Watercolor - Let's Paint a Bird: Purple Finch Edition | Mary Evelyn Tucker | Skillshare

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Watercolor - Let's Paint a Bird: Purple Finch Edition

teacher avatar Mary Evelyn Tucker, Full Time Artist & Coffee Aficionado

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 30m)
    • 1. Welcome to Let's Paint a Bird: Purple Finch Edition

      1:40
    • 2. 02 - Supplies

      1:32
    • 3. 03 - Warm Up (Optional)

      7:01
    • 4. 04 - Leaves

      8:41
    • 5. 05 - Branch

      6:48
    • 6. 06 - Purple Finch Beginner

      17:13
    • 7. 07 - Purple Finch Intermediate Part 1

      14:23
    • 8. 08 - Purple Finch Intermediate Part 2

      28:05
    • 9. 09 - Background Wash

      3:48
    • 10. 10 - Share Your Project

      0:44
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About This Class

In this Skillshare class, we will explore the fundamentals needed, to create a whimsical watercolor painting, of a purple finch sitting on a branch, with a light wash in the background. 

This class is a great starting point for those wanting to explore the world of painting birds.  I will walk you through painting leaves, branch and bird. So, if you have always wanted to paint a watercolor bird look no “feather”.

In this class, I offer two different options for painting the Purple Finch.  I have a simplified version that I would consider a beginner level watercolor painting which is featured video six.  The more detailed version that I would consider a intermediate level watercolor painting is featured in video seven and eight.  Feel free to paint either or both versions.

Happy painting!

Meet Your Teacher

Teacher Profile Image

Mary Evelyn Tucker

Full Time Artist & Coffee Aficionado

Teacher

My name is Mary Evelyn Tucker.  I have been a full-time artist since 2015.  Over the last six years working on commissions for clients, I have painted hundreds of pet portraits.  I love capturing the unique qualities of each individual pet.

In 2020, I illustrated three children's books that were published.  I worked with author Susan Jones on "The Adventures of Cooper" and "The Adventures of Cooper: The Fire Breathing Machine."  We have a third project in the works, "The Adventure of Cooper: The Flowerbed Fiasco" that should be available in late 2021.  I also worked with author Tamara Menges (Light Filled Home) to illustrate her children's book "The Nativity Set," that was released Christmas of 2020.

I found a way to do water... See full profile

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Transcripts

1. Welcome to Let's Paint a Bird: Purple Finch Edition: welcome back to another skill share class. My name is Mary Evelyn and for those that have taken my previous classes, welcome back. If you've noticed, I've actually got a little bit of a different set up. We've got Cooper. Hang on the wall back here. We've done a class on that for those that are new welcome. We've done a class called Let's Paint a Basset Hound and also follows a couple of other classes on dog eyes and a dog knows. And I would love for you to take a look at those. If you're wanting to further your watercolor skills as well as just learned some of my nontraditional methods, I tend to approach watercolor with a little bit of an outside the box approach. In this class, I am going to show you how to paint a purple bench, and in this one we've actually got to variations. I have a beginner's purple finch with just not quite diving into all those details as the intermediate version. So please make note in the Class two. Watch out for those. If you want to watch both videos, feel free. If not, feel free to just skip over one or the other and continue depending on your level of painting. Let's talk no feather like a good plan. And let's jump right into class. And remember, you've got this like you've really got this anybody campaign. It takes a little bit of practice, a little bit of determination and a sense of adventure, so we're gonna jump right in. 2. 02 - Supplies: Let's run through our supplies for this class. You start with our paints. I've already got mine put out on a pallet here. I like to my colors in the little wells here and then have a little mixing area. A ceramic plate is perfectly fine. Even a paper plate would actually work. Justus. Well, our brushes we're gonna use I've got three of them for this class. I have got a zero, and this one is a zero liner. It's a master's touch. These are all, actually master's touch brushes. They are my favorites to use during painting classes. I've got a number four round and a number 12 round. So those there are three brushes we're gonna use for this class and not my water sitting over here. I've got some paper towels ready, Teoh. I've printed out the warm up sheet on some watercolor paper so that I can paint directly on here. This is going to be in your class outline. You could download that and get it printed out as well as your outline. That will also be in the class outline. And let's see, am I forgetting anything? All right. A sense of adventure because that's how we're gonna roll of my classes. I think that takes care of our supplies. So let's jump right in. 3. 03 - Warm Up (Optional): Let's jump right into our watercolor. Warm up with this. We're just going to take each elements from our final painting that will be doing just a little bit to just allow you to a warm, Um, just get a little bit loose. Feel like you don't have to be so strict on what you're doing, just allowing you to be a little more creative with your technique. So with this, we're going to start with the leaves. Leaves air is very simple. It's a wet on wet technique. We're going to do a dark base, go to the light tip, maybe mix a little color in between and go from there. So with that, there's gonna come over here and get a little bit of my mint julep mixed. Take it and I'm just gonna brush it all way across Drew. Now, because I did print this on some watercolor paper, the ink might believe just a little bit, but I am okay with that. So with this, I'm just adding a little bit of pains. Very or a lot depends on how you look at it. Your perspective. So I've got the light wash a dark base and I'm gonna add a little bit more of the mint julep, a little bit of a darker pigment of the mint. True up, I'm actually in a corner here and get a little bit of my brown. I just add a touch of that in the middle. And if you want to get a little crazy, you can tip your paper because water has skin. Your pain isn't going to go outside of where the water is at, so you can tip and move. As long as you've got enough water on the surface, your paint will move. It helps with blending as well, instead of overworking it with your brush, which tend to see a lot of water color. I like to let the watercolor do the work for me. It's kind of the beauty of watercolor that can go in here a little layer on put a dark base . You can do up a whole painting of leaves like this with this technique, a lot of fun to do, and I recommend you trying it out sometime. If you just wanna just kind of kick back, do something fun. A little bit of that brown you can add a little bit of the yellow as well into the middle, so you can give the illusion of sunlight. All right. And that is basically how you do. It leaves very simple. You have options as faras colors. Go where you want to put them, how you want to put them on. One thing you could do once this has dried just a little bit. You still got a little bit of a sheen on there. You can take a clean brush with some water on it and just drop it right on top. And what it's gonna do is push the pigment out of the way. It's called a water bloom. Two great technique for creating texture on your watercolor painting. So we're just gonna let that settle gonna move on to the branch. I just wanted to run through these quickly. Alright, what I'm gonna do for this branch, I'm just gonna put a layer of water, and I still have a little bit of pigment on my brush. Here, put a little layer water. I'm gonna mix a little brown with my Payne's gray and come over here and just run my brush right along the edge. there. Look how cool that is. Branches are probably one of my favorite things to paint. Apart from your dog eyes and dog noses. I just It's just fun technique to use. You want those edges a little darker. Just brings more pigment along the edge. Tap, tap tap turned out to overwork it. Now, if you feel like you're center has gotten a little too muddy, simply come over here and grabs. I'm gonna grab some May wake wash. Just tap it right in the center There. Another tip would be to add some salt on public. This will create some really beautiful textures in that branch. Final piece of the warm up here. I'm going to in the most basic sense that I can show you how I would approach a bird wing. So what I'm gonna do? Not typically. I wouldn't go in with quite this dark of a wash. What I'm gonna do is just get it wet here in the middle and it'll blend right on in. Don't bring it all the way down just to get a coating of the color. Okay? I'm gonna grab a little bit of a darker pigment. Some of our crimson or a lizard in Crimson is it's technically called, and something funny about that is when we watch Bob Ross paint and that's one of his colors . Is a lizard we always think, he says. A lizard. It's pretty funny if you if you like Bob Ross, you should definitely keep watch What some of his stuff and pay attention to when he says, Ah, Lutheran, it sounds like a lizard, All right, so just having a dark edge, dropping some colors where there's some depth and then we're gonna let that dry and go back over with just a few details, as faras with the final painting is going. But that's just the base of the wing. So that's what I'm gonna show you for the warm up. You can go in and add as many details as you like. I encourage it. You could even add some salt If you really want to kick up the texture. I would also encourage that. And for this this is still damp just a little bit, so I'm gonna go over here and grab a little bit of our whitewash. Once I get rid of the pink that is in my brush Now that my egg wash was pink, We're gonna have a paint branch. Just drop it right in there. Create that highlight through the middle. Okay. All right. So that's how I want. I just want to run through the watercolor. Warm up quickly. Just so you get a sense of what we're gonna be doing in our final painting. All right, let's go. 4. 04 - Leaves: I think we're finally ready to tackle our painting. I've got my outline here, and I am going to start with the leaves. First. I'm gonna get my number four brush here, get a little bit of water. What I'm gonna do is cooperate to this mint julep and I'm gonna make a wash out of it. I want to bring this down. Just see, all can see my my method here for a moment. So I've got my dot of watercolor over here. What this is doing is just creating a more concentrated pigment versus a more transparent pigment. If that makes sense, gonna start over here on our lower side. So what? I want to do you, I said wet on wet. So I'm gonna come over here. Just a little bit of that green stolen my brush. I just want to fill in this section with water. No, if you happen to skip over the warm up, which is fine if you've got some knowledge of watercolor and feel really comfortable with it. One things they mentioned in the warm up was water has skin. Therefore the paint The pigment cannot go anywhere past where the water is at, which is really cool about water color and why it makes it so unique. Can we come on the base here and on a little bit of a heavier pigment and when and what to do as well to grab a little bit of my brown. I'm just gonna add it to the centers here just a little bit. And what I'm doing onto the side isn't constantly tapping my paintbrush often to my paper towel. It just helps me maintain control what I have on my brush Macon mover and get a little Payne's gray. I'm just gonna tap that into the base a little bit more. All right. Part of what I can do is I can take my paper on Michael Tippett. See how much moisture have on there, and you do have control on where you're watercolor goes, so don't want to go quite that far, so I could just tap my brush off and actually pull pigment off of my paper where I don't want it. You drop a little bit more of the mint onto this leaf, can you? You can always do a little bit of refining work as you're going along with the big washes. No big deal. Now you have the option. You can drop in a little bit of the yellow onto these leaves. And I might do that on the tips just to give a little variance. Okay, Now I'm going to skip this leaf. I'm gonna work on this one over here because you've got the stem here is attached to this leaf, so I don't want to hit the water. Once I touch it, it's gonna pull into that leaf. So I'm gonna work on this one. While that kind of settles and sets up so many wash here. I like to Yes, corral my watercolor. I'd like to tell it where to go. That's kind of where you're seeing those little small brushstrokes and grab some of that Payne's gray. Just a little bit of that down to the base. As you can see, it's already starting to climb towards the tip of relief. You're gonna a little bit of that yellow at the tip. Sometimes I like to make decisions as they go along. I don't want to be to restricted in case I decide something looks better. All right, I'm gonna go ahead and leave this until I got the other two. It's that way. I know. I'm not gonna interfere with that step. I was gonna come over here, drop some water on both of these. Some green going here. I think you've probably caught onto the flow. Here is faras water the base color. Then add the dark and then add a color of your choice for fun. Okay, Again. Just kind of controlling where I want my watercolor to go can always pull that color up and around to define your edges. You can pull color up as you go along. I don't want to overwork those tips of the leaves there. I'm just kind of gently brushing you. See me do a couple of swipes just to kind of get a nice blend a little bit more green over here. Here. Just finishing out my edges here as I go along. It's kind of a combo. I can achieve both texture with the watercolor and refined Ito all the same time. A little carried away with that stem. There is not supposed to be quite that wide. So what? Introducing a paper towel and just dab at the edge there a little better. They're going to come and go ahead and work on this leaf holding with some water. Grab the green of the Paynes Grey on a little bit of that yellow. There's more of an experiment than anything right again. Just kind of pulling the colors where I want them to go. We're gonna blend it in with that. And there's a little bit of a stem here, right under the leg. All right. Okay. I think I've got my highlights where I want my shadows where I want. We're gonna add some final details to this towards the end, as far as cleaning up some of the edges with a smaller brush. But apart from that, we're gonna move on. I'm gonna let these dry, and then we're gonna move on to the branch. 5. 05 - Branch: way, Ready to move on to the branch. I'm gonna again use that number four brush. Grab a little, but of the buff titanium again, that whole section is just so I can get a nice wash without it being too concentrated. Come over here and just fill in this section with a light wash of the buff titanium. Okay. Branches are a lot of fun. I don't want this to what? I wanted just enough sheen on it. I don't want it to where? If I picked up the paper that you could see the water move, I want it. Just a nice sheen coating of water. See if I can, given illustration that just enough to be shiny. Okay. Gonna do some of the brown. I'm actually gonna mix it with a little bit of Payne's gray. I want both pigments in there. All right, Now what I'm gonna do is run along the edge with this brush. Watch the magic happen so much fun. Grab a little bit of that, brown because I want both colors to kind of come through. Now, if you feel like those colors are coming together too much, you can always come back in and drop some water to push the pigments back out. You can always grab some wash, too. On that in there. Just get those color separated. I think that branch look like it's nice. And round you go into this middle section seem concept layer of buff titanium. Go ahead and do this middle section here on the other side of the little claw can grab a little bit of that. Payne's gray and brown. Now, this is probably a little too wet because you really just want you want the pigment to just separate out right along the edge. You don't want to fan out too much into the branch. Go grab some that brown. If you want that edge a little bit darker, just grab some pains. Grade. Follow, right warning. I'm tapping and dragging. It's kind of my message. Tap and drag again. Just another method of controlling the paint. All right, I see it. I've got a little bit more brown over here than I do here in this middle section, so I'm just gonna balance it out just a bit. Okay, that's looking pretty good. Nice and round. We'll see a little spot here with a little bit darker pain. Since the bird is kind of sitting on top of this branch here and a little bit of Clearwater to the middle there just separate out middle section, right. I'm gonna move on and finish this whole section here. Same method. Grab a little buff titanium or really, whatever based color you what doesn't have to be buffed titanium. It's cool thing about painting to you. Get to decide what color told you what. Okay, pull some of that water off so that when I go to paint, the edge is white. Run into the middle as quickly as it was doing earlier. K brown in paint. Very my combo. And see how quickly it was running out into the middle there, your papers pretty saturated. And perhaps more that brown just tapping and dragging. Same method on top. Here, get underneath the foot underneath the leaf. Just kind of cleaning up those edges as I go along. This is the part about patients. I was mentioning. You can if I can get it in one stroke, I would prefer to do it that way. Doesn't mean it has to be done. That way. It's just the way I prefer to do it. Okay? Drop a little bit of Clearwater just to kind of push out pigments that is looking nice and round, which is the goal. We want that shape to really translate with the colors. All right, we're gonna move on to our next step. 6. 06 - Purple Finch Beginner: the beginner version of the purple French painting video skips the bird's feet. Please refer to the intermediate part one video at 11 minutes 35 seconds to view the three minute tutorial on painting the feet. Okay, this is the optional video for more of a beginner loose version of this bird. The video for the intermediate level will take you but further as faras details. So depending on which video you want to do, you get to pick. So in this one, I'm going to utilize a little bit of salt to create some texture on the belly and maybe even a little bit of the wings. And I have already painted the feet believed in the branch. So better jump right in and we're gonna start on the beak, and I Okay, I'm going to do is just get this bottom part of the beak wet. And I'm just dabbing my my brush on the paper towel as they go along. No, what I want to do is get a little bit of this purple color. I'm gonna bring this little bits. You can see what I'm doing here with mixing a little bit of that peril in violent with some of the crimson. I just want to drag it along the bottom here. Really, The goal of this is to create as much texture and depth with the pain and water without having to really go back in. So I like to carry, create, like, a little smile. All right, so that I want to be the bottom of the beak. They don't want to overdo it. That is the thing with watercolor. I tell this to other students, and then I tend to do it myself. Is don't overwork it. Just keep it simple. I'm going to let this dry just a bit because they don't want the top beak to pour down into the bottom. I'm gonna go ahead and jump over and fill in a little bit of the eye with some pains. Great. By there, really Not any much different with the I. It's gonna be pretty similar. You can always go back in and add that dot of white with some white wash. Or if you've got a White Joe open, you can always go back in and do that. It's not imperative. Just gonna bring out I just a little bit here. Mary should be good to go with the top of the beacon. Just gonna be mindful of not getting watered down into the center there too much. I'm gonna put a little bit of the Paynes grey along the top Here is, well, kind of deep in that beak and a tad bit of the buff tainting him just to kind of push the color back. Now, there's this little patch of white that kind of just happened to be there, and I'm gonna leave it. I kind of like the way that that turned out. Okay. All right, then jumped right on into the body. Here again. Our goal is to accomplish as much with us few strokes as possible, as far as texture go. So I'm gonna go ahead and bring in just some water. Just plain water onto the body. Here, try to clean out this brush. I can tell it's got a little residue. I think I had some brown or yellow. Maybe on there, which is actually OK, that works when the gold. I'm just gonna get a full body wet. Okay, Now that we've gotten our bird coated in water, you should see a nice sheen to that. He's shine. Okay, take some of that crimson mix mix mix. What a little bit of a warmer base. So I'm gonna take a little bit of the buff titanium and mix it with the Crimson. All right, I'm gonna start, and I'm just gonna I just want to dab just a little bit here and there just to let the color kind of do it stain. I'm gonna keep going in here. Just dabbing color here and there in the little dark spots kind of over those little areas with Cem line work on top of it, dragging here and there. Okay, just dragging the lines down as we go underneath the wing here. There's some colored lines that can't come underneath this area here. Almost gonna bring down use a little bit of the Paynes grey in the the Dirk Wash that I have just a kind of ad, a little bit of a shadow. Come back in here and get a little more crimson deepening up. Now my go to mixture is crimson and the magenta together. It's a very vibrant vibrance and very spread herbal color. That's very fun again part of what I love about water color. Okay? Just kind of following my lines. And they went around the head out just a bit softened. Sometimes that happens. The brush hits the wrong angle. It's not quite what I meant to do. And that's OK. Hey, all this is still really wet. I'm gonna I want to stay that way. Just for a few minutes. I'm gonna go ahead and do this here. That shoulder is got some dark on the top. So I just wanna deep in this area here and add a little dot around the eye along the edge here. Very faint brush line. Damn damn dab. Sweep it down down Very soft. Further marks. Same thing here. And bring those down bird. Every time we do this bird, it just has, like, a different expression. Let's face and they find that quite funny. Ok, a little bit. Apparel in violent to really start adding the depth. All this is still wet. So we're still working that wet on wet. Just dabbing it in there, dab in drag daven drag. That is my motto for this version of this bird again. I can kind of bring down those colors. This paper is nice and saturated, but not oversaturated. Where I'm gonna lose all of those colors. And you want a little bit more of a concentrated mixture when it comes to this. Anyway, coming around here, that tail feather is actually got some depth to it as well. Go ahead and add some salt to head on the belly Just around. Sometimes I try toe, pretend I can control where my salt goes. That is not always the case. Okay, so I'm gonna let that dry for just a minute. I'm gonna take my dryer to it. Speed of this process? Just a bit. We've got the salt dried. I anyone have brushed it off, I am going to take the number four. Just grab a little bit of that pink that we had, and I'm gonna just to fine a little bit under the wing. Here, take a little bit of the pair. Lean on the paint. Great. I just want to define some of these these feathers here. Just take a one. Her stroke approach just kind of pushed down on the brush a little harder toward the end to get it to fan out a bit. He had a little bit of a lighter wash here, King again playing up with the texture. Go ahead and fill in that tail just a little bit. You see something here with this crimson? I just can't push some details of the feathers in between those little slots that we just did. This is a part if you want, you can kind of taper those strokes upwards, just adding a little bit of detail. There. Take a little bit of a light wash actually an extremely light wash of that purple e. Payne's gray tone. And I just want to define a little bit more of a shadow under the Billy here just to give it a little bit of depth. Okay, Same thing here and you can take if you little swipes. I know you probably can't see much of that. It's very faint, just enough to add a little tone. Now, when there's little patches of wet area, you can take the tip of your brush and just swipe out. In that way, you can create some texture while you've got patches of wet paint on. Same thing over here. I've got this little wet patch, and I can just drag little details out from it. Just so it's not quite a hard edge. Okay, Same thing. I'm gonna do that with the head. There's a few spots that I want a little bit deeper, especially here in I. So I'm gonna just drag that here and here and right underneath that jowl and I'm just gonna pull out some details, just swipe out just little. Oh, motions here. Sometimes they're not quite thin. And if you can use that zero liner brush, sometimes I just get caught up with using the number four brush and same thing with here and add here and here and just bring out little pieces. Sometimes it works a little bit better than others. A little bit of that dark around the eye comes to bird I sometimes depending on the type of bird, you've got either a really dark area around the eye or you don't, okay, And I am gonna bring out a little line here, just as if this bird was smiling. And, of course, with this version, you again, you could go as far as you want or as little as you want. But I wanted to just show you that there is a way you could do a simple kind of a starter version of this bird again. I'm starting light and then pushing my brush down on that. They have a little more defined Look, I am granting me here. I'm gonna go back in on the I just real quick was some more of the Paynes grey. And also, if you want some texture to this the lunar violet granulated, that's a good option. If you're really wanting adds some texture, I'm gonna go back in with a little wake wash on the I still a little Don't here fine the engines here just a little bit. And then I'm gonna bring that beak out just a little bit. So we're getting more of that like happy, happy feel again. You can just kind of push the paint where you want it. We want to go. And again, you can go on with your white quash, do some highlights. You can keep adding layers of strokes to achieve a deeper feather. Look, I'm actually pretty pleased with this. A Sfar assed texture goes. We didn't spend a lot of time on it. You can always build on this. But I wanted to show you that this is achievable with simple motions. And once you start understanding and practicing how watercolor reacts on certain papers how certain pigments react. When I mixed the magenta and the crimson together, you saw how much it just kind of fanned out on top of the surface of the paper with the water so different paints are gonna react differently. Thank you for painting along with me in this beginner version. To complete the painting, continue to video number nine for the background wash. If you'd like to paint this any more detailed version or simply watch the intermediate lessons, please refer to video seven and eight. 7. 07 - Purple Finch Intermediate Part 1: for the sex part. Wanted to zoom in a bit to show you some detail. I'm going to focus on the beat. And so I wanted to show you how that was gonna happen. So part of it is I want to go ahead and get this lower beat coated with some water. Just the bottom. And I'm just pulling water off of the paper. Gonna come over and get a little bit of what I did here was mixed A little bit of the lunar with the crimson Drag that right across the bottom and right across the top. Okay, I need to pick up a little bit of us pigment. I can pulled up with my brush or come across here with my little bit of paper towel just down at take. You go a little darker on that. So a little bit more of that lunar just really light washes is one of after. And with birds, you've got some leeway on how you approach where to put certain colors. You have a little more freedom because you know, every bird is different. The basics are going to stay the same. I'm just laying down a little bit of that buff titanium, and I'm going to drag a little bit of it, passed the beat care. And with me and animals, I like to try to add, like a little almost like they're smiling a little bit, right. Same approach with the top pulls from that water off there. Well, here and get a little bit of my mixture can make a little darker. He makes a little bit of the pains with the crimson to make a purple tone, drag a little bit and then on top a little bit over here to this side. Little smiling bird there and a little bit of that buff on top here. Not very much. Oh, probably clean my brush out enough. Watch out for that. That is the thing I get into a little bit of a hurry and I don't quite get all the pigment on my brush. So then it kind of mixes. We can keep darkening that with another wash once that's dry. But I'm gonna leave that as it is. Go ahead and get a little bit of pains. Great. Fill in that I You know what? The bird I again? You've got some wiggle room. Or should I say you've got some creative license? I kind of do the shape you want. You like bird eyes to be happy. So I was trying to go for the cute approach versus just like the all black with the little tiny speck of white. I like to make him a little bigger, a little rounder, a little more white, and you can come back in with White Wash as well, just to kind of add that shiny highlight and give more depth to the curve of the I. Solberg is looking pretty happy right now, so that makes me happy when it comes to detail, with feathers, etcetera, there's a couple approaches. You could do a wash and then after detail. Or you could do detail then and your wash and then go back in with detail, which I tend to do quite a bit. With this. I do like to add little markers for myself, meaning I'll just come over here and get some crimson or a light pink wash, and I might start marking off the direction of the feathers where things were gonna be lay down. How the for I paint way too many dogs and cats Where the feathers we're flowing on the painting. So you just come in and just at little lines, and I am using that smaller brush on. Remember, if I mention that I am using that zero liner just a great brush to have in your to kit again, just kind of following some of those guides. A lot of these air going to disappear once you put a wash over the top, however, just makes me feel better having them there. Dan, I'm kind of come over and even a little darker. It's burgers looking mighty smug about something. I think they know something we don't know. Okay, The fluffy. I wouldn't say downing, but the fluffy sloppiness of the chest. All right, Now I am gonna get some depth with a wash. I'm gonna go ahead and get my number four here. I'm back. This came around just a bit. I'm gonna lay down a wash of light crimson. The head is much deeper in tone than the rest of the chest and even the wings. So I'm gonna start with that and try to clean my brush off and keep going with the water, but I don't want Don't want it to be a dark pink. It's almost be clear all the way under the belly and under the wing, right? Just a nice wash show. You kind of see it's already started to dry towards the top and they're towards the bottom . I can tell that it's pooling just a little bit, so it's probably just a little bit much water for my tastes at the moment. But it should soak into the paper here momentarily. All right, I'm gonna get a darker wash of the Crimson. I am gonna mix it with hold with that peril in violet, one of my absolute favorite colors. And I am going Teoh, just dab a little here. Gonna let the paint work for me. We will go back in with those details for now. We're gonna take it one small section at a time. All right? No, with the chest, there's these extra little lines here. So we're on a downward sweep down a little lighter than that. Sweet downs down. Just pulling the paint down. You can add a little bit of buff titanium on the edge of the Billy here. If you want to add some warmth. You could do salt on the head as well. It's a great technique to use. You can add some water blooms, and I will be going back over with some of this with some white wash as well. Okay, on a little bit of a undertone here, tried and all right now, right where that shoulder is. I'm gonna add a darker mixture. Pair lean, and you can do a little bit of that. Lunar adjusted deep in it. Same thing with the pains. Now the lunar violet. If you do happen, have that color or get it does. Granulated creates a really neat texture to just be aware of that at a little bit of those deep tones here, here, right underneath the chin. And you can drag out some of these colors as well, while everything is still wet. Just pulling him, blending them tip of a number four can get pretty pretty pointing, and I will be going back in the beach area and adding some wash if you really want to warm up the crimson. Just a little bit of the buff for the yellow okra to it. And sometimes on bird bellies. If you add the salt, you've got enough color down A s. The salt looks really neat as well. A lot of texture. Okay, it's gonna let that dry. And I'm going to move on to the feet for our feet. The name of the game is just following your depth of light disorders, your darks and your lights. And when you use the same technique of just laying down some water, I'm gonna pick up this dark wash than a maid of the Crimson in the parallel in Violet should drop a little bit of that color down in there. My reference photo looks like there's old, extra red. A little bit of it on this one. I'm just gonna drag a little bit of that color along the edge just to give a defined edge. Fill that in with some water. I still got a little bit pigment on my brush. That's okay. He did switch over to that zero. Sure. You took notice. I'm actually gonna grab a little bit of the lunar violent. Just drag it. He's here. And if it gets a little too out of control, just pull your brush down and those towns are gonna be probably gonna run back over them with a pain to grade. You can always go back in the center, some white washes to get a little roundness. I had some tiny details here that is actually Cem. Almost white feathers coming off that little little laying there. So just fill that in with a little bit of color. Go back over it with some wash. Okay? I take a little bit of Payne's gray underneath those feet. Fill in those talents. Okay, If a little defined edge 8. 08 - Purple Finch Intermediate Part 2: I got this nice and dry. So I'm gonna go in and work on this beak just a little bit more going to add a few more layers of the darker purple again, Just a mixture you feel comfortable with. Play around with the tones and the values getting my brush clean over here cause I'm gonna bring my clean brush right along the edge There just a blended in Take a little bit of Payne's gray on it, right underneath the edge again. If something doesn't go where I wanted to go, I just either brush it off or pull it up off the paper After getting my brush clean. The bird is definitely looking like like they're up to something here. That's because there was that white above the eye, making it look surprised. Almost anyone at a little bit of wash right along big here. Just little small strokes. Well, I got a little too carried away with the face color and went a little too far into the beak area. Just taking little little strokes until it feels about where I want it. Same thing here. You can really clean up areas with a little wash I think I'm being counterproductive here. But, oh, well, all are getting that shape, right? And again, this can be bird that I wanted to look like. I mean, still Purple Finch. But it could be what I want. Now I'm gonna make some of my crimson and magenta together creates air, really pretty read deep, deep pink tone. And I'm just going to start adding small strokes up and just kind of trying to miss every other one. So it doesn't look like a street row of lines on your bird face. Here, thanks. Comes with some practice after doing so. Maney Pet Portrait's and for texture. So this does play a part in translating. If you've painted a lot of birds or, you know, things like that, this can definitely translate over into pets as well. And sometimes I get a little carried away with this method. Sometimes it turns out sometimes it doesn't usually remedy this, either with just doing a wash just kind of washing over it, blending it in. We're getting a nice, pretty red crimson tone in there. You just got a staggering staggering my lines You get caught up in the detail for sure. So please, either take your time and continue doing as much or as little detail as you want. This is your painting. You get to do it. How you would like. I just know there's obviously opportunity for new to add Rome. Spend to it color choices. Maybe you might want to add some sparkles. That's always a great idea, especially with feathers. Sometimes they got a little bit of a shimmer to them. That would be a shout out to one of my students, she added. Some shimmer onto a dog nose, and it was just amazing. So highly encourage use of what speaks to you as faras creative outlets and mediums sparkles make you happy. Then, by all means, add some sparkles again, just continuing to add the depth that I want. I'm gonna add highlights with the white wash. You can certainly do the approach of leaving the paperwhite where you want the highlights. Not quite the way I roll. Not sure why, sometimes it is, but typically I'll tend to do a darker wash and then go back in and add the wash on top. I'm just gonna go over here and just brush somethin strokes, meanwhile, later washed them that sometimes if you flatten out your brush on the paper towel and take the edge, you'll get a nice, nice pointy edge to your brush versus kind of when you go to put it on. It's just flattened, bulky. I'm all about you want the painting that looks like a painting without it being super photo realistic, but at the same time looking realistic because I'm a big believer. And if it was photo realistic, then why not just, you know, have a photograph of it? Meaning, you know, super super precise. Which a follow some artists that are just amazing and do photo realism. So I'm sure why exactly I say that. I just think art used to have that art feel to it, I guess is really on things already mix a little bit of that yellow. You want a warmer tones of the yellow and the crimson just to get a little bit of a warmer tone, and I'm just gonna drag some strokes along here. Now, that's still a little too dark to me. So I'm gonna take my paper towel dab at it, all right? And I don't even know if you can see quite those strokes anymore. A little bit more water to that mixture, Justo, just to get it. Okay, that's about where we want. So I just I want to be able to make these little little strokes because where the feathers are, I've determined with this pattern it's very reminiscent of scales, meaning kind of the swoop. And then there's other soup. And then there's one underneath it. In between those two scoops, that's about the best way I can come up with a quote unquote pattern for this bird. And probably for most birds. I do have a Siris of birds that I've done. I've done a yellow finch in a few Bluebeard's and some hummingbirds, but I usually just follow the picture and what I see versus trying to figure out all the exact details to it, and I just paint it until it works for me and my purposes. It's what it comes down to. Yeah, I had a Siri's that I did birds with flowers, and at some point I'm gonna offer probably kits or coloring pages or something of that nature but its birds with flowers. And then there's a key around a string tied to their foot, and I'm not really sure exactly what it's all about. But there's something that happened after my dad had passed away and he loved bluebirds and dogwood. So I did bluebirds with some dogwoods and then had this key idea. And I figured, Well, there's a key, meaning that there's a lock somewhere. But I don't know where and haven't really quite figured it all out of processing it as far as what the art means. It just was something that I did at the time I loved him. Yeah, I know it doesn't always have to be an exact meaning to your heart, but I'm just adding strokes where I'm seeing. They should be laid. There's a few little dark, dark strokes down here again. If those strokes are too dark for you, just take your paper towel, Dad. About it, right? Like in the tone. So farm like in the chest. I'm ready to go in here and start adding a little bit of detail into this wing. And with that, I'm just gonna follow along those lines. Just loosely follow those lines. I'm not exactly gonna follow these lines. just spoiler alert. It's more of a guideline. So again, and my brain almost like that skill comer made scale or fish scale like toe. Think of mermaids more than fish. Just kind of the idea. And then here, start your swooping down and even gonna bring up little strokes here. Okay? I'm just gonna keep adding some strokes on some deeper tones here. What I'm gonna do with these is I'm gonna fill in those whole sections with kind of a deep purple loom tone. Almost. He says my goal. I'm just loosely following these lines. Okay, now, to make up that mixture I was talking about darker went almost a purple blues. I'm just going to make some of the Paynes grey with the para lane violent What I'm gonna do here. So I'm gonna take this here on that wing there, take to the next one here. Now, I'm almost gonna fill in these little sections here, avoiding touching all the paint together. Touching each section together is what I'm trying to say. A little bit more of a swoop down from this angle here. I got a little carried away. Okay? Same thing I want to take some of that purple and I want to run it along this little edge here kind of avoiding going almost every other well section And where that shoulders that I wanna really add some depth. And I'm gonna go back over that area with little wisps of white wash. That would be my approach to finishing off the feathers again. Just kind of going just kind of going with the flow here. No, I can definitely go back over some of these things. I need Teoh, go down here. Go ahead and fill in along. Tail feather. There's Taylor, the wings from the back side or coming around here. So I'm just gonna gently put a outline. Just going in with a little bit of a lighter wash because they're kind of underneath that part was gonna deep in that whole section there really kind of the same thing here, deep in some of those lines. Part of the tales, really about lines as faras really thin give the illusion of feathers. I've still got a deep section here, a little bit more crimson and right underneath this part here, this little back partner used to be a little bit of a deeper red, too. So I'm gonna make some of the magenta and the Crimson go after this. It's a nice, vibrant read tone deep in these little sections here, okay? And I'm gonna go out and get a deeper purple wash I wanna go And deep in those wing areas just a little bit. And some pains with the violet almost creating a black deepening those areas that painted deep colors. And again, you can certainly take this as far as you want with details. It's just me kind of introducing you to this process again of how I approach it. That doesn't mean somebody else won't approach it a different way, which is perfectly fine, because I'm probably getting a little too involved with this little area here. I'm going to mix up a nice coating of whitewash because I really want ad in a little wisps . And if you feel like you're your tip iss thick, just dab some off from a paper towel. I feel like I get a little carried away with this stuff, sometimes just stroking as we go. Little wisps at a time. Sometimes if you get your breast restraint kind of just go up and down and create a little nice little wisps, little wisps of feathers, just kind of making appearance over the shoulder. Here, you'll find that washes interesting. If you choose toe, get involved with quash. It is fun because you can blend it. You can Lear it. It's just fun to me. Can advice highlights with it can make emerged look more smug than me. He already is. Probably had a little dot of pains. Agree a little too much on that. I was gonna deepen I a little bit more, just mixing up some that quash. Take another pass at this edging here No follow along than that care kind of streak area. Okay, just continuing to build. I know. Probably there are some people that would look at this is like a backwards message, but I just have found that that's the way I like to do things. So that is the way they do things, e think, depending on how our watercolor experiences have been. If I had just stayed in a mold of well, this is how it's supposed to be done. I would not be painting watercolor today. You don't like being stuck in a box. That is why use different tools? Four watercolor. I like to kind of be out there. Still still doing traditional work, but in a non traditional way, I think is pretty awesome. Okay, I'm just gonna line the edge. These feathers here. I'm just gonna bring the brush street up because that's the direction that the little the little strokes go. You get as tiny or big with ease and you want. But I just like to add it for a little texture, just to give a little pose as and that this had to be a little shiny. Er, you can get as involved in this as you want or not. I know I keep saying that, but I also acknowledge that I keep painting certain areas after I've done something to them . That's not exactly what I mean. Did you just kind of happens? Because I may go in with this head here just second, add a few more dark areas. A little bit of that. Payne's gray imperiling violent and just had a little bit a little bit depth to the eye here. Amazing. What? Just a few strokes hold you as far as the shape in the demeanor of the bird. I think that bird is looking pretty spiffy now sometimes. And I've found this on multiple occasions. Um, I did a practice burn of the same bird and I look over at it and I'm like, Oh, I like that I made that decision and I like this. And sometimes it's difficult to recreate that exact sequence of color, tone or transition. It can be done, but it's It gets to be a little bit more difficult, and you're trying to copy something you've already done. My bird looks happy. It's really all that matters to me again. You can take this as far as you want. Were a little if you want, and I'm sure, was something like this. Many hours could be spent on it, which is perfectly fine. So, yeah, just take it where you want. You could even go in with pencil on ads and pencil marks to the feathers 9. 09 - Background Wash: wear now ready for a color Washington The background. We'll start with the bottom. I'm just gonna add a nice layer water. You just gonna let it with? The edge is I'm just gonna kind of roughly just what? Then be not gonna do anything super special. I don't over think it coming over here and getting so much yellow. I'm just gonna what? It do its thing. Tap tap, tap, drag Let it fade out in the world darker Grab some more yellow. I'm just gonna work section at a time as I like to do. Go ahead and wet. It's a section here and so the bottom here Summary head You can always dio you always flick the painting. You can always tap your brush and add a little water drops of color in the background if you want. It's always a fun method to get some texture, we could add some little specks of the mint julep, which actually only two. I just talked myself into it. Kind of working quickly. It tends to work a little bit better. The more moisture your paper house on it for that color to spread again, depending on your goals and what you want from the painting. You get to decide your goals. Pull on anybody else, set him for you in a little bit of that yellow wash on top of your branch if you want. Take the number four, actually, see if I can get some of those little specks I was talking about. Just just a little bit. Not Not much. You can always throw salt on the background to so let it Kanna do its thing. All right. Great job, everybody. I'm sure you did extremely well. 10. 10 - Share Your Project: all right. I would love to see your finished products in the project gallery. Please upload those. Um, you may start a discussion in the class if you have any questions. Maybe something you wanted a wide and something The way I did it. I'm happy to explain best I can. Sometimes I just do things, but I usually given answer best I can. So I want to hear from you apart from then. I hope everybody has a great time painting. And thank you for joining us during this class. The let's Pena bird class and, uh, take care.