has been lost, we have a good understanding of what the original colours would have been.

The artists’ palette was limited to six pigments derived from naturally occurring materials, which were mixed to create a variety of shades:

White was made from chalk, gypsum, and carbonates and sulphates of lime.
Black came from carbon in the form of soot.
Grey was created by mixing black and white.
Red, yellow, and brown were made using earth ochres.
Blue and green were derived from artificial compounds of powdered copper, malachite, or azurite.
Orange was occasionally made from orpiment, an arsenic sulphide mineral found in volcanic fumaroles.

To add colour to my reproductions, I select the spaces between the lines and apply a colour fill on a layer beneath the line drawing. This technique allows me to save both a monochrome line drawing of the finished artwork and a full-colour version. Like the ancient Egyptians, I maintain a standard palette of colours that I use consistently across all my pieces.

Sharing the Stories Behind the Art

Each time I create a new piece, I uncover a wealth of information about the original artwork and its context—insights I’m eager to share with others. Sometimes it's a translation of the hieroglyphics which gives a familiar piece of artwork a new spin, other times it's insights into the process the artist used to create and correct their work.

Once a piece is complete, I compile my research notes and observations from the recreation process into an informative article. These articles are available here on my website, offering a deeper understanding of the art, its history, and the culture it represents. Why not take a moment to browse and discover something new?