“Hi! Remember me?” (See Timeout- Let’s Draw a Toucan)
“It takes 100 per cent of your attention and focus, backed up with years of drawing experience, to train yourself to paint what you see.” Steve Childs
Mindo Ecuador –
Simple washes of color… Remember when using watercolor to let one area (yellow) to dry before beginning another (black) or they’ll run together and make a big mess!
Sometimes several washes of color are more effective for building texture and depth. The cecropria limb started with light washes of blues and greens, and the lightest areas were saved while darker pigments brought form and texture to the painting. The tree limb needs another session when I can work from life and apply the subtle details.
The second application of yellow, applied after the first had dried overnight, brings more life into the toucan.
Toucans are quite social, so the study has a few support characters! The next image shows the small painting. With watercolor, one tries to save the whites, as in the spots of light on the eyes. One mistake many people make is to try to rush the painting, and they are rewarded with a dark color running into a lighter one. Placing the dark pigment (Paynes gray + burnt sienna + ultramarine blue) in the eye area would be a fatal mistake if the green pigment had not dried. Moving to the tree limbs – or even to a different painting is the best option. Taking a break or putting the painting in the sun or waiting until the next day are other options.
What a difference a little color makes! The toucan on the left is now my favorite, and it patiently awaits my attention!
A second wash of yellow brings the toucans to life!
They are starting to come to life!
Do you think the cecropria leaves need to be painted as lifelike as possible, or should they remain unobtrusive in the background with only washes of color? Or should they be left in pencil while the toucans and limbs illustrate realism?
Decisions decisions! One never realizes how many decisions are made while painting!
We will now switch channels and critique a painting of a little yellowish bird; it came to life wash by wash until the texture of its feathers took form. There are probably five or six washes of yellow/yellow green, and each one was a bit more precise while letting dry areas of the previous wash remain in place. I introduce to you the female Olive-crowned Yellowthroat.
First wash – wet pigment floated onto wet image area… then more pigment-details added while the paper was still wet.
Slowly the colors and details were refined by studying the original photo taken of a bird in the yard…
Although this looks like a cute little yellow bird, the colors were not strong enough to represent the Olive-crowned Yellowthroat.
The colors did not photograph well! The original is brighter.
Not completely finished, it is waiting for a different color of yellow pigment, more contrast between the breast and the body, and more attention to the wings. Whew, painting can be hard work!
The above painting demanded 100% of my focus and hours and hours of attention to detail. Until the right color of yellow is located, it will patiently wait on its perch! Painting can definitely be hard work, but the end result is usually rewarding! If not, consider it an exercise and move to the next challenge!
Z
I’m always in awe of your talent! Thank you, for the step by step you take us through 🙂
Wonderful artwork, Z!
Stunning paintings!
This explains why so few people are able to do what you do so well: it takes concentration and focus. So many of us are losing that!
And you get 100% of my admiration, Z! 🙂 😘🤗
Lisa, thank you once again for your instruction and inspiration. I am strongly considering taking up sketching again. There is joy in the creation process.
Hi Lisa! I am impressed that you can focus in so well while there is that big unknown floating out there – your own home, Jama, etc. On the other hand, it is saving you, I’m sure. I see that. The Yellowthroat is brilliant work – just gorgeous. Doesn’t need much! And I love the Toucans – I love the way you arranged these friends on the page in that zigzag pattern that leads the eye. I think I’d vote for the wash of color on the leaves – more than the pencil but less than fully rendered. But you’ll patiently look at it, and judge what’s next, something you are eminently good at. (I can’t help but wonder if the patience part was hard for you – you seem to have such an irrepressible spirit. Hard to learn, but rewarding).
I haven’t been commenting but I’ve been thinking about you, be assured!
Great post. Very educational and applicable to other crafts and Artists. Thank you.
These are amazing. Although, coming from someone like me, who couldn’t draw a pair of curtains, you’ll have to decide how much of a compliment that is. ;~}
Depth of the painting also reveals to me the depth of the heart and passion for the art of the artist. Your heart is deep in passion. Beautiful LBB
Thank you for showing us these techniques Lisa I really struggle with water colour, may be I need to be more patient I will try your layering technique and leave plenty of drying time. These birds are so amazing I feel they could fly away at any moment.
Hi Lisa, I must have missed this one back in June. The dark bill on the female Olive-crowned really does seem to be a good field mark. How wonderful to be able to draw and paint the way you do.