Sketchbook Everyday - Drawing and Painting Birds in Watercolor | Mandar Marathe | Skillshare

Sketchbook Everyday - Drawing and Painting Birds in Watercolor

Mandar Marathe, Fine Artist, Sculptor, Illustrator, Designer

Sketchbook Everyday - Drawing and Painting Birds in Watercolor

Mandar Marathe, Fine Artist, Sculptor, Illustrator, Designer

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9 Lessons (2h 5m)
    • 1. 1 Introduction

    • 2. 2 Materials Used

    • 3. 3 Drawing A Robin

    • 4. 4 Painting A Robin

    • 5. 5 Drawing A Kingfisher 1

    • 6. 6 Painting A Kingfisher Part 1

    • 7. 7 Painting A Kingfisher Part 2

    • 8. 8 Drawing A Flycatcher

    • 9. 9 Painting A Flycatcher

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About This Class

Welcome to the Sketchbook everyday Series of courses.

In this fourth course, you will learn how to draw and paint three different birds using watercolors.

My name is Mandar, a Fine Artist, and a sculptor. I will be leading you through this course.

I've designed this course for the artist in you who wants to improve your art but has limited time to practice. SketchBook is your best place to practice and hone your skills. It’s your private space; and your aim here is not to produce a gallery ready painting but to try out new things, have fun and improve your art.

In this course, we will draw and shade 3 different birds to do complete value studies of the birds and then draw and paint the birds with watercolors. By doing sketches like this every day you will learn to draw things in a simplistic manner, understand the light & shade; and gain the confidence to use watercolors more effectively. Painting like this will give you the joy and satisfaction of creating something beautiful every time.

This method of painting gives best results and improves artistic confidence very quickly.

This way of practicing is great for people who want to do something creative every day and also for those who want to pursue art or illustration as a career. You will see every line that I draw, every brush stroke that I make and I'll also be talking to you about my process.

This series of courses is for you if you want to improve your art and are willing to practice art-making for at least 15 minutes every day. It doesn't matter if you are a student, a professional, a homemaker or a retired person. No prior art making experience is necessary to take this course. Just having the interest is enough.

I look forward to seeing you inside this class!

Happy painting!

Meet Your Teacher

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Mandar Marathe

Fine Artist, Sculptor, Illustrator, Designer


My name is Mandar Marathe and I am a fine artist, illustrator, and sculptor based in Pune, India.

Have a look at the classes that I teach here on Skillshare, see my projects and join me here to learn from me and feel inspired to create your own masterpieces! You do not need any previous knowledge or art experience to benefit from my classes. I'm here to answer any queries you might have.

Join in!

Follow me on Instagram to see my latest work and timelapse videos!

 Happy art making!

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1. 1 Introduction: Welcome to the sketchbook. Everyday cities off courses. In this fourth course, you will learn how to draw and paint three different birds using watercolors. My name is Mandy are fine artist and sculptor. I will be leaving you through this course. I've designed this course for the artist in new Who wants to improve your art but has limited time to practice? Sketchbook is your best place to practice and hone your skills. It's your private space, and your aim here is not to produce gallery really painting, but to try out new things. Have fun and improve your heart. In this course, we will draw and shared three different birds to do complete value, studies off these birds and then draw and paint this boards with watercolors. By doing sketches like this every day you will learn how to draw things in a simplistic manner. I understand the lighten shade and gained the confidence to use watercolors more effectively. Painting like this will give you the joy and satisfaction off, creating something beautiful every time. This better of painting gives best results on improves artistic confidence very quickly. This way of practising is great for people who want to do something creative every day. And also for those who want to pursue our daughter illustration as a career, you will see every line that I draw every breast talk that I made, and I'll also be talking to you about my process. The cities, of course, is is for you. If you want to employ a are and are willing to practice, are making for at least 15 minutes every day. It doesn't matter if you are a student or professional. Ah, homemaker or a retired person? No prior art making experience is necessary to take this course. Just having the interest is enough have you bending? 2. 2 Materials Used: Let's look at the supplies even used in this course. I was sketchbook bad. You can use a smaller one or a bigger one. In this course I'm using a bigger one. On the paper is 1 30 gy ism. Then I have ah set off band more regulars. Ah, half inch flat brush. One or two small round brushes. Ah, black men for being on a six b pencil. A piece of cloth to wipe your brush and containing for water. That's all what I will be using in this course. See you in the next lecture. 3. 3 Drawing A Robin: Now let's draw and being a robin. I am starting to draw it for the pencil. This train pulls draw the outlines, the big It's not so long as compared Toa its body. This is there a power play now and some dictates the leg is coming in like this. This too long. Short in it. And this is the leg, the branches. The board is almost touching the Iran to That's very here. Here goes the branch on and the all important I on the board Some condos here. And this'd is the yellow patch on the booth. These are the feathers from the wing and there some prominent ones or big ones. You eight for this? No, I'm going to start shooting the bird. I'm holding the pencil towards the end off the fence in here so that I can hold a pencil very, very much battler. Toe the paper on that gives a nice position to create the traditions. - I'm not using a six people inside because the relations are not or the value differences. Not much in the birds. I might use it at the end just to have some bunch good going, but otherwise continue with this four b pencil. This is one to be There. You look back and there is this shadow on the neck region here. There is some shadow because the bird is touching the brunt. The board is linked from this side. Cooperate. And so there is a shadow on the side of it. Is bottom left? Yeah, the pedals. Mitch, make the bird very fluffy. Here, I'm going. The board. I know. And there is a highlight which I want to maintain. That's the reason I'm shooting very carefully. And the eye is even more just more bulging. If this was trying to be submitted as a drawing in any exhibition or to be sold, I would have done this very least ready even more cautiously or with more, much more attention. But as I'm using this only as a step towards printing our sketch to be done with colors, I'm going to stop almost here. I think I can use this six. Meet ventilatory in B pencil just to earn some punch. Alright, Some contrast. The airport is the darkest part on the underside, off the beak. These are not abortions on some lines here. Actually, that's the or those are the shadows or the but this holding the pencil towards the end. This will be the yellow ocher. Are orange branch on the bird? That's Billy. - I'm darkening one side off the leg because the light is coming from here on. I can call this reduced. Early years complete. Almost done. That's it. Thank you. See you in the next lecture. 4. 4 Painting A Robin: we'll come back in last Lecter via drilled and shaded this robin on Now I'm on toe draw and paint the robin again. I did it once, but while recording the video for that I by mistake kept the camera out of focus on bond. That gave me an opportunity. So to say toe Redrow and painted on video recorded for you. So let's start by drawing the head. This will be the neck on and the body will go like this. These are the feathers from the wing and some of them extend below. Make this and the daily will come here on. There will be a branch like this on and one of the legs will come here like this on because the sitting position of the board is such no, those off this leg are arranged in a peculiar position. Is this the line off the brunch and the second leg will be here. I'm not drawing this outline, very, but it's seriously because I want a word painting inside the lines. But these lines need toe. Just give me an approximate position off where the color should go. No, I'm want to draw the beat. This is the beak. Andi. I will be somewhere here on. I think I have enough information to start painting the system orange shaped, orange colored shape that is on the belly and the neck and some part of the head off the bird. So I think I have enough in commissions to start painting, so I will be starting it, waiting the idea, which is orange in color. So I'm using plain water toe. Get that idea so that the color will spread nicely for painting. I'll try to show the pilot which I'm using. I need an orange color. Andi. I'm adding some already color to it, and I'll apply that over the wet surface and why. This is where I had some yellow joker, this side where there is a shadow. And while the color is still wet, I'm going to use off Tim brush and spread this color like this just to ensure that it doesn't look like a patch of color but is made off different feathers on. But by the time this color dries, I start making the color for the head end of things. So I'm taking your local some blue. I need to get these colors Someone toe spray some water on these when I won the color, it's already so I have this local. I'm going to add some blue to it and a tinge off Black and I tend this color and applied on the head. We're owned I and the's rings are going. These are the feather self deciding and the same color will go on their daily and I want to have the same color. But even Tina at this point are this part of the body where there are these feathers which have that brown tinge but they're not completely blown. If I can show you this bird which I painted earlier, This is the very area I'm talking about. I want this kind off thin color here, here. So I'm just I'm just added some water to the existing color and trying to spread that. Now I want to show these feathers, so I'm going to take some blue color. And this'd already agree because I added some orange in it by mistake when I took the blue color orangy yellow car, and I'm going to add some of this color here, and I'm going to actually use a tener brush. Use it on the board here. This flicks will give an impression off white finance. I don't want to overdo it. At the same time, I want the whiteness off these feathers to be properly indicated. I think I'll stop for now. And let's see if I need to repaint them when they're dry. So now I'm gonna go still this colorist, which I'm not go and meddled with it right now. So till then, I will add some more red, tow this existing color, make it even peanut and being the brunch. I need even more yellowish on slightly green iss sculler were dull down when it is dry. So I'm not worried about the darkness Mitch has right now. Andi, I think I can go ahead and have some dark color. I'm mixing this ground in the existing color to make it slightly darker. And while this color is still not completely dry, I'm going to try and make these markings that so that the color mixes also well. And so get some indication off darkness on their type. As you can see where the color is dry. It's retaining the stroke where it is not dry. It's mixing in the color around it. Let me see this color is we're interested with. So I will wait for a few minutes on, then start bending again. The color on the belly and the neck is yet to drive, but the wings and back off the board are rhino, so I keep on working on those, and I hope by then this portion also will dry up. So I want to our add another layer off color on on the head and also trying to instigate the feathers on the back. No, I want our darker mixture off color, adding brown Andi, some black and I use this to create the picture on the or indicate the feathers. Individual feathers on the being of the bird, two feathers and the 3rd 1 on. And here is the separation between the body off the board and, uh, things on the our feathers on the wing. This is the trickiest center job, and I would spread this color with their dryer brush. This feather will be in share because it's what we're seeing is the layer, which is underneath on. It's not getting like some indication of Fidel's here and similar will be the story off withers on the table again. Here. What we're seeing is down the sign off the evidence and that just very less amount off light on no directly. So these will be darker now. I can create some texture, are indicate some texture on the where that is here and in this field were darker. India because it's in shared and I came down the color even more and use it toe indicate the picture. Here. The structure is going from the different feathers, which the board has. The's feathers make in the bird look very fluffy. - This gradation is coming because of the shadow. Andi, I want to indicate those small offenders, even on the head. - And now I want to paint the beak sweat. For that, I'll make a very dark color, some brown and a lot of black and use that crane beak. The bottom half off. The week is not getting any light, so it is almost completely dark. But the top half does have highlights, and that's the reason I didn't being very solid, but I'll be using a brush to spread the color that I get some gree or a sedition off highlight and let it dry on and use this opportunity toe paint the eye of the bird. This is the most important needle off any bird I'm using. Black color clarity on. There is some gap between the I end up playing and I don't want to lose the highlight. I'm painting very carefully. If you find it very hard to paint the details like this, you can use colored pencil. Oh, are you will know black fin. But if you can manage toe paint with a brush, it has a different character altogether here. So I'm just making fuel clicks off minutes. I made us like mistaken painting the beak. It's not as sharp as I wanted it to be, but I leave it at that right now. Now it'll start painting the those off the legs. This is, uh, I'll start first with a lighter color. This is a light colored believe me is it's the traits looking, wearing dark. But it's known now in painting the leg in front. And there is this one digit which is coming here, and the other three are like holding the brunch firmly here together and there is one door which was behind and I let this dry and then oh, are darker shadow on the side. So now I want to get one dark color mixing grown and black and some yellow card. I'll put him and I mean the shadow on the branch first. Here the brunt is completely dark because of the shadow, which the bird is because the board shadow were just wanting on it again. Still, here the branch is in shadow and then there is some light on the side because the light is coming in from here, that is. Saddle on the opposite side and I use the same dark. Make sure again, Give some definition to the wings. The feathers and I will take this opportunity to honor some flicks here. Now this color is dry and you can see that the markets which are making with the trust now are not spiriting. The color is not spreading way. Call down the Langley is Breiner, and now it's time to add shadow on one side off this length and signed off this go and I learned some texture to the tools. Do the same on these goes in. But these does anywhere getting less that light or almost there and shadow because of the body of the bird. So I'm not fussed too much about these. And now I tried toe make some adjustments to the week, So that looks better than more. Did IDs? Yes, I think I have. Ah, better than earlier. Let's review if we have anything left. We added this bird, maybe an add some picture brunch. Okay. Andi, I want toe some black again. I on the murder very carefully again while I retained the my leg. Yeah, this is the line around that I and few flicks here and there. I had a bunch on and we are almost towards the end. And that's it. We have the robin painted again. I hope you have enjoyed this class. This lecture and attempt painting this been using? See you in the next lecture. 5. 5 Drawing A Kingfisher 1: come to the lecture in this lecture, I'll be drawing a kingfisher on. I'm starting to draw with four b pencil. My first objective is to get the outline correct, And so I'm not pressing too much with the pencil. Um, making very light mugs. That's the beak. It's the characteristic feature off the bird. It's a very long beak, as compared to the body off the bird. Now I'm drinking. Draw the main body off the board, and as I draw, I'm taking measurements visual measurements to see that the proportion off the board he's good. I assume that you will be drawing this board with the reference photograph, because it will be very hard for anyone. Toe draw a bird from life unless the world six very quietly, which is a rare scenario. So I want you to look at the photograph carefully and see what proportions are there in the photograph. In other words, see how big the head is on how long the head is, as compared to the big How big is the main body as compared to the head and so on? This will help you in keeping the proportions off your drawing. Correct So now I have more or less made the outline on the board, and I'm trying to draw the outlines once again to make them slightly more darker. And now I'll start shading the drawing. So I'm keeping my hand or holding my pencil towards the end of the pencil. And whenever I make a mistake, I use are needed razor toe lift off the graphite. I'm using a reference photograph from Pinterest Andi, because off cooperate issues I won't be using are gonna be showing that photograph to you in this class. But I have posted a link to my board on which I have seen those photographs, whichever I've used in this class. So have a look at that photograph. When you want to draw this bird, it's very important to have the highlight in the eye. That's what I'm doing. That Alice Life to the drawing. Now I'm shooting the board widow instilled with light hand. I just want to get medium great shared Blanco indicates some feathers. The idea here is not to draw the board in the photograph, as is exactly the same, but just to get ah, feel off the bird and accuracy until the point that the board is recognizable on. Nobody can confuse this drawing with some other bird species because this is going to be a sketch and not final painting will be submitted are to be shown in a gallery, so I'm not worried too much about the accuracy dough I want toe have proper proportions. Now I'm drawing the feathers off the tail. I'm using eight B benton, which is even darker than a six me or the shooting. And to add their dark lines, I'm using this doing as a study before I start painting the ball on. That's the reason I'm trying to establish their darks and the lights, so that when I start painting, I know where a color needs to be darker and when it needs to be lighter. So this is clearly a value study off the board, and hence I want toe keep it very lose. Now I'm going to the markings or the design on the head. This bird's head has dark. For those with light tips on that creates the kind of picture there is. So the tips off the feathers have this like a lot to see. The values in any photograph are in their life. You can squint your eyes to see their darks and lights, or, if you are using a photograph, you can convert that photograph into a black and white photograph, and that will make it easy for you to see the darks and the lights. The beak and the eyes off the board are like facial recognition, so those are the ones. Those are the pictures, which defined the board and make it more recognizable. Or they differentiate one bird from the so make sure that you draw each birds beak and I properly now indicating some branch of a tree on which the bodies sitting. As I draw. I'm looking at the photograph to see where there needs to be less light, or where it needs to be darker and where it needs to be lighter. So to make a proper Balestra, you need to start shading very lightly and then go on, adding more and more darkness because reversing the sequence will be difficult on this. Who it is on raising always damages the people to some extent, so don't try to make darkest darks and the beginning of the shading process go step by step and go darker and darker. I want to add some more darkness, toe the head of the bird, and I'm shading it even more with a little more pressure on the pencil. And I'm almost done with the shooting and going off the board on now I can proceed to the next step, but I'm happy that with the study I have gained enough information about the bird, so that would be easier for me to draw and paint it again. See you in the next lecture. 6. 6 Painting A Kingfisher Part 1: Now I'm going to draw the blood again so that I can paint a would it again, starting with Ah, four b pencil. I'm going the week Onda head. I'm doing it very lightly because I am not going to share it on. I want just out playing a lot of dough Bean Toby applied inside, since I have already drawn and did a value study off the bird. This time around, the dying comes more easily, and that's the benefit off practice on making the value study. I just want to make sure that the 80 years we're in different colors will be applied are marked clearly. Now. Planes off those areas are marked clearly so that it becomes easier for me to paint. I'm going toe diffidence. You can see the pencil marks because I'm making now are much more lighter and much more loser. Then the pencil strokes, which I made when I do the increase your first time, Andi, I completed the basic drawing, which I need to start the painting. No, I'm applying some water. Tow the ideas where I want to apply on oranges color. So that was a part on the cheek and Billy. This is just to ensure that when I apply the color, it spread small easily, and I'm just taking off some extra water using a people dog on. Now I'm coming with a tin wash off orange color, playing the same color to the belly off the bird. I'm applying some darker color, so the idea of it where there is lesser light reaching and so it's in this year on, I'm applying it wet into wet, so that spreads even the on. I don't get any sharp edges in the color. I'm mixing a blue color and now I'm applying it to the head. I want to keep this layer very light on that. I have made a tin with water. I'm indicating some of the feathers which are toward the end of the are on the neck, off the bird protruding out. There are some blue feathers on the cheek, and now I can start painting the back. I am applying the color of it while brush now flat brush because the idea is big and I'm a blang ready light pressure to the strokes on also applying the color with casual approach in the sense that I don't want it to be very meticulous spending. Anyway. This is the first layer, so whatever I do will be covered with the next layers. So I'm not what it too much. And I'm introducing some dark color, but I see dark blue colors on the board. Feathers on both. The wings are dug blue and shades of blue. Even the tail has dark blue feathers. But the back has Fido's, which are light in color so that the general distribution off light and shoot on the board . And I want to apply the same darker blue color on the head also, but words media near the I because I want to save some highlights for the Excel later trying to spread the color that I don't get a hard edge, and I'll allow this layer to dry before I paint over it again. See you in the next life 7. 7 Painting A Kingfisher Part 2: the first layer is slightly dry. It's not completely diet, but I want to pick up some color from there. So I have started picking it up. Using a dry brush. I want to get some picture. Andi. That's the reason I'm picking up the color like this. There are different ways you can create picture in mortar color. Lifting the color is one way of doing it. Spring some sort is another way of doing it. But since I need the texture to be in a particular place on in a particular fashion, I'm choosing this way off creating the picture, you know, spitting some sort. I want to paint. The big firsts I've created are dark color. I did some eliciting Clemson on and somebody in view make this color on. I'm painting the week I've turned the page so that I don't rest my hand over Victor Media in March. Regulars, you go on handing layers upon layers of colors. Get the darkness instead of making one dark pickle earlier, so this will be the post layer for the week on. I'll repaint it, our paint over it once that is trying. Now I'm coming to duh white feathers which are there on the neck. I want to get some shadow effect on the white feathers. So I've used the same yellow and I'm trying to get some effect off a shadow There. There are some white feathers on the throat also, and in some yellow and some gree so that that is a traditional white. For this having some shed, I have created very dark color bit Prussian blue and some red. Didn't you read? And I'm using that to indicate the markings on the head off the board. I'm doing this very carefully because I don't want to lose the highlights. And as the fenders reach the area near the I highlights reduced Onda dark part is more in proportion. Since the head off the board is the focal area. I'm having to paint this area very carefully, Andi, with all the attention to the details, I am also taking care that I don't by mistake paint over the I because I don't want to lose the highlight. And I now I'm carefully painting the eyeball and the rings around it, coming back to the design on the head. Since I'm painting with transparent watercolors I won't be using any opaque white on. That's the reason I'm having to retain the highlights on the head. If I have to use well, wait, wait, then I'd use it, but that will be my last option. Generally, I is the area where you might have to use opaque white. Well, painting this. I'm looking at the drawing which I made earlier and also the photograph for reference. The's protruding feathers give kind off attitude to the bird on, but I wanted to indicate them nicely. And now I'm painting the headers on the cheek. There is a rule. Are you for this on the cheap? - Now I'm coming in with ocean view. This is a ticker color on. I'm using a flat breasts and using it more like a dry brush technique. So then I get the brush markings, which kind of indicate the feathers. I'm carefully leaving the central area off the back without any dark color, because that's the area where light for their survey. And now I'm applying the brush strokes in a way that suggest individual pedal. I don't want to medical asleep, draw each, whether separately, but I am using those strokes toe suggest residents up separate. Hello on the I feel ill have to crane negative matter to indicate the separation. Are there difference between the tail feathers on the feathers on the black? I heard this on the back. So this is where I'm painting a negative impression. No, I have taken the same dark color, but I have chosen to use a round brush on I'm indicating now planes off the filters on. Sometimes I'm indicating the Ricketts, which is the central chopped off the pedal. - And then there is this dark idea where there is a shadow off the credits on living Andi indicating the shaft off the evidence. This is the shadow on the other side of the blood on the living. I'm going some lines to indicate the barbs on the hitters on darkening. The outlines were required during the bobs off field dependence. - I'm coming in with civilian blew on through this round brush. This is the same color which I used in the beginning to make down, depending on now I'm using it to indicate some of the credits on the back off the board, not drying each and every feather independently. This want to create an impression off one job with us. The yellow on the belly has dried, and I can add some picture to it now with a light brown color. I'm adding some color marks wherever this yellow collecting data on the board just creating some depth again, coming to the beak on this time, sir. Darker color with black added to it. And I want leave some highlight on the beak. I'm bending carefully to leave those areas, and there is some towards no start of the week. And that's what I'm adding right now. No painting the bottom half off week, but I want to retain one line off. Highlight and being the highlight are the focus area off the painting. I'm doing this very carefully. More carefully, you look at any birds are photograph of a bird. You start noticing the difference and all the colors that are on the feathers. Now I'm starting to paint I, but I want to retain the highlight. - These birds have fairly big eyes as compared to the sides of the body. Now I want to paint brunch. I've taken a very light color, very, and now I'm coming in better darker color between the underside of the brunch where there is shadow. I'm applying this color, but in bed. - Now I'm coming in with another liro blue color systemic shirt off Russian on our memory. And I want to bean the Fiddler's Inn, situated that I retain some light area on the tip of the and it's also running the brush over the 80 s, which were left white on the back of the bird. They were those highlights were unnecessarily attracting at attention. Now I come in with our darker color because I want to differentiate between the feathers on the back and fiddles off the tail. - I had lost some of the lights near the I. So I have come in with Oh, Big White got it and I'll be using it very judiciously. The pain, the remote, the I and some dots around. I and I wanted to make the feathers on the shoulders much more darker, so I'm applying one more layer off the same color. I want to make the big, even more dark er's. I've come in with your black and I'd be spending some of the ideas again. I want depending the whole beak with this black color, but we'll add some contrast with some flicks off the same dark color on the defenders of the wing. - I want to and some darkness. The shadow off the credits ends using the same black alert here, toe and the brand also get some darkie ideas or not markings on that completes painting off the Kingfisher bird. I hope you have enjoyed the process on. We'll attempt to paint this bird using the photograph which are shared in my printers. More See you in the next lecture. 8. 8 Drawing A Flycatcher: Welcome to the lecture. In this lecture, I'll be drawing a paradise flycatcher. It's a small bird, but has ah very long tail. Andi starting to draw with four b pencil. I'm drawing the outline. I'm using almost straight lines. Toe post, block out the shape on with the sweeping action of dumb. I've indicated the tail for reference. I'm using my Pinterest board. There have been various birds which I've liked on. This is one of them. So I'm looking at the photograph on drawing the Our plane of the bird board has ah kind of ground made of feathers. And that's what I indicated This. Now put us on the head and the neck off this bird are completely black, but they also have ah, blue tinted, but you can see even the late science directly on them. Now I'm doing the eye off the board and interestingly, that I has ah, blue outline. The big also is blue coming down to the just in the belly off the board. And, uh, that's off the things I'm looking at the angles which these parts made to each other. And with those angles, it's quite easy to draw anything I'm also seeing what is directly below another. That means how far off is the leg off the board from the I in terms off horizontal distance . And now I'm drawing the second leg off the leg in front, and the branch on widget is sitting. When I make these sweeping strokes off the pencil for the tail, I'm using my shoulder to move my hand and not the wrist on. That gives very smooth lines. No, I'm almost done with our plane off the bird on now. I can actually start shooting it. So I'm starting with the darkest part off the bird, which is the head, though the belly is white because of the shadows, there is some degree color on the belly. Andi, the wing on the other side, is slightly in shadow. Coming back to the head. I want to make it even darker. The paper, which I'm using, is, ah, excellent paper more suitable for watercolor painting and not so much suitable for drawing on. That's the reason I'm not getting very nice darks with the pencil because of the roughness of the paper. But as long as Value City is concerned, I'm able to do that? Uh, on this paper also. Now I have brought in my HB pencil. It is darker, much, much not bigger than the four B which I used for drawing. And now I'm making the head and I eyeball dot and I want a light gray color on the belly. I again brought back my four b benching, but if I had tried cheating this with 60 or maybe he would have become pretty fast. Andi, that's the reason you have to choose the tools which is appropriate, or the pool which is appropriate for the for the action which you are doing, or for the part which are drawing a painting. So now I can get back my HB pencil again, or the shadow area on the wing here. The light is coming in from job, right, Using my finger too. It's much the graphite on DNO coming to the tail. - The sweeping action. I'm darkening the long tail here. - I'm darkening the legs and, uh, branch in which the body city, - when I want to share something very uniform in a very uniformed manner, I hold the pencil towards the end off the pencil so that I can be as battler to the surface of the people as again, and I can get the side of the pencil toe made this hearing. It's an easier and faster method off sharing something. I'm reaching almost the end off this value study. Andi, I have enough information or I have you know, practice is drawing No Onda. I can proceed of it re drawing and painting this bird in the next step. I'm just darkening the head before I call this man loose. Tony is complete and that's on. See you next lecture. 9. 9 Painting A Flycatcher: come back. I'm going toe Redrado off like a jet now because I want to paint over it. I'm not be shooting it, but I will be doing ah, complete our plane off the bird. All right, because of the practice I have done in a was do the value study. I can draw the board much more easily now and better proportions. Sweeping Dale is the I laid off the board because that's smart, defines the bird. Our makes the birds so special. I'm making sure that I don't draw Dudar because I want that once the bodies painted, I going one the pencil marks to be very obvious. The accuracy of the drawing is very important because I want to start laying in the colors . There is no time to look at the proportions more carefully, So this is the time to get those proportions correct so that you can fearlessly paint on concentrate on painting rather than the accuracy of the shape. Now I want to reduce the darkness off the whole drawing. So I'm I made a roll off the needed Raisa, and I'm rolling it over. The complete drawing on that uniformly reduces the darkness off the graphite. Now I have come in with a light mixture off cerulean blue on. I'm painting the high area on the big area because this will be the first layer on top of which the black welcome. And I want to leave the circle around the eye and the beak as it is in the blue color, which have applied now. So still, this layer off colored rice. I will not coming toe, though I will not be coming to the head portion off this bird. I have mixed light brown color with some burnt sienna, and we're 1,000,000. You and I'm laying in that on the feathers. This is the feather which is come out or it's actually from the other. Moving on now I'm going toe paint the daily with sweeping stroke. I can go in on make another one to increase the wit off the deal. I'm holding the brush towards the end of the handle, and that makes the strokes much more clued Now that the first layer has dried, I'm coming in with blue black color. It's black mixed with some our family in blue, so it's not completely black. On neither, it is a blue color, and I'm carefully bending the our plane of the eye. And I'll also be leaving the big area without this black a lot. And I'll be painting around that. These are the feathers which make a ground for the world here, - and I'm now painting the beak. This is the line which divides the big toe to harps top half on the bottom half. This is the place where it opens. Now I've taken complete or pure black on my brush on I'm painting. With that very were the burn has complete black pendants and where the blue is not Chinese . And I'm doing this wet on wet because I want this black color to Morgan nicely with the blue under dark blue underneath on Not leave any sharp edges omitting, stating the beak Black alert. And I want to make the neckline not very sharp because some of the feathers are creating a jacket line where the neck feathers meet the belly and this is the no still off the board. I want to paint the belly now, honestly showed the shadow areas on the billy of bacon a very, very tame mixture off the blue black which I had made for the head. And I'm using that on the baby belly they were There is a shadow have come in with a completely clean brush on merging the red color on the paper. Painting a white object on our white paper is stuff. But when the outlines are shown even with the trained great make sure the white stand so - And now I'm painting the being on the other side The feathers on the inner side of the wing are white. I'm showing richer off the wing on the shadow area will define that courage. This is the federal with chance come from the other wing And now I want I'm enjoying the shadows are radius feathers on the I made this color with more off vermillion you and less off burnt sienna on I'm indicating the feathers on the wing Uh oh, any one more layer off the same color because I thought the first layer most too weak with watercolor you have tow Keep adjusting the darkness off an area but it is no coming back. Once you have made some media darling and I am now coming to the Dale Phillips in certain surplus off these feathers is insured on. That's the reason they are dark on that side. When you're applying the second stroke, you have to be more careful because the first stroke off color has only given you the I'll plane, and you are not supposed to go out of that media. So the next layer off color becomes much mortar, difficult toe paint, then the first layer. Now I'm coming in with a very thin brush to indicate the Bob's on the These barbs make the feathers look more Petery on. Before I painted this, they were looking much like strips off people carton called together. Now they have much more feathery look, and now I'm going in mida. Darker color, which is supposed to indicate the May drip, are the central shaft off the feather. And this is the underside off the and, uh, and that's why it's get getting less like I'm indicating some of the short feathers, which are also on the tail, but they support the longer feathers, and they can be seen only from the underside off the tail. Now I want to start painting the brunch off the tree, so I'm living in a very thin layer off color and no giving some contrast to the brunch with our darker color and bringing on the side, which is catching less light, I'm starting to paint leg off the bird, which is facing us, also adding some picture toe the being. These are the shadows which are created by the offenders and this is the turning surface off the wing, indicating some fenders. This not badge of color indicates the inner surface off the other wing, which is catching maybe less length. And now I'm bending the leg. Andi second link. It's very important to being the legs precisely and not make them sicker than they are because a cyclic reduces the visual lightness off the board. This is a shadow area on the David, demonstrating that I want to make the underside of the feather darker than it is right now . - No , I'm coming to the eye of the board on pending. The I is very important on more important than that is toe retain the highlight in the eyeball. If you happen to lose it with their dark color, you can come back with opaque white. Now I'm almost done with painting the board. I'm just tryingto make some adjustments. Very what I see in this city. And I am done with painting this today's flag ketchup. I hope you have enjoyed the process and you will at them painting this board yourself. Last thing I'm adding to this bird is a fine line which defines the beak on Now I can call it complete. See you in the next lecture.