Create your own World on a Canvas Oil Painting. Learn Feathers Texture Basics. | Matías Otero | Skillshare

Create your own World on a Canvas Oil Painting. Learn Feathers Texture Basics.

Matías Otero, Oil painter, Illustrator, Designer

Create your own World on a Canvas Oil Painting. Learn Feathers Texture Basics.

Matías Otero, Oil painter, Illustrator, Designer

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9 Lessons (1h 37m)
    • 1. Introduction

    • 2. Oil Painting Basics and Materials

    • 3. Rough Sketch

    • 4. Background and off focus depth simulation

    • 5. Head Feathers and Details

    • 6. Nape Back and Belly Feathers

    • 7. Wings Feathers

    • 8. Birds Foot and Final Corrections

    • 9. Take a deep breath and look at your Finished Work

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About This Class

Hi, my name is Matías and I would like to introduce you to the art of Oil Painting.

I want to share my passion for painting and teaching, helping everybody to realize that it is possible to translate your inner world into stunning artworks!

In order to be able to recreate the images that you have stored in your mind, first you need to have a set of techniques that will allow you to emulate texturesspaceslights and shades in a way that satisfies you.

Why Start Oil Painting?

First let me tell you that Oil Painting is not as complex as most people think. It is necessary to find an adequate theme to be represented on your first paintings, something simple nevertheless strong.

Technically it has certain advantages over other traditional mediums, such as acrylics or water colors.

It is very malleable, and it allows you to go back and forward and to add as many layers as you want, getting beautiful results.

Last but not least, you will have the satisfaction of creating tangible art and the sense of achievement that comes when you finish each new piece.

Though This is an introductory Class, previous experience may be helpful.

If you already started Oil Painting and want to expand your knowledge, you are welcome to join me and may learn more techniques and get some practice

So, let´s start with the basics!

Materials needed:

- Oil Paint. 8 basic colors for beginning.     

- Paint Brushes, of 3 different sizes.

- Canvas Board or Framed Canvas. 

- Diluent. Artificial Turpentine or Mineral Spirits.

- Cloths and Paper Napkins.

- A HB (#2) Pencil

- A Palette, of any Material you already have.

- A stand or easel, or none.

Old Clothes, that you will wear while you paint.

Reference Photo: Alejandro Wirth


Music: Say Good Night by Joakim Karud Creative Commons — Attribution-ShareAlike 3.0 Unported— CC BY-SA 3.0 Music promoted by Audio Library

Meet Your Teacher

Teacher Profile Image

Matías Otero

Oil painter, Illustrator, Designer


Hello, I'm Matías.

I am an Uruguayan Oil Painter, Illustrator and Graphic Designer based on Bell Ville, a small town in Córdoba, Argentina, where I live with my wife and kids.

As far as I can remember I have been always painting and drawing.

I have studied in several wokshops and art schools throughout my life.

Recently I had the expeirience of teaching Oil painting online and started my own Oil Painting Workshop here this year.

I want to share my passion for painting and teaching, helping everybody to realize that is possible to translate your inner world into stunning art works!


Right below you can find my oilpainting  Class:

Create your own World on a Canvas Oil Painting. ... See full profile

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1. Introduction: Hi. Welcome to my class. Create your own world on a campus oil painting. In this lesson, you will learn how to emulate feather texture. Thanks for joining me. My name is Mattie s. Well, data through I in Illustrator, graphic designer I'm oil painter, living right now in Belleville, a small town in Cordoba, Argentina, With my kids and my wife, I have a gun old painting when I waas Trouble yourself. But then I got lost experimenting with different materials and techniques, trying to find myself as an artist. That changed Whenever you hear. A couple of years ago, I started opening again on hadn't stopped since. Not right now. I'm painting one new piece for a week here. I started to work with a team that he had been producing all line oil painting lessons for the last four years. And I'm really happy with that. I found myself really comfortable and confident or painting in a loose on an experimental way. I've been start given on oil painting worship here for the first time in my life. This is what I want to share with you not only know ledge experience or painting techniques which I will, but more important, the pleasure off painting and understanding that all painting it's not difficult. Demanding or tedious on the country is the perfect wait for you to express yourself as an artist. It's a very malleable material that allows you to go back and forward and that as many layers as you want in order to get beautiful results, I want you to relax and have fun on a quite a satisfaction off, creating attentive art on the sense of achievement that comes when you finish each new piece. I will give you an introduction to some basic painted that needs that you can later use to turn. Translate those images, store in your mind into beautiful art pieces. Truly painting, really painting mostly alla prima. That's where we went their way. Impressionists used to paint. Nevertheless, we will approach Thea other sensory techniques, like placing blackening impacto scum. Bring blending resale, get 1/4 and you will learn how to combine them. I will tell you which materials I used on our recommend for you to get started going. Though this is an introductory class, previous experience may be useful. Our project is to emulate further Dexter by painting this beautiful small bird. So let me introduce you to the art of oil painting. I want to share my straight for way of painting with you. 2. Oil Painting Basics and Materials: Hi there. Welcome back. Let's talk about some basics of oil painting a little bit of history, and I will show you how I paint the particularity of oil. Paint is the consistency of the medium used to bind the pigment. Lindsay Doyle, for any other oil will make a stiff paint instead of Ali. Good one. And he will make the drying process lower than other mediums. Country off what most people think Oil painting was not created in European renaissance. The first record that we have on our painting is a Buddhist pain in Afghanistan, maybe between the fifth and seventh century of our era, possibly by traveling Chinese monks almost 10,000 years before General Nick in the 15th century started developing and mastering the modern oil painting techniques. Those techniques will be later develop it by Italian painter like another. Living masters like Devery Lakis explore composition in an unexpected ways for the time. Around 16 56 during mentioned off oil painting, Dude allowed the Impressionist and Expressionist to get on the outside and tried to think things. They sit on them in the moment, use a nube aeration of colors, vibrant combination. Next step was was taken by Overgaard movement in the early 20th century. Interest, like Picasso, persistently search for different ways of expression through these media, opening the doors for us to do as we please without restrictions. The only restriction is our imagination. I bring you here as an example, a picture of Bulent Bolduc work that shows you how expressive just a cup of milk could be. I'm going to give you the list of materials that you need to get started. First ballot. I use a classic wooden artist's palette, but on top of it, I put a white vinyl sticker disallowed me to see colors better and clean it easily. Actually, any moves and flat plastic surface wilder for drawing my sketch. I used up HB pencil on a razor and obviously a pencil sharpener. Support for our work. Well, using a campus board is deeper than interational. Campus stretched on a frame, and it works perfectly fine for small pieces or for for practicing a rag. DeLand. I use turpentine, but you could use my spirits. Be careful with this. Even if it's all the less mineral spirit, it is a little bit dangerous. Always paint on a well being plated room. I will use two little brushes for the details. Those are number zero, and they are made of phony result. Another too big brushes. Those have synthetic bristles. You could use a spatula or a palette knife or almost anything sharp that you have now. We will start with the colors first. I have here ivory, black. You can use lamp, black, chrome, yellow, cadmium, yellow push and blue. Cut me in red or light red, yellow, older or it could be sienna. Think why to conduce detention white as well. I will explain you the difference later on Burden Sienna As an easel, I used these broken laptop stand. It's not mandatory to use an easel. Your painting on a small campus on I use my tune one laptop so I can see the reference image. But you can just print the image than giving you here as a reference. I'm very important. Remember to use all clothes oils, obtain a lot. Okay, I will show you the basic needs that I used to paint. First of all, here's my palate is a classical wouldn't pull it by, added a vinyl sticker on it a wide vinyl sticker. That's because it's easier for me to see the color off the paint on to pin it up. Later, I will put some yellow ogre right from the Jew without any development consistency that half similar to do space if I grab some pure under load paint on applied on my campus. In this case, I'm using a paper special paper that has some texture in it that Dexter will showed up below, or strokes or brush strokes. And that's a technique. We can say that as a technical scum bling when I want to show the texture off my support on my strokes. They are technique that I can use with under loaded paint with thick paint. It's in battle. That's when I put a good amount of paint on top off my support, and I will. I will be creating my own texture that Dexter will be hit by light on some shadows with a beer. Now I grab some tuber time. My paint it's quite unloaded, and that allows me to do more fluid brushstrokes, and also it will allow me to kind of draw with my brush. This is another technique that I use a lot when I'm using this technique. I always tend to use the whole amount of painted egg have on my brush with our charging in that way with the looted paint. With overcharging, some values will appear the same caller. I will have different values because I will be driving the paint from one place to another . On the more I dragged the same amount of faint, the less really painting, so a lighter value will appear. If I have a white background, for instance, like this case in particular, I will have now some ivory black. I'm using my knife Polet to help me get the paint on my plate. I know I will be previously mixing my colors on my palette. I can also makes the cars on my combat directly. If I mix my colors on my campus directly, that is lending material directly. On the other hand, if I mix my colors on my palette on, then applied to ah, previously a year, those corals will be be blending by just optically. I haven't two layers off colors, one on top of the other. That's the way you can apply the glazing technique for instance. Okay, so showing me on this trip, I will show you how I apply these techniques. But in the end, off process will have a beautiful painting. 3. Rough Sketch: So here we are, in front of our empty gun myth. I just marked out both vertical and the horizontal axis just by taping two pieces of thread on the back of my campus board. You gotta use different grids as trump budget, just you to divide the composition and thirds by placing too inconsistent threats vertically and two. Or send early in such layout, you will have nine. Equal space is most important. You will show you where the place of interest should be in the intersections off those lines. This is an extremely valuable composition technique. Okay, now I have space. Reverence for me to drop is better to play. It agreed this way instead of drawing alliance with a ruler So you don't invade the canvas with excess of ratified. The less you drove, the better. Both were fired and razor dust can get in the way off the paint that you will be applying to your campus. I am using a three b pencil so my lines are more riel on your screen. You should not use such a soft pencil when I am sketching. I always use an HB. You can find this pencil in your store by the name off number two. It's a well balanced pencil between soft and hard. The marks that will leave on your campus will be a very light gray ones. Okay, In that way, you'll be invading less your campus. So don't you don't have to worry about the graphite. Um, that's left over what we are doing right now. It's just making a reference for colors to replace its like, um, simple map. It's not at a table one Okay, the details will come later with were painting OK, right now I'm letting my hand run free. I love drawing, so I love that freedom. But actually, if you want to do it more technical more technically, you can always use basic shapes. Us, ah, base Teoh to draw like use in circles for the head and ah, triangles for the beak and that could be applied to every shape that we're doing here. Um, that is more more technical, more traditional way of drawing. But it's a good tool for you to be more precise if you need to raise something and that's normal. Actually, Um, please do you use rush to clean up the mess because, as I said before the dust that the race in our lives behind when you just there was just raising something. It's quite it makes quite difficult to paint over that you will be making a mess on your on your ah, Liam later. And that's Ah, that's really a shame. Have to be careful with just a couple of things in this fish off sketching. But don't worry about this is ah, simple procedure. I use my tune one that laptop us reference. It gives me some advantages. I think, like, for instance, I can place Ah, the same reads that I have on my campus on for the shop over the picture. You don't need a special software, Adele. Thing that I like about this is that I can assume in and some out when I'm painting in order to get the details right. But if you prefer you if you like, um and you are more about traditional media you can bring with. It would print quality a much that I will give you a reference base it somewhere that you can see it clear and read it. Well, OK, so this is arm up for us to place or colors is no. Not more than that. Just a basic sketch here. I'm going to show you. Ah, a couple off shapes that can be found in a picture. You have Ah, circle here for the head triangle for the week. The social triangle here, playing with the back off the bird and some smaller triangles that coming from the big triangle a swell later. Some curves that I'm going that are going down from that point. OK, remember to clean up the mess before after raising, please. Here we have another triangle with a basic shape. And this is where the bird is standing. Okay, this is like, uh, offense or something. That is where the bird is standing. We have some horizons here to be outlined because that's the place that the bird will rest all the weight off this image will lie on. Okay, I'm just siding. So a couple of war details for me to have a reverence, but that's sold. Okay. Just took some time to compare my sketch. With the photo on, I decided to make some corrections in order to get ah, good representation of the bird once. Ah, the work is finished. In that way, we will get a better result. That's it. That's our final Skitch. So let's get up and start painting. 4. Background and off focus depth simulation: we're ready to start painting. Here's the color palette that I put together to start painting the background. I have a good amount of thing, quite just a pinch of light red. Or it could be cadmium red, a small amount of Prussian blue and a little off ivory Black. Last but not least, yellow Oakar. I will use pure yellow ogre. I will send it down a little bit just by using that small amount of turpentine. Just a little little amount of turpentine we want to use right now. Ah, highly sedated color. In this way, we can block undefined where the bug grown will be. This technique is called blocking in. Add in a little Neyer off well defined or distinctive color. By defining this sector will know exactly where to paint. In this particular stage of work, we don't have to worry about position right now. Instead, we can use rapid movements so we can grab the momentum. On later, we can stand out the most expressive strokes. Later, we can add more turpentine and be more gentler with our gestures. So we will be preserving some parts off the campus in a lighter shade. We can use those parts of the campus, for instance, to express were the furthest part of defense for the birds. Standing will be if I continue painting without recharging the paint on the palate. The strokes of my brush will be getting lighter and lighter. Also, I can use some turpentine. We doubt any caller so I can almost like draw drugging the material that we have already on our campus. This technique, I use it a lot to get different light effects by bright and up to value. Her background is out of focus, the compound off imprecise shapes. But we have a forest, for instance, behind the shape of her bird. We could be drawing that forest with just one tone. Maybe, um, burnt umber in a technique called resale. This technique we will be exploring later in her own way, their flight feathers from the wing drunk. I just added some pressure on blue. Why I didn't blue because blue, it's a cold caller, cold colors. We'll tell our eyes that that zone is far away. Cold callers tend to put some distance between the ID of the holder on the objector that we are off serving I just add some ivory black to it so it can get darker value. Hooker is more, uh, warm color. So by adding the blue, we will try to get some death in her background. We're painting Alabama. That means we don't What? Although the first day that we put off Oakar had a lot of thinner, and, um, it have drive fast, quite fast. Now we're applying two or three collars like, um, person blue ever have, like, a little bit. And then, um, yellow ochre again. And we're mixing them on the campus because we're applying them almost at the same time. That is, that is blending by painting within what we're mixing or colors directly on our campus. They're interesting antic techniques like glazing, for instance. But for those we have to lead to try all the layers that we're applying that requires a lot of time, we will be doing this painting this bird. You can be spending an afternoon or two by doing this these exercise, but the way the, um, they painted in the Renaissance, it dukes several weeks or almost years to get, um, mustard. He's done. This is ah, more spontaneous approach similar to the way the Impressionist painted since they were on outside, and they need to get the landscape painted before the light faded away. They need to be quick. So that's why we're doing this. Alabama just let it a pinch off. Light red on God, immune yellow for the background to get a little bit closer as it before. Those are warm colors on. They tend to get things closer to the observer, have a good amount of to pertain on my brush and just a little bit of already black on the tip of it. By quickly touching the campus on a close angle, I will be drawing with the tip of my brush and cleaning up. The painter is already there with the rest of it. By robbing the surface by having this good contrasts off. Bali's is like drawing a boundary between two feels off theft. I'm just adding more think whites to a specific sectors off the background in order to have more contrast before smoothing everything out. Also, Teoh help the contrast a little amount of cadmium yellow to my thing, white and some areas that I want to be warmer. Think white is more transparent than to tell you what that is, why we have to add more white toe or painting. But this quality will give us smoother transitions, on the other hand, detailing why it is more or bake and have, ah, high tinting strength. Why you need to be careful when you're using to tell you in white. Instead of saying quite what you gonna see, I decided to change my background. Hue has been still trying to get a writer. Value was saying white, but also I didn't captain in yellow put in a small amount of cadmium yellow on my brush, and then it's bringing it out by doing rapid movements. It's one way to get the job done. The other way is to mix cadmium yellow thing quite on my palette that will give me a mid tone I can use for blending in two different ways. One is spreading it between two different sectors off while and yellow just put it in the middle and then split from one side to another. On the other is just to leave frontier between the both of them. That is untouched, but you will be mixing that in your I as a viewer. So again you're gonna use mid tones to blend directly on the wet paint painting L. A prima on you before you can apply a little bit of a midtown between two different tones on live in our cities just to be mixed id optical e. As you can see, I'm adding a lot of layers. Yeah, I go back and forward between I didn't more wide and more yellow. Since this is out of focus, background is simpler for it to be drone but more difficult to be painted. I'm tryingto to convey that they're suppressants. They're off some shapes, but not too well defined. Remember, please, that this is our Maura spontaneous approach. It's not academical. So be afraid to do it as you please, just by having fund on did your hand loose? That's one of the parts that I enjoyed the most, and it's free, and I'm not thinking about what I'm doing right now. On the other hand, that you have to make well thought decisions that is also very appealing for me now, a completely different way. It is still too yellowish. We have to take him consideration that the neck off the bird. It's yellow, and there we have to have some contrast. Part two, the Dutch from the background start to paint defense for the birth standing. I decided to make the the right down corner brighter. I will write up, but sector made and a lot of white the big brush that I'm using. It has synthetic bristles that are arranged in a floodway, but it would a semi around the tip. The harness off the results on that tape spit specifically gives me the ability to use it as punish, as I told you before, to spread the paint onto blended in a various more transition, you know, Oakar that we first added to our background. It's also called Roll Tiana. Now we're adding another CNN family cooler, also known as Earth colors. This will be burned Sienna. As you can see, I just added a little bit to some key points on our background, and then I will be blending it with the same technique that we use before just brushing it up with our big brush for it to smoothly blended with the colors in her background. - Okay , once I got object, blurred would some clear? Hello, I will bring death again to the my grown field in first amid tone. Not really good bite mixing ivory Black. A little bit of Prussian blue on white thing on right in took off that I will have just small amounts of ivory. Black makes it with prison blue. Then I will blur it by brushing it. But what I'm trying to do right now, it's to stand out the darkest part off my background. Before I would put bride layer all over it, Justin burned CNN as well. Most of the times I clean my brush with a cloth. We took our time. Other times I don't clean it at all, so I can, for instance, take some white on a stain it a little bit on my palate before applying it. Consideration that white he will be easily stained, but this is a good way to get mid tone that it's very, very low separation that will give us an interesting Hugh, too. Play with. Sometimes it's another way to play with values as well values. Remember that we have to give our background of brighter value in order to um or bird to stand out because off the yellow neck that he will have some details to the wooden fence. He's in different values of burnt sienna, my adding Think white or ivory Black. Okay, drumroll attention. I will start using a cloth Teoh, give it sort of ah place. It's not actually glazing what I'm doing because I'm applying white. That's not what you are supposed to do when you're glazing but aside told you more than once we're playing here. We're having fun. We're not making this a serious business, you know. Anyway, I show you how I do this will wrap up my middle finger and index finger in the cloth on with the rest of my fingers. I will grab the cloth in order for it not to touch the campus. If you drag a part of the growth unintentionally, you may affect what you had just painted already. Ana. Unintended way fully accidents tend to happen, but that's not a problem for us. We will take advantage off any inconvenience that we will have. Well, painting that's very important not to stop painting. What I mean by this is don't leave. Ah, painting. I'm finished just because you met it up a little bit in a stage of your work because that's what give us all the, um, have a second or third opportunity to make things up. We could relax while wear painting. That's a gorgeous thing that this media have. Okay, it's not a computer you cannot undo, but surely you can fix it. We just started painting, but please take in consideration that if at any stage of your work you are stucked, please do contact me together, we will get it fixed. For sure, I will continue adding layers. Why? That is the way that will get the transition between the Oakar that we have the very beginning off painting or background, a lighter color. That is what I actually need for us to get this most transitions. We have to apply pressure depending on the amount of pain that we have on our clothes. The texture of our campus on the effect that we're trying to reach. You want a smoother surface we could have prepared or campus with a mix of glue on acrylic white. If you add that layer previews to paint and you let it dry, you have a smoother surface to make this kind of transitions by applying the paint on a cloth case. I did not apply that layer because I want to the surface of my campus. Unchanged of interesting things can happen when you start playing with the texter that is underneath your paint. Finally, let me introduce you to our background. Now it might look like some senseless stained thing. But you will see that once we get our Baird painted, you will be revealed where were right and where we're wrong. 5. Head Feathers and Details: welcome back. I just decided to continue by painting the bird's head. I will use a similar technique that one that I use before. Put in a lot of paint on the tip of my brush that is pushing blue that I'm guessing right now by itself prison blue. It's quite a dark color, so I will place the deep of my brush on. Those are darker areas and then by pushing it, I will distribute that amount paint without recharging my brush through the rest of the head. The idea is to start defining how the feathers are distributed over the bird's head. It seems like the feathers radiate from the I off the bed. Then I can continue by brushing out to paint what I wanted to be brighter value or adding more paint where I wanted to be darker actually has just made a more busy oral or irrational decision by continuing to paint the head. If there are overlapping areas, you should always start to paint those artists that are behind. In this particular case, I should have started by painting the belly off the bird than the wings, then the back on the name and finally the head. In that way, you can be more. Relax it when you're painting the edge off an area that overlap with an area that you have already painted by covering it a little bit the way that I'm doing it right now, it's a little bit messier, and I will have to fill in the blanks later. On the other hand, it could be held here if we switch between painting something more abstract like or background on the most figurative, a meaningful part off our work. If your piece includes a hair or face, even if it's an animal face, that's where the bureau's gates will tend to focus. So the eye of our birth is where we will be paying more attention to detail. Our birth side should be appealing. I'm buried. I started to use a smaller brush. That is, uh, number eight. I'm using it with Onley turpentine on it to make the brighter parts. Even writer on um, here I'm adding some. I would like to make the darker pardes even darker. If we want to have more light to a specific sector, I will add thing quite to my brush in blue I can makes those scholars on my palette like I'm doing right now. Oh, I can mix then directly on my campus. This is where the fitness work will start, just beginning to emulate feathers this for, like, feathers that the word has in his head. The idea of adding a brighter or darker value with this fast and small brush strokes is to imitate both the Dexter off the feathers on the volume off the head. I think that this not so accurate decision to start painting the head will maintain us more focused and motivated. But then we will have to be more careful. We will have these beautiful and the tail it head ready painted in her campus. And if we accidentally touch it with our hand, for instance, we will be ruin it. That's the other thing that you will have to take in consideration when you are deciding what part off your work are. You're going to be painting next. It's always better to paint the more detailed parts of your painting later on your process . Then again, this is art Adam into BTC. But we will put our heart and not during this. Please Now that you know the correct order to paint this birth, you can see the different be deals in the correct order. But I will assure you that if you see that head on the next video, you will be going back to these video and tried to do this head because it's the most most appealing part off our painting. As I said before, I think with this feathers, the small feathers that we are being right now is that do you have to find your own rhythm to pain them? Nature has its own rhythm, thereby you should play with your captaincy bulls and timing, trying to get a picture off the volumetric geography off that head in the back and nape that will repainting later. We will use a similar technique, though it would be not us delicate at us. We're doing needs right now. The head not on Lee has more importance, but it also has more details. Painting Alabama It's a more impulsive technique. You should be using your hand freely and with grace. If you're more into giving a thought to each off your strokes, that's perfectly fine. Just remember to give it a couple of minutes for the previous layer to to dry. You can achieve this most smooth transitions by applying a softer stroke or mid tone between one layer on the other. As we continue painting, which is start using our brush more like a pencil. Especially when we get close to the bird side. We will have to outline the birds eyelid by adding a thin line off thing white. If we outlined that, would some every black? We will not only make deadline more appealing, but conveyed the presence of a volume that is fundamental for the eye to be held now. We should be more careful paying more attention. Take a time to give it a thought for each stroke. As I said before, because we were, we will be painting the most important part of our painting in terms off composition because the I is the part work, expression off or bird will be First, we will paint background for the Eid with ivory black inside the eyelids that we painted with Think white. I like to keep it spontaneous. While I'm painting, I'm always alternating between mixing the color directly on the campus on mixing it previously on my palette. Just be aware that if you use it that way, your colors maybe staying easily. I used that in my favor to dio smoother transitions between one color or another on another . But if you are more confident, you need that well thought made it. You can always makes your Carson your palate and then apply it in. But remember to alternate brighter colors, strokes over darker surfaces and then doing the opposite. Between those lighter strokes, you will be adding tiny strokes. That's the way to immolate these kind of feathers texture, as I probably mentioned. It's almost like for the main difference between this type of feathers and fur is the way the feathers grow with a certain freedom coming from an epicenter. Those are the only two things that you will have to bear in mind while you're painting, given it little strokes off of a darker value and then on top of it, giving it a little little strokes of, ah, brighter value on the other. It's the read um, that you will have to put on your strokes while you're painting using your polls. Your cannons. Once we got the great value for the eyebrow on the forehead. We will let a very thin layer off burnt sienna to the background off the her eye on. This is the part where I want you to pay attention. I just flip my brush and I will take some light red from my palate. With the tip off my handle, I will apply this reddish hue off the iris, almost as if I were drawing with the tip off my handle. Then I will place a glare but adding a good amount off thing wide to my brush, but just barely touching the campus with the cheap off my bristles. If I left too much white on my I, I will correct it with my finger. Remember to use delicate movements and to be as precise us you can be. If you're not satisfied with the way the eye looks, you can started from stretch. Just take a pinch off tuber tine with your cloth and with a dedicate movement, erase everything from inside the eye and start all over. It doesn't matter if you had to repeat it a couple of more times to get it done correctly in a way that satisfy you That is good for you. If it's not coming out us, you plant, have some coffee, take a pause and come back later is important to have declare and the real issue from the iris. This is the first step to bring our little dirt to life. Then I will makes some burnt Sienna would sing white on again, lied red to make a very light pink for blocking the surface off the big, then with some ivory black on may be a little bit off Christian blue with a good amount of turpentine for it to be almost liquid, well read, drawing the lines that will define the interior off the big. After that, with no paint on a brush, we will smooth those lines by mixing the quarter we already have on a pallet that very light pink. Would some, um, it's just a little bit of every black on a little bit of pushing blue. We will have a more grayish tone for it to be blended with the background off our big If any sector that we just painted is to gray, we will be brining it up once again, but using pure thing quite is important to use Ivory Black on the upper part off her big for it to stand out from the background on Go for It to have the correct value and Hugh off the birds big. Most birds off the Finch family have some kind of notch inside off their bigs, the edge between lower part on the upper part of our vic. It's not a straight line. We will have to pay attention to the value that we're using the great volume and shape to the because please take some time to observe the week in order to translate it correctly into shapes and colors. I will use Bernstein again to outline the details almost like drawing by, using a lot of by using a good amount of turpentine and a good amount of painting us well on the tip off my brush. If you're familiar with other painting techniques like using ink, this would be easier for you. It's not that you mention that the consistence of our painting should be quite a liquid, one more legal than the toothpaste instance. See that it has when it came out off the two I always tend to use my brush. We doubt any paint over those very outlined parts because if not, it will be looking a natural with artificial or cartoonish. Finally, I will make some corrections to my background hue and to the shape of the big. Now that we have our head done, we will we continue my painting the nape. 6. Nape Back and Belly Feathers: Hi. How is it going? I hope you're enjoying yourself, which has finished painting the head of the bird. That's the most demanding part off our picture. We will continue by painting the nape and back off the bird that it hasn't difficulty. We could be more elected. Will painting nut. I will start looking in the sector. Cadmium yellow. That's what I mentioned before. We will be our return alternating painting with delicacy and precision against losing their hand a little bit more. We should be painting directly the belly right now, or even wings but the feathers of doing completely different from the ones on the head and the name. So we will continue doing something similar but assisted before not so challenging. Once again, I have a lot of paint on my brush and on quite a good amount of hepatitis. Well, this layer will be not as thin as the layer that we applied on the head or the background to get it started by what? Like looking in. But you can see I left at the border or the edge with head unpainted. That's where we're gonna be need to pay any attention at the end of a process. Now I will be adding from yellow. We good think strokes. We will try to do our strokes with Read um us. Before I'm trying to follow the way that those feathers grow form from the neck on the nape I will be. I didn't layers alternating lighted colors like the cadmium yellow that we have before or even white thing, and then mix in. My yellow chrome would burn Sheena or even yellow Oakar. As you can see this rhythmical strokes that I'm doing, I wanted, I want them t be seen too visible. That's the way that we are going to be emulated feathers right now. This is what this feather seems to be like rows of fellers one on top off the other. So there's some shades between them. The other thing that we have to take in consideration is that this bird, it's keeping instead looking backwards. So that area below the big it's quite shaded, quite dark. That's where I'm gonna be adding a little bit of ivory black, mix it with burnt sienna, but then I will be lighting it up a little bit with, um, think white and cadmium yellow. Mix it and coming back again with my burnt sienna for it to blend a little bit. We're blending those sectors with quick strokes on a rapid movements. Not that response like movement that we did before because we don't want it to be perfectly blend. We wanted to be to have this little lines between one row on the other. Yeah, doing a quick moment. I'm using the same small brush that they used for the head for. The details would burn CNN. Mix it with yellow Oakar. The idea is to follow those previous changes that we made with the mid sized brush. You have to remember that lives coming from the left so those sectors are gonna be writing by adding cadmium yellow. Mix it with would think intention constantly the brush that I used on the amount of pain that I use By adding a little bit too much paint, I will give the neighborhood neck on impact texture, brush strokes will be in bust. There's a little bit. So when the light hits our final work, that's gonna be not only the shade that we're trying to paint right now, but actually in a riel shade between our brush strokes. That's another method for us to mimic that soft feather superiors. - There's a little bit of dark shade between the head on the nape. We'll try to immolated by adding a little bit off every black mist connected with pressure blue. - Now I want to give some light to the background, yellow sector off the name not to be blended with it. Every time I think that I need to have some shade to a part of the name I will go and that tiny little brush strokes of, ah, dark color, I am adding every black makes it either weed number or even prison blue, depending off what sector off the neck I'm painting. Remember to interpret late lighter strokes between those dark strokes. Read Meagley. So the Bure correctly interprets the text we're trying to show legal. We will work on the boundary between the head and the nape because nature colors bones back between one and the other. A slight death. But be careful because we don't want it to have such a green hue. They were gonna just pinch off cadmium, yellow to white thing, a good amount of what I think would just a pinch off cadmium yellow and then go back to add pure per Sembler on top of that. So some tiny little strokes. Okay, that's so for the name we will start by blocking in the belly off the bird isn't again a good amount off cadmium yellow, but we have to add a swell, a good amount on the lower part off the belly off thing. Quite. It's not bad if those colors get makes it, but actually I wanted them to be set apart, so I will add again a good amount of single white. Right after that, I would be mixing on my palette different values off gray by mixing sing white with my body back. Sometimes I use my palate a PSA test field, so I can see the consistency on the huge that I'm getting before applying it to the campus . He's made it. I applied when I already have surface painted, and I wanted to give some details on top of that, to be honest, a used quite allowed to pertain. That's not my good thing. It's better when you use just a little bit, you get clean your brush between strokes just would have paper. Night napkin. It doesn't matter if you use a regular turpentine natural ors containing synthetic for meals. Mineral spirits. Some are other, less mirror spirits. Nevertheless, it doesn't matter how has other or not it will be toxic, So please do paint on an open room or, if it's closer, please a large room. If you're forced to paint in a small close room, please take a break. Open the windows, open the door. Leave the room. Onda, come back later. Then, in order to watch my hands, I add the turpentine to the cloth on. Used to close to wash my hands. Tried not Teoh. Put the turpentine directly to your hands and then use a lot of soap. As you can see a sometimes youth, my rush on Leawood, turpentine and blend. Those previous strokes that I made on the campus just to finish this sector will make sure that I have a good contrast between the neck and the background. You think? Why didn't I didn't hear. He's previously mixed with yellow crumb, and I'm using a lot of turpentine on it to be very, very liquid. If I want to smooth the transition. I will be using my finger Now that we have our belly and nape painted, we will continue by painting the wings. Feathers? They're they're really, really different from the feathers off the nape, head and belly. 7. Wings Feathers: welcome back to this oil painting lesson. Now it's time to change the way we will repainting. First, we will start by blocking ing as usual, with a good amount of sync wide and ah, get amount of tipper dalliance. Well, in that way, we won't be covering 100% be a sketch of the feathers that would have done previously. If my thing quite is stained by the graphite, I would like more thing. Quite no . I will take a couple of minutes to make some minor corrections to my background. On the belly off the bird is not our for us to be continually correcting or work. That's what advance, because we will have a better picture off what will be the out, the final outcome to start defining the feathers. The flight feathers are well versed. Throw with my brush, the rockets that is like the spine off the feather, where all the barbs a touch the virus are like the filament, the strength that together allow the feathers on the wings to lift from the rockets. I will start doing some movements at in more white in some occasions. Or just I didn't your turpentine to imitate the bars. Disposition. This is the delicate work that we have to do right now. We will have to repeated in every feather that is visible. We must be good of service to start drawing the rest of the feathers, we should be using volume quite thin it in a more liquid form. This technique resembles more to painting with ink, tempera or even why did colors or acrylic. So if you have previous experience painting with any of those materials, that will be very useful right now in this stage off our process. Also, if you feel comfortable drawing before I'm going back and forward between painting, for instance, a very dark line and then blurring it out by our intrepid ein. If I see that I want that line darker again, I will add some ivory black later. You didn't technique that I use a lot right now. The amusing a lot right now is mixing the colors on my palette, paint a little bit on my palette, us well to see what's the value off gray that will be that I will be adding. Remember in some places, as you can see on the picture that I that we're using this reverence you have to leave a little big off white between one feather on the other is like a border off white between one further on the other. That would be a great if you can leave that board white border, because that will give us a better definition off where the feathers are placed. I will make our work or our peace of heart more visually rich in the case that the rocket is covered by the previous feather, we should be thinking and trying to understand where the rocky seas in order for us to paint in the correct angle for us to imitate the correct this position off the barbs. I think that I didn't mention this previously, but I'm breast in my hand on the background while I paint. I'm allowed to do this because or BRAC background is already blurred every time that I rest my hands on a place that it's not correctly dried, would we ruin what I have already painted? So you don't want to rest your hand on inter Kate for dedicate painting that you have previously done. Usually when I don't have a blurred her first did well, told me to rest my hand. I will use my little finger to touch the surfaces of reference. And then, by using my thumb and index as a pinch, I will grab brush as if I were drawing or writing. There is a good reason for us to do the details of our painting in a later part of our process. Now we're isn't a technique that it's almost like resale. Actually, this is not precisely resale. We're using a lot off texture, and that's not one of the characteristics off that technique. But if we are using Onley one tone and, ah, working with values that it could be called that we're using a technique called resale. Resale is what old masters from Renaissance used to emulate. The surface off marble sculptures when they wanted to paint a marble sculpture. They will use only one turn on and work with values that's similar to what we're doing here . Okay, so did this technique is called resale we can use. This technique is previously off adding color. We can do a studi off values that will help us to see where the shapes on, um, darker spars on writer. Parts of our painting will be also in. On top of that, we can add color by, for instance, by glazing that as well is what all masters from their innocence some of them have done in the process off their way of work. They did this kind of studio values on, then paid, painted on top of it. Thanks to Mother science, we now that that was pretty much used technique for some of them in order to see for a cause of action. He's correct. It's a good method to step back 123 steps back from or painting and take a look at it to see if the value is correct or if it's too grey age. We can add darker color or maybe lighting it up a little bit. By that in sync White. Um, the other good thing to do is to squint a little bit to make the surface blur. That's a good way to see if you get into value right there . A good way to see if you're placed with the outcome off your work is to put some distance, but to put some distance in time just take a break and have a look at it later. By the touching yourself from the process off painting, you will have a better understanding off what should be changed or corrected. So by doing this opposition, I decided to add more white to the left wing. I didn't a lot of white, single white, but very thin it almost liquid paint. - So I will add in the final eagles to my wings and then see if the background on the rest of the paint is correct. - I have served us well that the right margin off my bird needs to be darker. And then which part of the bird I'm trying to get darker? I will add to my ivory black. Either burn sienna for the wing yellow, older for the neck or person blue for the head. Just when I think that I have my wings finished, I will turn to the background and the other parts of the painting as well, And maybe just correct some details. And then I will go back to my wings again and maybe add something or touch just a little bit or changed a little bit. The hue off. One part by adding, for instance, ivory black to one part off the feathers off the tail. In that way, I will be doing like a shadow where the doing is standing. The thing is that we have to stop somewhere very important for us to know where to stop. If not, we might get entangled in an ever ending correction process. Of course, we're missing the bird's leg and feet. Once we get that done, we will have a later look at it once again and see if we have to change something. I mean, it's not. It's not about thing to Grete something, but you have to stop somewhere. The worst thing that you can do is to leave a painting unfinished. I'm telling you, because that's something that happened to me a lot on the past. Onda, you will. You will start to get frustrated. That's the opposite that we're trying to accomplish here. I want you to feel comfortable with painting on insure it a lot. Most of all have fun to finish the wings on tails. I will add a little bit off burnt sienna to doing that have already darkness darkened we are using at the Contras off cold and warm. Yeah, called color Blue World. Deep in the the distance between one wing on the other wing or the tail and the warm caller burnt Sienna will tell us that that part it's ah hit by it light directly. I hope you enjoyed painting new wings. Your next video we will finish painting. I hope you enjoyed painting new wings. Your next video we will finish painting. 8. Birds Foot and Final Corrections: Hey there! Demonios Tour Final stage off our painting process I really hope you're having fun. Are finding new skills. Be practicing, expanding Skill said you really have? No. We will continue by drawing the bird's legs and feet before we want our pained to be almost liquid, deluded or thin. We'd quite a good amount of turbo time, but remember to rob a good amount of paint as well. In the tip off your brush, we're using the small brush, the one that we are using through all these painting process to do your details. Once I've got a good sketch for the feet, I will be adding a little bit more off Cagney and yellow on the belly on Maybe some thing quite because I want to be precise on the shape of it. Right after that, I will start, given the volume appearance Teoh the feet by using different shades off grey. Different values of gray. The base caller four feet would be burnt sienna, but then I will be adding things right and, um, Ivory Black. Those colors sing white, never black are not supposed to be, um pure. If you see that I added pure on the campus directly. I will then go on into intervene them with a little bit off stained paint, I said, added the light on them. But I didn't think white. And now I didn't, uh, shades the darker parts of our fit off bird's feet, actually, by Adam almost pure. Um, every black try to be as precise as you can remember to take a good look at your a reference image. And then it's almost like drawing. Once I got the lines were the darker parts off our details are, I will be starting to rob those with my finger, a little bit more lines and then using my finger. I prefer to use my finger here because it gives me more precision that using a cloth if you rather use a cloth, that's okay. If you don't want to stay in your finger, remember, once it's detained, be careful with your finger where you're gonna be using it again on your painting because you may take one cora and put in another place that it's not supposed to be. - I will go back to use the burnt Sienna. OK, um um, after that I may add a little bit of Prussian blue to give that to get that cute Teoh shades on. Even I can add a little bit of cadmium yellow. That is because Onley, because I see some kind off greenish shade. Yeah, on the picture of reference, I don't know that where that's coming from, but if I see it, I may add it. Sometimes decisions are not geological. Yeah, as I said before, I don't know why that Hugh there, that screen issue. But if it's important for us to to imitate, I will, I will be out in it one more time. I go back and forward between adding, um, light and dark so I can get, ah, the good transitions that are in between. Does I tend to add a lot of details? Maybe too much? Yeah. If you don't want to add as much details as I do, that's perfectly fine as well. Um, those are just aesthetic decisions. I'm preference. Remember that the more time you spend painting with the same amount of paint, the lighter the stroke will be. As we were doing this before, you can use Dad technique to give your stroke different values. - Um , I didn't even yellow joker mix it with a little bit of ivory, Black to the fence. Tried to to get the correct tone, the correct Hugh for it. What I've been doing through all this process is that if I have a one caller Oh my, my brush that I think it could be useful to paint another part off my painting. I will be adding it. Finally, I see here that the belly of the bird, it's not quite well placed. Yeah, I'm doing some corrections in this case to do so. That corrections I'm using my finger. I will be dragging the paint to make the belly smaller on the part that it's close to the leg. Once again, you can do that with cloth, even if you put some tougher time on the cloth, taken consideration that you will be erasing everything. Okay, since the part that is behind that barely is blurred, that that is the reason that I'm using my finger because it doesn't matter if it's getting more blurred or out of focus. Everything mentioned this, but I I will make some emphasis on it. The more you progress with your painting more likely for you to start. Get getting a glimpse off some corrections that that has to be done. Okay, um, just go ahead and make some corrections, because that's what all you allows us to do, Asai see us. Well, the tail is too thin. I will have another feather there. I used I I would have liked Mix it with pressure and blue to draw the feather. But then I will make it lighter. Yeah, I will drag that that paint on. And I will add a thing quite right. After that, I will add a little bit of cadmium yellow, maybe mix it with just a pinch off chrome yellow. I just make matured to align the edge of the feather by adding a little bit off. Um, burnt sienna Read Ivory black. And that's it. We're finished. If you're happy with your work, you can sign it as I just did. Now you can let it bring for maybe a couple of hours or even a whole day, and then apply your varnish. Be careful. One supplied. You cannot make any more corrections. What? I truly recommend you to use this spray varnish. Traditional varnish is okay, but it is easier to apply to supply it during quick movements going up and down from a distance off more or less six inches. Onda there will be Park it and that's it. There it is, your finish work. 9. Take a deep breath and look at your Finished Work: now that we have finished, it is time for us to relax and have a look off to our painting or their assault. Have a look at it, see and see if you're convinced with the result. If you're happy with it, there is a sense of fulfillment that comes when you're looking at your finish Work. That's what I want you to feel. You should have fun and relax well, oil painting. But this is a very important part of the process as well. There's a destruction of creating something beautiful, that cut that came from you. It is your first or the painting. If so, don't be so harsh on yourself. Remember that mattering comes with practice. If you see that, Sun said, it's not quite well and you have applying varnish yet we cant correctly corrected. For sure, I am here to help you with that. Please do contact me if you need a hand or a second opinion on, don't forget to share your painting in a class project gallery. Now you can hang it in your wall. Give us a present to somebody from someone special, as I just did. We're going to get to on our show and maybe sell it. Why not? Finally, I hope you enjoy it as I did. That's keeping contact and follow me if you like. I'm assured drawing or inking classes as long with this oil painting, Say serious, thank you very much and take care.