Watercolour Fun - Paint a Kingfisher | Denise Hughes | Skillshare

Watercolour Fun - Paint a Kingfisher

Denise Hughes, Illustrator, Designer, Tutor

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7 Lessons (1h 11m)
    • 1. Introduction

      1:49
    • 2. The Stumbling Blocks to Drawing

      10:07
    • 3. Practising Drawing and Observing

      7:15
    • 4. Kingfisher - An Exercise in Simplifying Shapes

      6:36
    • 5. Drawing your Kingfisher

      10:46
    • 6. Painting your Kingfisher

      32:19
    • 7. Final Thoughts

      2:11

About This Class

In this class you will learn how to paint a kingfisher using watercolors. 

In this class you will be learning the importance of observation in drawing and we will look at some of the stumbling blocks we might come across when trying to draw from observation.I'll be teaching you the three basic stages of drawing which you can apply to any drawing you create. We'll do some practise exercises in this before moving onto the Kingfisher itself. 

We'll use the techniques we've learn't to draw our kingfisher accurately and then go on to paint your kingfisher. The painting tutorial is an in depth look at how I might produce a painting and you can watch me and follow along. I hope you find it useful and informative!

You will need a pencil, an eraser a marker pen, print outs of the two class resources (kingfisher and meerkat print), and watercolour materials. 

Let's get drawing and painting!

Denise

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Transcripts

1. Introduction: Hi, I'm police and I'm an illustrator of water kind of artists. Welcome to watercolor fun painting Kingfisher. This is going to be a really fun class. So grab your paints, paper and pencils First, I'm going to show you how to do some really close observation work to make sure we get the proportions of our painting just right. And then I'll show you how to paint the Kingfisher in easy, logical steps. First, we created drawing together and we'll learn all about the importance of observation and getting your proportions right, and I'll take you through each deck. Step one will simplify the shapes. Step two. With that definition on in step three, I'll teach you how to refine what you've drawn. And there, once you've learned about proportions and how to draw them correctly, we'll move on to the painting. We'll paint each part of our Kingfisher together in clear, simple steps. Don't worry. If you've never pain to the full, it doesn't matter if you're a complete beginner with someone who is already painting. This course is for everyone. So please join me for this class is going to be great fun 2. The Stumbling Blocks to Drawing: The first thing we need to do is to get shapes and proportions of our Kingfisher, right? You like to read to be thinking that this sounds difficult and that's OK. Don't worry, because everyone control, they really can. You see drawing is much more about observing what you see in front of you than anything else. So if you think about it is seeing rather than drawing, you might find it easier. It's much more about observing things properly and less about the pencil that you're holding in your hand. When we were Children, we used to draw things like this. In early childhood, we all learn a Siris of shapes which represent things. Squares for windows with crosses through a triangle for the roof, for house, that sort of thing. See how everything in this picture is a simple shape or symbol. The tree is made up of a rectangle for the trunk on a cloud shake for the leaves. Of course, as adults, we know that a tree doesn't like that in real life, but we still recognize this shape is a tree, and that is the problem. Stumbling block to really accurate observation and accurate drawing is your preconceived ideas. Everyone can observe and draw when things get a little tricky. What tends to happen is that we revert back to the known preconceived symbols that we relied on in our childhood drawings and stop observing the subject correctly. Let's look at some other examples. Here's a cat circle for ahead triangles for is dots for eyes and another triangle for the NYSE and some curly lines for the mouth at some whiskers. A social balance shape for the body on a curly tail and some rectangle legs with oval feet . Let's do the same for a dog. The dog has a sort of pear shaped head, and long is a circle for the nose darts for the eyes from a curly mouth. It has a rectangle body are more rectangles for the legs under curly tail. Now we all know that cats and dogs don't look like this, but when those shapes have put together, we recognize the form as being either a cat or a dog. So here's an example of how preconceived ideas about what things looked like get in the way of drawing things accurately. So say, for example, your drawing this trade. So starting with its trunk, you can see that the line of the trunk is leading towards the right, so you're going to need to describe that angle. Now. I'm adding the line of the grass along the bottom of the tree trunk, and then I'm moving up the other side. The trunk starts off white and curls inwards quite sharply, and there's a small bump on this side of the tree, perhaps were brought. It used to be, so we'll put that in. Now let's do some comparative observation. Now. The distance from the base of the tree to the bump is slightly less than the distance from the bump to the start, the leaves. So let's draw this section. It has to be a little bit longer. Work at the truck to the branch. Notice the angle at the branch, and now we're going to add some shadows onto the trunk. I'm starting from the bump to give me an anchor or a point of reference. Don't worry it all about making mistakes. Every artist does. It was completely a normal part of the drawing process, and we can learn so much from our mistakes. You can see here that I've decided that I hadn't made the base of the tree word enough. So I'm adding that in the shadows across the trunk, a very dark. So I'm sketching those in. Now I know this is a dark shade, but don't be afraid to be bold and really go for it. I'll just made this up. - The texture on this bark is made up of linear stripes, so we need to make sure we draw those in. - I've made a mistake with this shadow, and I need to remove some of it. But like I said before, that's totally normal. So don't worry about it just a race and read role. Now I'm adding some definition with a darker shade until I'm happy with the overall effect . Put out the outline of the shadow on the grass I've put in the horizon line, so I'm pleased with this drawing so far. The trunk is good, it's accurate. In the shape is right now, I have to draw the leads and there are literally thousands of them. You might think it's pretty daunting thing to draw right. I mean, what should you do? Draw each one individually, but that's too hard. So what you might be tempted to do is this instead and we are right back to our childhood preconceptions. Okay, so I'm oversimplifying my point, but hopefully you could see what I'm getting at. So once you stop observing properly, things tend to go downhill. That isn't to say you need to draw everything, but you still need to make a careful note of the outline of the tree and the gaps in the leaves and the different tones and colors. So in the next step will be practicing how to observe and then draw. 3. Practising Drawing and Observing: before we get onto the Kingfisher, let's have a go at drawing another animal and see if we can practice our observation skills . This May cat photo could be found in the class resources. You'll need this on a clean sheet of paper, a pencil on a razor. For this step, you're going to draw the meerkat onto the paper with the pencil, although you may want to try it with a marker on the actual photo. First I leave that up to you. There are three steps to this step. One is getting the structure rights by simplifying emitting into simple shapes. Step two is refining your lines and adding definition, and Step three is adding the detail. Now. The first step in getting the proportions of a drawing light is to simplify it down to some simple shapes to make the structure. I want you to draw this very faintly in pencil. You're drawing it faintly so that if you need to, you can rub it out. There's no shame in rubbing parts of a drawing out. This is the process of puzzling at the shapes on finding a solution to the whole form. So the first thing we're going to do is to simplify our shapes. This is Step one. Now I can see that his head is a source of round or take shape, so that's the first thing I'm going to draw in. If I look at the edges of his body, I can say, um that the lines splay out from his head. He's locked slightly wider at the bottom, and then the shoulder is a source of I'm gold oval shape. So I'm just drawing around that as well. If we look at his eyes on, we can see their point. Ian Almond shapes, however, describe them and just keep looking all the time. Keep observing. Now I'm going around the end of its nose. It's like her small square and then the bridge of his nose is two lines going up at an angle. Really, it's like a rectangle. His mouth is a simple, wickedly line that goes down, up, down and his ear is like a slightly skew with, um d shape. That's the first step done. Now we're going to move on to the second step, which is to refine it. We are aiming to make the structure that more defined, So we're going to have to do some really close observation work this time. But not to worry, because we already have our main structure down on the paper. So we are following that. But just adding more information. So we know the second stage is all about refining here. I'm looking carefully at the meerkats, bone structure, the shape of the eye socket and now the jawline. Just write about what you don't need and keep what you do. But really, don't worry about rubbing things out. It is the right thing to do. Just rework it all the time between closely at your subject until you get it right. So for this part, I'm outlining the duck for around the eye and his nose. And then I'm going to add some whiskers, so look carefully at the angle of his whiskers. It helps sometimes to think to yourself how close is this line to a 45 degree angle or a 90 degree angle? And just try and compare of the direction that the whisker shape is in to a known angle at some definition around the nose. Make sure you remember the nostrils and look how the nose bulges slightly above the nostril on each side, now has a flap of skin over his ear. So we're going to define that and I'm taking this. This'll ein away here because I'm not happy with it. Yes, that's better. Not quite happy with the line at the top of his head, either. This needs some changes. You see how it dips in the center there. That's what he looks like without the photograph. Yeah, he's He's looking more like a meerkat. Now I'm going to define the eye shapes how the eyeball sits within the socket. It was a little highlight patch there. Great. I think he's looking pretty good. So this is where you would do the third stage. You'd add some detail. I'm just adding a little bit of fair onto the make us back. I'm going to extend his whiskers as well because they're far too short now. If this was going to be a pencil drawing, I would keep going with the detail on. I would work on it until he it was a really accurate pencil drawing. But because this class is all about painting, I'm going to see the mayor cat as he is, because if I was painting this meerkat, what I wouldn't want is lots of fine pencil lines underneath the painting. So in the next video, we're going to move on to your Kingfisher. We're going to draw it out in much the same way as we have done the meerkats and then we're going to progress onto the painting. 4. Kingfisher - An Exercise in Simplifying Shapes: for this stage, printed a copy of the Kingfisher picture and grab a markup in this exercise will get used to seeing the shapes within a subject. And then when you come to draw the Kingfisher with a pencil on your watercolor paper, it should feel a bit easier. So I am in. The first step is just to simplify the shapes. Now you can see here that the Kingfisher's head is an oval shape. When you draw it, you don't have to worry too much about being really accurate. That part will come later. The beak looks like a long, thin triangle to me, so that's how I'm going to draw it. And then the body is another oval shape with a slightly fatter end. At the top. On the tail is a triangle, but this one isn't as point is the bake, and then you say up whether wing at the back is that's another triangle. Except this was quite pointy. You can see that the wing nearest to us is an upside down teardrop shape, and there's a little line across here. So now I'm going to start to refine what we've already drawn, and this is Step two, I'm adding the line in the middle of the beak and also the area where the beak joins the face. And now I've got this in place. I can erase the lines we added previously. Now I'm going to refine the neck so that the line meets the body more accurately, and I'm going over the back of the head and filling in the shape of the feathers on the back of the Kingfisher's head. Now I've drawn this. I can remove this line. I'm redrawing the shape of the Kingfisher's breast to capture the contours, and then I'm doing the same for the tail. And so when I've done this, the first set of lines that I drew are no longer needed, so I'm going to remove them. And now I'm going to draw the line where the orange feathers make the blue feathers of the tail you could see with the wing. There were two distinct areas the top half of the wing and the bottom half of the wing with the longer feathers. I'm just drawing around the top part, which is like an egg shape. There's a very distinct line here, and I think This is where the wing meets the feathers on looking vicious back. And then I'm drawing around the back and along the tip of the other wing. I'm just finishing off the line along the back of the Kingfisher and redrawing the wing. Now here I want to redraw the line, which describes where the head feathers over, Let the body feathers. Yeah, that's better. And then around the white feathers in the chin area. From here, we can move on to the area and fill in the orange flash. This is a sort of elongated teardrop shape, and then the white band, which curves downwards the Isa Circle and I've traced around the contours in front of the I . I don't forget his nostril. It's nearly done, just a little triangle shaped feet to do when we come to draw the Kingfisher in pencil. You may like to go on to Step three, which would be to add some more detail further. Personally, I think with this subject, we can add the detail at the end when we're painting. Hopefully, this exercise will make you more confident when you come to draw the real thing and you'll have something to refer to along the way, right? Let's do it in pencil on your watercolor paper 5. Drawing your Kingfisher: Okay, so we're now going to draw Kingfisher onto the water kind of paper in pencil. Don't worry. If this feels daunting the first time we try it, there isn't anything to worry about, which is going to do the same thing that we did. Only use the markup in on the photograph in three simple stages. Make sure that your pencil lines are really faint so that they won't show up when you come to add the water color. It will also make rubbing any mistakes out much easier. If you do need to rub anything out, don't press too hard on the paper. I've drawn my Kingfisher with quite dark lines, but only so that you can see it. But just remember to keep your fate. So if you have your phone 10 pencil watercolor paper ready, we'll get started. So just to recap, three steps are one simplify to refine and three at the details. So first we need to simplify. Draw the Kingfisher's head. It's an oval shape and then add the pointy triangle beak. When you draw the beak. It's a good idea to measure the width of the head and then compare this measurement to the length of the beak. This should give you some idea of how long the beat needs to be. Now I need to draw the simplified body shape. I'm measuring Thea angle of the body in relation to where the beak makes the head on. I'm trying to work out how far the breast bone sticks out. Now it's time to add the triangle tail. Andi, the elongated, upside down, teardrop shaped wing, the men adding the other triangle wing. But I'm looking at it closely at the photograph, and I've realized that I've got the angle and shape a bit wrong. But that's fine. Now let's position the I to get this in the right spot. It helps to look at the distance between the top and bottom of the head and also the eyes relative position to the sides of their heads. And you can see that that I is not directly in the middle of the head, but slightly to the left and up from the center here. I imagine the triangle feet and I'm sketching in the twig that he's perched on, and to get this angle right, you need toe. Look at the empty or negative space between the top of the twig and the line of the breast . Now on to the next step, Step two is refined. I'm using a slightly darker pencil color here so that you can see it properly. But I don't want you to do that. It's just so that you can see the lines I'm drawing. I want you to keep your lines really faint so that you can paint over them without them showing through the water color. So I'm refining their head shape just like we did in the market drawing. I've noticed that the beak is a little wider than I'd originally drawn it and noticing that the line that is the mouth opening goes right back into the head and right underneath the eye. I'm still not happy with the line of the upper beak, so I'm going to redraw it again. What I noticed is is the mountain is too close to the, so I'm moving that down. I raise a lot when I draw Um, and I think it's fine for you to do the same. Just keep going until you're really happy with shapes and the angles off your drawing I think so many people worry about raising and not getting things right the first time, and it really isn't important. Just a raise and reposition as many times as you need to now for the blue teardrop shape on the or in shape above it. And don't forget this little rectangle shape next to the I, and now I'm going to add the curved white band at the back of his head. This white bands really helps to give the head form as it joins the body. Next, we can move on to the wing. The wing itself is divided into two areas. The top one here is a fat oval or egg shape and then below. There's a sort of triangle under wing shape, and now I want to check the front of the birders. I've drawn it because it's not looking quite right. It's looking a bit flat. His breast needs to stick out, but more. It helps to measure between the edge of his orange breast on the edge of his blue wing and make a note of how the distance changes between each of them. As you draw down the line next on to refining the tail shape. I'm outlining the blue tail shape on the orange underside of the tail on the left edge, which is a really pointy triangle shape. And now on to the back notice here. There's a patch of lighter blue on the top of the birds back, and I've realized that this part of the wing needs to come down a little bit further. I'm getting rid of any lines that I don't need to make sure it doesn't become too confusing . Remember just usual razor, really gently when Europe out because you don't want to damage the surface of your watercolor paper. I've had another look, and I'm still not quite happy with shape of this wing. The part of the bird above needs to stick out to the right more, so I'm going to go to it. So no one to stage three. So I noticed there is a highlight marking the bird's eye. It's a curve that goes across the width of the I. No, I'm adding in the details on the fate, including the bird's claws. Andi, here's a bit that I forgot to refine in Stage two. I noticed that the tail shape has a much blunter end than I've actually drawn it. So I'm just gonna, at that scene lost. I can just feathering the edges here. Now, if you're intending to paint your kingfisher, there's no need to add any more detail. So stop and go on to the next video. But if you wanted to do a more detailed drawing instead of a painting, you might like to add some more detail. So here I'm adding details, which suggests the feathers on the head now on the wings. The reason. You might not want to add this much detail if you're intending to paint Kingfisher is that all these additional pencil marks will show through your paint. So there we all there's your kingfisher, lightly drawn onto your water paper, ready for painting. 6. Painting your Kingfisher: watercolor painting is built up of layers of paint. The order of a watercolor painting is much like that of the drawing first week as the main canIs in Siris of simplified shapes. And then we refine these blocks of color for adding subsequent layers of maybe. And then finally, the details are added after its stride so that you can see each stage. I have found myself painting the Kingfisher from beginning to end. You can choose to follow alone with video, horsing it when you need to. This doesn't mean that the video is quite known, but you don't have to do it all at once. And I thought it would be informative to see the whole process from start to finish. Of course, you may decide you want to paint the areas in a different order than may. And of course, this is fine but tried to stick to three steps, simplify, refine and then at the detail. I've already mixed some colors for the Kingfisher. I've made the blue from cerulean blue, a touch of meridian green and some culpo plea. I've made the deep orange color for a mixture of cab me an orange and cadmium red, and I've made the brand from a little bit of burnt umber on a tiny amount of black. I'm going to start by painting the blue area on the top of the head. Notice how I'm using short little strokes to paint the outline of the head. I'm doing this in order to depict the slightly a regular feathered outline. Now I'm going to paint the area in front of the I. This area is predominantly made up of orangey brown colors. I'm using the orange to paint it, but I haven't waited for the blue above to dry fully, and so it's bleeding in. I want the blue to flow into the orange area. I'm painting so that it will mix to an orangey brown shade when I'm going to add a touch of brown just in front of the I. But you can see from the photograph that there is a lighter circle in the middle of this brown to recreate the lighter circle, I'm adding a drop of plain water to it and then drying my brush and using the dry brush to lift out the drop of water that I just put down doing this. Also remove some of the pigment and you are left with a soft edged, paler circle. This technique is called lifting out. Now I'm going to strengthen the orange color and add some more brown to the top edge of the orange and let it bleed into the orange and blue. I'm going to try to suggest the texture on the feathers on the top of the bird's head with a series of smaller, lighter patches. And to do this, we're using the same lifting out technique before to lift out the color from the paper. My paint is still wet, so all I'll need to do is touch it with a dry brush to so cut some of the pigment. But if your painters already dried, you can add a drop of water on like we did previously. Apply a dry brush to, so cut the pigment. Then so next you need to add the blue teardrop shape underneath the Kingfisher's eye. Try and use your brush to follow the line of the feathers, going from left to right and use the tip of your brush to describe the tips of these feathers with little flicks. - If you look really carefully or noticed that on the right hand side of the eye there is an area of shading. I'm depicting this by using a bit of darker blue, and I used cobalt. Next, have a look at the birds back. You will see an area of feathers that is reflecting the light and is therefore much paler than the rest of the feathers on the bird's body. To capture this, dilute your blue with water to make it paler and then paint this area. We'll paint the beak. Next mix um, dark ultra marine blue with a little dark brown. Use the tip of your brush to get a nice, crisp edge on the beak and remember to leave a white space for the birds nostril. - And now, using the lifting out technique, we're going to remove some of the pigment on the beak to make it look three dimensional. Like the light is hitting it. Leave this to dry and will come back on work on the details later. If you look carefully at the photo, you can see a small area of pink around the left hand edge of the I to make this color. Don't let some cadmium red and then use some of the same color around the edge of the man off to and now use the lifting out technique to create the texture of the feathers in this area. We're going to go back and work on the head area again, but make sure it's dry before you start working on it. Take some darker blue cobalt will do nicely on with the tip of your brush paints, Um, small marks to define the texture of the feathers. Refer to the photograph for this. I'm only doing a little bit here, and there marks air radiating out from the eye area. Now check that the bakers dried before working back into it. Makesem, cobalt blue with some burnt number to make a neutral dark shade. You can see there is a dark line on the underside of the beak in the photograph. Now, with the very tip of your brush at the line of the mouth opening, you're noticed that it gets slightly wider as you move towards the I now for the nostril. Paint the nostril with some diluted cadmium rate. He wanted to look fleshy pink rather than read when they diluted. I'm just checking to see if the birds back is dry. If it is, you can go on to paint the wig. Now start with the upper part of the wing first un starting off the color that we mixed earlier made of cerulean blue meridian green and cobalt blue. And now I'm going to add some pure cobalt blue to the top and let it disperse into the rest of the paint and then, with some more of the original paint mix, continue to paint the rest of the week. I'm going further down the back with some diluted paint in a lighter shade. - I'm just adding the edge of the wing at the back. I can see there's a shadow on the under part of the wing here, and I'm just filling that in with some purple. It's also the front of the wing here. So what I'm doing here is I'm describing, um, where the top part of the wing meets the under feathers, and I'm doing that with some purple carry on until he filled all the wing kind of in. But try not to overwork it, and then we'll get onto the next stage now to find the wing shape with some dark greeny blue. Now look carefully at the I. You're going to be painting the dark present shape at the bottom of the I. I'm doing this using a black. Also paint a line of dilute black along the top edge of the I. Now put a drop of clean water into the eye and then lift out the excess color with a dry brush. This is a way to make the light reflection in the eye. We'll go back and work on this again once it's dry and with the darker blue, I'm going to fill in the line along the edge of the tail. Here, look carefully at the shapes as you paint them. Just keep referring to the photograph. I'm trying to capture the texture of the long, fine tail feathers with some fine flick E brushstrokes, and I'm painting dark edge around the base of the tail with a slightly lighter color. I'm now adding some fine brush strokes to the back of the bird. See this darker area at the edge of the wing. I'm changing brushes to a final round brush. This one is a solid one sable. What I want to achieve with this brush is some even finer lines for the feather texture. I'm following this darker line to suggest the full of the wing just stopping brushes. But to my number three sable now you're noticed that I've painted this part of the wing to light. So I need to strengthen the color, and I'm using the brush in the direction of the feathers, just adding a few more details. I've noticed from the photographs that there's a lighter area at the top of the Kingfisher's wing. I'm going to lift some of the color out here by slightly waiting the paint and lifting out again with a dry brush. What you're trying to achieve by doing this is a rounded form to the wing itself. Now, as before, let's lift up some patches to describe the pattern on the upper part of the wing. Try and follow what you see from the photograph as closely as you can. If you want your lifting out to have a slightly brighter effect, you can use a small piece of kitchen town just brought it gently onto those where areas I could see a small, dark shadow in the neck of the bird makes the top of the wing, and I'm adding that in the very diluted way into the wing that I've already painted add a bit of water, let it blend into the payments already there now with some cobalt blue and so bad number. Just paint, too, the edge of the wing to describe the shadow that would fall underneath. When I compare the top of the tail area in my painting to that of the tail in the photograph, I can see that I painted it to light. So I'm going to strengthen the cover. I'm using some of the mix of paint that we mixed up right at the beginning. Now I'm going to try and add this paint very gently, because what I don't want to do to do is to disturb the painting underneath. I'm going to lift out a small area just in the middle to try and retain its three dimensional shape. Check that the eye is dry and then, with some black or darker shade of blue, add in the crescent moon shape along the bottom of the I. I can see I need to layer up the area in front of the eye with a darker color because it's too light of the moment. Look carefully at this shape and try to replicate it. I'm lifting out some of the paint here to make it less intense, and now I'm layering up the area behind the eye to try and define it even more. Take a bit of time to have a look, your painting and then, if you need to add a little more definition to the tail on wings if it's needed. Painting the orange teardrop on the face, remembering toe layover strokes down in the same direction as the feathers would be growing . Also, you can notice that there are a few tiny orange areas on the white flash on the back of the head at these in, and there are also two areas of orange on the neck. I'm going to fill in the orange breast area now. Now you can see here that I've made a mistake by adding too much paint, but I thought I believe this in to show you how easy it is to fix first. I'm not put my mistake with kitchen paper, gently This action, in turn, removes some of the blue. I paint this back in gently now because this area is wet. Our need to leave it to dry before I paint the orange next to it. And for this reason, I'm going to paint the orange at the bottom first. The feathers here are actually quite know, and some of them hang over the fate little. So use the tip of your brush to make these long marks. I'm painting the orange at the top now, but I'm avoiding touching the blue at the top because I think it might be still just a little bit down. See how I've left a very fine line of what? Between the two. The left hand side of the orange breast is in slight shade, and therefore the color is deeper and darker. To achieve this, your paints should be mixed with more pigment in the same colors. That's cadmium orange and cut me and red, and the paint is applied so that it's just a little more dense than it was previously. You can see also that there's a hint of brown on the left hand edge of the breast to I'm using Indian red to do this. But if you don't have this, mix up some Brit Rid shade with a little brown on perhaps a little red. Can you see how this makes it more three dimensional? There's a shadow here under the neck. I'm using a very weak mix of yellow Oka and like brown and a touch of orange. To achieve this, I'm just letting it blend into the white paper. The branches painted using a dialect yellow polka and the shadow on the underside is applied with Bert number. I paint the burn number straight on top of the wet. You know Oka. This technique is called wet and wet, and it helps the paint pigments to disperse into one another, giving a graduated effect. Looking at my painting, I think the branches a bit yellow. When I compare it to the photograph, I wanted to be a bit more neutral in color. Now, an easy way to fix this is by painting over the yellow with a color that is near its opposite of the opposite. To yellow is purple, but because I only have a warm colored purple and I want to cool down the color. I'm applying a cooler blue color on applying cobalt blue. Can you see how it's making the branch look more gray and neutral? Thanet Waas. Let this dry now before you start the next phase of the painting. So here I'm strengthening the orange color on the Kingfisher's breast and then on the underneath the tail, I'm going to add some cadmium yellow just to brighten the whole image. On the lower half of the wing, there are dark lines which depict each of the long feathers. I'm painting this with my number one sable brush on a dense mix of cobalt blue. Look how the lines follow the angle of the wing itself and see how they get closer together towards the left hand edge, where the feathers are more tightly packed in. Now I'm adding a tiny bit more, this dark blue to the head area and also some fine strokes on the wing. We just need a few finishing touches. We'll fill in the bird's feet, and then we're going to as a bit of definition and detail to the books him off this branch with slightly darker color. This is number I'm using now, so just add a bit of water and let the color blended at the detail of the clothes onto the little feet on their some shady going on here. So at that I'm using a brown T pick that There we are. This last part is really down to your personal style, so don't feel you need to add it if you don't want to, but I want to hint at the movement of this bird bone on the fact that it hunts in water. So I want to do that by suggesting some drops of water being shaken off the bird's feathers , so filling my paintbrush and tapping it to make the splash marks. But if you want to protect your painting, you could cover it with some torm pieces of paper. Before you start, especiales have come out pretty small and fine, so I'm adding some cerulean blue dots for the largest flashes. I'm happy with this painting now, so I'm going to stop. So there you are. That is how I painted Kingfisher from start to finish. Whatever the subject, I was still paint in the same way in the same order for the same three steps, simplify, refine and then at the detail. I hope you enjoyed watching the process. Yeah, 7. Final Thoughts: Well, I hope you enjoyed this cast. I set me enjoy teaching. You have to take the kingfisher. I hope you got after paper on trying to observational drawing men set to work on a painting . Now, I know we've talked about this already, but I really hope above all that I've encouraged to observe his subjects closely with three simple steps and I hope I have been able to share information with that will have your job . So what I would ask is that you share your work in the gallery. I mean, I get it. I know it can be intimidating to put your work. I really do. But the more time to do it, the easier it gets. And I think what I've been teaching on Scotia, I've really come to realize that the must important a valuable part of school shit is the community that we all create here on the support that you received. So don't be shy about your work. Whatever state you're at in your painting, it's really important to share your work. If there's a particular piece of someone else's work. But you like, don't forget to leave a comment. You might make that day. That's me. I'm always excited when I get a message saying someone has added a new project, Proversity, that have taken my previous classes. I reply, Give me back to each new piece. So as a final thing I hope you have enjoyed. But you have a beautiful Kingfisher painting ready to hang on Friday joined the hunt for best loving people. Happy painting.