Beginner Friendly Watercolor Tutorial: Eurasian Tree Sparrow

1. Introduction and Materials: Hello. I'd like to welcome you to this very beginner friendly watercolor tutorial, and we will be painting this nice Eurasian tree sparrow today. Now, for this particular tutorial, we're going to use a 100% cotton 300 GSM cold pressed watercolor paper. This is seven by 10 ". It's a block. Now, for the watercolors, I'm going to show you each color that we're going to use later. Of course, we're going to need a mixing palette. This is a ceramic palette, which I recommend. And then this is a leaf blade for separating the paper later on. Okay? Again, I'm using a block, and there's a small portion there where you can insert the blade, so you can separate the paper from the rest of the block. Here's a pencil that I'm using. I'm using a two B pencil, but you can use any regular pencil that you have. Have a blunt tip, if you can, because that will ensure that you don't scratch your paper. For the brushes, this is a 1 " flat brush. This is good for wetting your paper. Now if you don't have a flat brush, that's fine as long as you have a round brush with you. So we're also going to use a round brush for this session. This is a size 12 synthetic round brush. Get one that's springy and has a nice fine tip. I also recommend that you have an angle brush. This is a size eight angle brush. Now, if you don't have one, you can use a size eight round brush. Okay? Next, of course, a clean bottle of water for rinsing your brush some tissue paper, and that's it. Now, here's our reference photo. As you can see, the format is in a square, but we are going to paint this on a landscape format. 2. Let’s Sketch the Sparrow!: Now, let's start sketching. So we want the sparrow to be a little over to the right, unlike the image that I've shown you where the sparrow is actually at the center. So let's start with the body, k. So normally, the body is sort of like an almond shape. Again, when you're sketching, try to do the sketch as light as you can so that in case you need to correct your sketch. You can erase and not leave any marks on your paper. Then usually, this is already the wing that I'm starting to sketch. But on the left, you'll see there's like a bib. Okay. So there's usually a bib for the sparrow. And for the wing, I noticed that the wings normally have three parts. So I'm roughly sketching these sections. And let's add a few lines over here to guide us as well. The sparrow is actually one of my favorite subjects to paint. And this is not the first time that I'm creating this artwork. So I'm a bit more familiar with this bird by this time. So I can say that I'm more comfortable sketching it. But then again, you know, birds aren't really so easy to sketch. So, if you need to, you can practice on a sketch pad for pencils and or use any scratch paper before you actually sketch on your watercolor paper. Now, for the feet, this is similar to how we sketched the feet of the warbler. And like what I said in the other class, the sketching part is actually definitely a guide for us as we are painting. But at the same time, it is giving us that chance to get familiar with the subject. And so even though, for example, if by adding multiple layers, eventually, some of the sketch marks are well, are diminished, or if they disappear, then we can still be able to paint those parts because we have actually sort of memorized how they look. Okay. So here, I am going to start sketching the head. So here I'm adding the beard. Somehow sparrows look like they have a beard. And then there's this dark brown color surrounding the eyes. I call them the mask. And then let's add the beak. Over here, and then the eye. And then let's complete the head. The top portion of the head is a bit flat, not round. L et's adjust the behind of the head. Okay? And then let's erase those unnecessary lines so we don't get confused. All right. Okay. So this is the sketch. I'm a bit happy with how the sparrow is looking. Let's just add some of the details here to guide us, a? And maybe a few lines over here as well. Again, these could actually disappear, but this practice is actually a good thing for us to do to help us familiarize ourselves more with the subject. Now, let's add a few more adjustments over here. Okay. So it's really important for us to get the sketch right before we even start painting because if you don't have the proportions right, if you're not too happy with how the subject is drawn, then chances are you won't be happy when you're done painting. So take time to learn how to sketch the right proportions. Okay. Next, let's draw the branch on which the sparrow is resting. Now, I find this branch a bit interesting because of its sort of circular form, okay? To be honest, the first time that I've drawn the branch, I actually got confused, and it looked a bit different. But again, I think this is like the third or the fourth time that I've created this particular sparrow from the reference photo that I showed you, So, I'm more or less more comfortable with the angle of the branch. Okay? If you're anything like me, you might find it a bit awkward to have this sort of shape for the branch because I'm more of, you know, a very straight linear person when I used to sketch before. So, okay, there it is. Just trust that this is the right form, and then let's add another branch over here. Okay. Sorry for the stuttering. All right. And then another branch over here. So, from the reference photo, again, we are trying to get the feel of how the image is, but we're not copying it as it is. Okay. So, these are the branches that I want to have on our particular artwork. And then we are going to add a few leaves in the background as well. All right. So for that, we might not need to have a sketch, so we can already move on to creating our mixes. 3. Choosing and Mixing the Colors: Starting with French ultramarine. So this is going to be another 50 50 mix. So 50% color, 50% water, sort of a mix milk consistency. And this will be the color for our sky. Then next, we are going to mix French ultramarine with some cadmium yellow medium. So this will actually give us a really nice moss green color, which is a bit more subtle compared to the sap green color that we already have on our palette. That's why I chose to mix instead of just use Sap green. Okay. And then some burned Ciena. Then let's create a darker shade of brown burnt sienna and some French ultramarine. There you go. And then let's also do another mix this time yellow medium and some burnt sienna. This will give us a nice yellow ocher color. I'm happy with that shade. Now, for the last color, let's grab some indigo. Now that we have all the colors. Time to grab your flat brush, and let's start wetting the background. 4. Let’s Paint the Background : Start wetting the background. The main reason why we wet the background is so that we don't create very hard edges. So why don't we want hard edges in our artwork or in the background of our artwork? Well, aside from the nice atmospheric feel that it gives, it actually does serve a purpose. So basically, when your background doesn't have any hard edges, the effect it has with our eyes is we are drawn to the subject to the main focal point, which has all the darker colors, more vibrant colors, and hard edges. So the emphasis is now drawn to the subject, instead of the entire artwork. So our eyes don't really have to roam all around the artwork. So that's the purpose of it. So later on, we're going to add colors to these branches and to the leaves surrounding the bird. And all these would be, in a much softer manner compared to how we will be painting the bird. Now, at this point, we're ready to add in the colors. So the first color would be French ultramarine. And this would be giving us the illusion of having the sky surrounding the bird. Now, you probably noticed that I've actually added blue to that branch to a certain part of that branch. Now that's perfectly fine. You don't have to be very careful when adding this particular color to the background at this point. Just make sure that you leave some spaces white to create an illusion of clouds. Next, let's paint the branch directly underneath the bird. We're going to use the same brush. And this time we're going to paint it with yellow ochre. Now, let's paint the branch here on the left with our dark brown. This time, we're going to paint this very narrow stem over here with Burnt Sienna. Now, let's also add some Burnt Sienna to this branch to make it look more realistic. Then let's also add some dark brown over here. Now, while the background is still wet, let's add an even darker tone to the branch on the left. So we're going to mi a darker brown color, still using Burnt Sienna and French, but with more French te this time. Okay, let's start adding this color. And as you can see, it's really darker compared to the previous color, and it's almost like black. So that's the color that we want to. And as we're adding this color, make sure that you keep some of the areas of the branch so that the previous layer can still be seen. Okay, I'm happy with this. Now, let's also darken this branch over here. And then let's also use the same color to add details onto this branch. Let's add an even darker tone over here. Load your brush with more pigment. That's good. Yeah. This is looking good because you want to have more shadows on the lower part of the branch. Then maybe we can also have the same effect over here. Since usually if the part of that branch is nearer the site, then it needs to be darker. Now, let's darken this part over here as well, since this is supposed to be nearer. There you go. So yeah. At this point, I'm actually happy with how everything is. And it's time for us to switch brushes, so go grab your angle brush and some tissue paper because we're going to lift some of that color from the branch on the right. Okay. So if you look at the reference photo, it actually has the like stripes. We're going to try and mimic that by lifting the colors in this manner. Okay? So we're going to lift the colors by pressure on a thirsty brush like this one, thirsty meaning because you actually cleaned your brush, and then you took out the excess water. So it's almost dry. So when you put pressure on the brush and add pressure to it as you glide it on your paper, the tendency is for the brush to absorb the water and the pigment that comes with it. So that's what we're doing here. So basically, we're just creating a more interesting effect on this particular branch. Basically, since the main focal point of the artwork, which is a Sparrow, is resting on this particular branch. So, definitely, we are not going to add as much detail to the other branches. Now, let's continue lifting, but this time in a different direction like this. And we're going to do this only on some random spots on the branch. Okay. Now next, let's grab some burnt sienna straight from the palette, so it's a very thick color, and we're just going to run it over to this side of this branch. Now let's soften the right side of that strip. So basically, just rinse your brush, tap it on tissue, and then run it over that part that you want to soften. Then let's complete this branch by adding some shadows onto it, and we're going to use indigo for the shadow. So basically, just add this color to the leftmost part of the branch. Notice how I'm holding the brush perpendicular to the paper. And instead of one single stroke, I'm actually adding several shorter strokes to the paper. Now, let's switch to the round brush, and we will be painting the leaves. So when you're painting the leaves, okay, keep in mind that the background is still a bit damp. And so, as you can see, the colors are actually absorbed pretty well, and they're lighter than usual. Like if you did a wet on dry. And also notice how I am doing these rubbing motion as I add the colors in, okay? So I'm actually allowing the paper to really absorb the color and lighten it a bit. Now, here I'm just dropping colors on random parts to make these leaves more graceful. And even extending like that on certain parts. So this is actually one technique that you can try to easily add leaves to any tree that you're painting without having to paint individual leaves. All right. I'm actually happy with how this is looking, but it sort of somehow doesn't feel right or feel complete yet. So let's add more leaves onto this part. Now, at this point, I barely have water color on my palette. So it's actually fine because at this rate, we're actually doing some dry brush technique over here, and it's looking good. I'm actually very happy with how the background is looking right now, and I like how we have different tones and shades of green. Now let's leave this to dry for a few minutes and then we'll continue painting the sparrow. 5. Painting the Sparrow: All right, so the paper is now completely dry, and we can start painting the sparrow. So first, let's wet this area. I like wetting an area of the paper first if I really want a very soft color for the first layer. So that's what we're going to do. Okay. Once this area is completely wet, we're going to add this yellow ocher mix that we did a while ago. Now, at this point, rinse your brush, tap off the excess water, and let's brush over this area and try to spread the color upward. Next, let's add some shadows. So we're going to use a dark brown color that we mixed a while ago. And as you can see, it's a very, very light color as well. So my brush is actually loaded with more water than pigment at this point. Okay. So at this point, let's leave this to dry, and let's jump over to the tip of the head. So we're going to do the same process, wet the area first with some water. For this one it's just going to be on the tip of the head. Then we'll add that yellow ocher mixture. There you go. Again, this is one of the ways you can ensure that the first layer is really light and transparent. Now, let's add some shadow to it using the dark brown mix. Now, next, let's go ahead and add the darker brown or indigo mix that we have. This is going to be the beard. See how I started with the part underneath the beak directly underneath the beak and then on the side of the face, and then just allowed my brush to glide. So I actually doesn't have a very strong and solid color. Then I went on and added towards the top of the beak and outlined the eye. Okay. There you go. So let's add a bit more color here for a nice gradient. Then let's start adding some curved lines for the bib. Now, at this point, the main body is still a bit damp, so you'll see some of the colors blending, and that's fine. That's actually a nice touch to it. Now, using the same color, add that line for the beak, wash your brush, chop off the excess water using a cloth or tissue paper, and then with a damp brush, just go over that and spread that to the rest of the beak. So we're not actually lifting the line, but we're using that line to add color to the rest of the beak. Now, let's go ahead and start painting the wing. So grab some burnt sienna. We're going to need a thick consistency for this one. So basically, let's start with a line on the topmost segment of this wing. Just like so. Then let's add the rest of the hood over here. Then let's create some outlines separating the three segments of the wing. Again, notice how I'm holding my brush and how the brush is just sitting on the paper and gliding from one side to the other. So rinse your brush at this point and then grab your tissue paper, pat off the excess water, and we're going to soften these outlines a bit. We're going to soften them and spread the color towards the rest of the wing. Now let's leave that a dry. Now rinse your brush, and let's paint the rest of the tail over here with some dark brown color. At this point, I'm going to load my brush with water and just get some pigment so that the color is not as then let's use the same color to add a bit of color to the face. Okay. So basically, these parts are white, along with the breast. But since white reflects the colors around it, that's why we're adding very soft colors to these parts. Now let's switch to an angle brush. So we can start adding lines to the wing. But let's check first. So lift your paper and tilt it in different directions to see if it shines, and if it doesn't, then it's already dry. So we're going to use the darkest brown color that we have, and we're just going to glide the brush in this manner. So the tip of that wing, everything will actually connect towards the tip of the wing. There you go. And then let's add some shadow over here. Then we can also darken the line of the beak and also that part above the beak. Contrast is very important when you're painting. So see how adding this darker tone to it actually made the bird look more alive. Now that's soften those edges, so just rinse your brush, top off the excess water, and then just brush over those parts. Brushing away from those to create that nice gradient. Next, let's add the eye. Here we're going to use the tip of the angle brush, the longer tip. Let me zoom in so that you can see how to paint the eye. Basically, we're going to leave some white like that. And then I need you to get some more color and then just outline the rest of that circle surrounding the eye. Make sure that your brush doesn't have a lot of water. And then we're going to add dots in that white area. So make sure that you're really doing this very lightly. If you're not comfortable with this size of a brush, go ahead and switch to a smaller one. Okay, so we're done with the eye. Now, I don't have any more of that darkest brown color, so let me just go ahead and do another mix. So again, this is a combination of burnt sienna and indigo. Okay. And we're going to need a very thick consistency, so about 70% color and 30% water. That's good. So we can start adding more lines. Here, just make sure that the lines don't actually reach up to the tip of that segment. And then a few more over here and maybe some over here near the neck, just like that. And then let's also add some darker tones to the bib. Okay. So these are finer curved lines to show the earlier layer. And then let's just add that detail over there. Now rinse your brush and then top off the excess water. Then grab some burnt sienna straight from your palette. So it's going to be a very thick consistency. We're going to apply this to the legs and the feet. Okay. So as you can see here, I'm actually just adding burnt sienna towards the left side of the legs and just some parts of the feet. Okay? There you go. Then at this point, rinse your brush, get that tissue paper, top off the excess water with your damp brush. Let's spread that color. So here we're just softening and spreading the color to the rest of the feet and the legs. Okay? Now, even if that's still a bit wet, you can go ahead and get that darker brown color, and we're going to add this to the tip of the feet, as well as some parts of the legs. Let's add a light yellow ocher color onto this part. There you go. And then switch again to the dark brown color and add this shadow over here. We can actually spread this a bit, just to soften the edges. All you need is to pat your brush to your tissue paper so that it's a bit damp and not fully wet and you can spread the color. Now, let's also soften this portion a bit. Okay? So, at this point, this color is already dry. But if you use a damp brush to lightly rub over it, you create this nice soft edge. No, I'm not so happy with the tip of the head, so let's clean that a bit, k? So basically, what I see here is some of that dark brown actually seeped through the head. So let's clean that by lifting the color. So what do you do? Just rub a damp brush over it, and then pat with some tissue paper. Okay? You might need to do this several times to get most of that color off. Now, that looks better. Now, we can also add some darker color around the head to make it pop a bit. So let's use that darkest brown color that we have, just like that. And then rinse your brush, top off the excess water, then just spread the color from there. At this point, I also see that the third segment of that wing actually looks a bit off compared to the reference photo. So let's go ahead and grab some of that darkest brown color that we have and just add or extend those lines towards the tip of that segment. See, that actually looks a lot better. There you go. Then checking the reference photo. I think we need to clean this up a bit. We're going to lift the color a bit, just like that. Then let's add some thick burned sienna to extend the hood towards this part. Okay, that looks much better. All right. So I'm actually happy with how this artwork turned out. So there's your Eurasian tree sparrow, and I really enjoy doing this with you guys. So I hope to see your project soon. And until the next class. Bye for now.