Sherry C. Nelson, MDAstudentshavetaken my — workshops ==" entitled A Bird for the First-time Oil Painter. The wonderful reception to those classes has encouraged me to share those basics in this book. Many of you had success in another medium and yet are hesitant to switch to oils perhaps out of fear, or just because it’s a bit stressful to try something new and feel like a beginner all over again, Oils are the most forgiving of all mediums. They can be cleaned up, taken off, put on and manipulated in ways that acrylic and watercolor painters can only dream about. After 30 years of teaching T'm convinced that they are the best of ali mediums to start a student on the road to tiches-that is the joy of placing intense, gorgeous colors on a palette and seeing a painting come to life. Join me, and I'l walk you through the easy steps of learn- ing to paint in oils. I can promise you'll fallin love at first stroke, as I did. Sherry shares her love of the natural :world and its creatures in. painting seminars across the country and around the world. She has been teaching for 32 years Certified by the Society ‘of Decorative Painters as a Master Decorative Artist she also received the Silver Palette smward and i a past president of that organization. She conducts seminars in hher home classroom in the Chivicahma Mountains of Arizona, cwhere the garden birds include eleven species of hunimingbinds ‘and visiting animals give the yard the aspect ofa nature preserve. A Ca aes OLA lessons in this book are created so that the skills in the later lessons build on those learned in the first projects. Take time to start at the beginning, and you'll be amazed at how quickly you progress. Basics for the First Time Oil Painter ....000o0ou2—5 Using Values to Create Form Robin Egg Blue... 6 9 Blending Basics Pansy & Butterfly .... 10-13 Painting a Perfect Eye & Beak Bluebird & Columbine. Learning to Roll a Petal Lily & Butterfly... Creating Texture as you Blend Titmouse & Blossoms. 14-17 18-21 22-25 Creating Interest with Detail Varied Tit with Poppies. 26 - 28 Creating Iridescence in Hummingbird & Trumpet Creeper Front Cover, 29, Back Cover Publisher & Distributor Author Printer Pho ‘Sherry C. Nelson, MDA ‘rafton Printing, Ine Hawks Ph P.O. Box 16530 P.O. Box 9068, WIRE 1IthSt Gretchen Cagle Publications, Inc, Sosa Portal, AZ 85632 Amarillo, 7X 79105 Tusa, OK 74014 ‘Claremore, OK 74018-2104, ‘wwewgretcheneaglecom YY you enjoy decorative art end sharing painting ievs with others, enthusiastic ptr For information, tre to: SPP, 383 N. Mean Bl, Wichita, KS €r erwigh © 200 Gretchen Cape Pubcon ne. The patterns in thi bare design fr he ae of eats You may pit thee desig fr personal purpses. No part ofthis book may Be reproduced or transite in any form or by any means, electric er mechani without eee Grech Cagle Publicis jf stout join the Society of Decorative Punters, a unique and exciting oRefer fo page 29 for instructions and to the back cover for the worksheet Ruby-throated Hummingbird with Srampel Creopor ‘One of our smallest birds, the hummers have the largest heart of any bird for its size. The wings can beat from 60-80 times a’ second..as they fly upside down (or backwards!) in their quest to defend their favorite nectar source. By any description, these winged jewels are unique in the world of birds, and capture our imagination with their aggressive nature and spectacular beauty. Sherry C. Nelson, MDACB nushloading G Blending Basies 2. hp Permanent Madder Alizarin “ Ray Sienna “Titanium White Color Qacome Correct Color ~ Place colors in a broken line to make Blending easier. Incorrect Color Placement Line between the ales is too hard for easy blending. Sap Green _Frencl, Ultramarine Raw Umber (©2002 ~Sherny C. Melson = Pull colors out into loading zones. Work between these strips of sparse paint to make mixes as shown on the worksheets for each project Refer to page 5 for additional information. Creating Reoundness i hee Light comes forward, Apply color with a broken, iregular line, ae Uist Source Shadow Crescent Step 2 Shade and highlight. 2 Step 3 Blend wohere values meet.fendi ng Sechnigques Broken Line Flat Brush Blending . 4 Blended with the flat of af a the brush for soft texture E as seen on the egg. ae 5 . ‘ Chisel Blending 5 / Step2 ay Step 1 Blend with chisel Blended with Site y side OS cal ee ge the chisel for J) color placement. = directional 7 = texture as es + seen on the 6 psy. ‘ = Blending lo Give Rial, y ‘This dark is placed on Dy 5 Step 3 topo basen, voulh Direction FAs : Clogs Hand 0m the line where vahess mst ee *€ , : Step 2 ‘ Bln wit chisel Broken Line ‘where values.meet. Step 1 < Color on top of color placement. ; a , Step 3 Aad ight to rape peta. Serture & Growth Directions < Blend where values meet. tep2 ) Blend with growth direction using choppy strokes for texture. tep Highlight and reblend for added dimension.NS s LL Varied Tit with Sofpucs Found only in Japan and eastern China, AY 230 ‘you can nevertheless tell by the shape and ey) ‘markings that this species isa close cousin oe to our chickadees. I first saw this bird in LS 4% ‘Meiji Shrine in Tokyo, with interpreter Kiyoko Hama. The bird seemed especially tame, and when I reached out-it flew in and perched for a second, no doubt wishing for sunflower seeds-not an empty hand! T would like to dedicate this piece to all my wonderful students in Japan, and especially to Kiyoko, who takes great delight in sharing the birds of her country with me. Instructions and worksheets begin on page 26. I< ‘ To . 2002 Nm Sherry 0 Alsen =Surface Preparation If you wish to paint on wood, you will need to seal it first. Apply Designs from the Heart Wood Sealer, let dry and sand with the wood grain. I often use hardboard panels (masonite) cut to frame size. Masonite does not normally have to bbe sealed. Delta Ceramcoat acrylics were used. for all the backgrounds in this book. For backgrounds, I like a wet on wet look using multiple acrylic colors. Tuse a Plaid stencil roller, about 2” long, to apply the paint. Before using a new bottle of paint, open the bottle and fill with water to the neck. Recap it and shake well. The proper consistency will keep paint wet longer and enable it to blend easier with other colors. Base the surface generously with the color indicated, either Delta Moss Green or Delta Lichen Grey, spreading paint evenly with the roller, Let dry. Sand with 330 wet/dry sandpaper. Rebase with the same color. While wet, drizzle on the accent color or colors as shown on the worksheets and blend into the basecoat with the same roller. You may leave it underblend- ed for a more splotchy look, or make them smoother, as you like. Let dry. Sand, then spray lightly with Krylon Matte Finish, 1311 ‘Transferring the Design Using graphite paper, transfer all lines and markings in areas and each small detail on birds, being especially careful of eye and beak shape. Transfer central veins on leaves and outline shapes of flowers, and other elements. Check during the process of transferring to be sure that the design is coming off on the painting surface clearly. Too dark? Remove excess graphite with a dry paper towel. Palette Alll paints used in this book are Winsor & Newton Artists Oils. Other colors and brands may be substituted, but please keep in mind results may vary from the original. Only 11 colors were used for the entire book, and one of those is optional. Brushes Luse Winsor & Newton Series 710, a short, bright red sable brush in a range of sizes from #0-#8. A bright applies the dry, sparsely loaded oil paint with more pressure, giving better control over the amount of paint applied and superb detailing. Also used are Winsor & Newton Series 740, #0 and #1 rounds. Using a Drier To speed drying time, cobalt sicca- tive, a drying agent, may be added in fractions of drops, to each patty of oil paint on the palette. If color does not remain workable on the palette for at least eight hours, you are simply using too much. Dip the palette knife into drier, bleed off the excess against the side of the bottle, then tap the knife next to each patty of paint, then mix it into the paint. Drying time is six hours to overnight, depending on humidity. Brushloading & Blending Basics Colors should be loaded onto the flat brushes from a loading zone, a stcip of sparse paint pulled from a patty of paint onto the palette. Mixes are made by moving from one loading zone to another, work- ing back and forth to achieve a mix of two or more colors. Wipe the brush on a paper towel after apply- ing paint to the surface, but before beginning to blend. Blend colors where they meet with a dry brush and a short stroke. Do not blend randomly over the entire area. Just blend on the line where the colors come together, creating a new value and hue through the process. To blend overall will cause loss of values and color clarity. The Painted Worksheets T've created detailed step-by-step guides for you to use along with the written instructions. They include samples of how I make each mix for the majority of colors used through- out. Now you can learn to brush- mix colors instantly, the first step to creating and controlling the colors you want in your painting, Lay tracing paper over the work- sheet on pages 3-4 and practice those important first steps. Give your brush and your hand time to learn how to blend and how to create texture before starting on the first project. Mistakes help us learn. Everyone makes them. Don’t let them become a stumbling block. Read the written instructions first Iwrite my notes in the order in which I paint. Work in the order given, referring to each step of the painted samples to determine actual color placement. On each work- sheet, the final step is the finished painting. Finishing Touches When you are nearly finished with a painting, ask yourself if the focal areas are truly more important than the lesser elements. You can create focus by having stronger lights and darks, more intense colors and more detail in those areas. Let less impor- tant areas of leaves, stems or buds, approach the background in color, value and intensity so that they are more subtle and less noticeable. Combining areas of stronger inter- est with less important elements gives a painting a sequence of inter- est, a rhythm that moves your eye through the painting, and makes it pleasing to look at. Final Finish For most pieces that will not receive hard use, Krylon Spray Varnish, 7002, will be perfect. For daily use, 1 prefer an oil base, interior satin varnish. I do not varnish my oil painted pieces with a water-base varnish,Gf Leaves BI WR Blossoms Shad lesson Sh =e e be 481 Blossoms Highlight Eggs basecoat + W Step 2 Light = Mix sG+W+ RS Step 1 [Nest Highlight Leaf Highlight Mix ae Leaf Light Mix + WDelta Carribean Blue Eggs Shade Highlight RU Dirty Brush + W dark to light ts what makes an object look round.Lilwe refers to the relative lightness or darkness of color, CBU cur paint colors ql i have aparticular vatuc, whether it's median or dark or light. Htaing white with dark Chae, for example, makes the dark blue tighter in value — end the white darker tn value. y C%n object painted on a flat Palette Eggs surface must have several values, Winsor & Newton Artists’ Oils: 1. Base . from light to dark, to make it look Troe Blak (9 Magen Wi 2 ail i |, Raw Sienna (RS), Raw Umber ighlight . Dirty brush + oe cane to (RU) Sap Green (SG), Cadmium 3. Blend where values meet ales ans Yellow Pale (CYP), French basecoat. Highlight within the each other is very important: Use your Ultramarine (FU), Purple Madder first highlight with a smaller, brush to make the mixes I've shown, Alizarin (PMA), Phthalo Turquoise lighter value of W. Blend just a and check them against your back- (PT) optional. little. Add detail dots with a ¢ground color. How do they compare? round brush and RU + RS. IF you want the eggs more intense, accent with a little PhT in middle value areas, not in the darkest or lightest value areas, Nest 1. Paint dark around eggs with RU. Base twigs, with RS. 2. Highlight in RU area with dry brush, or with RS, making Learning to see and to evaluate the colors you mix is an important step to creating a pleasing painting. In this litle piece we want to build dimension in the eggs so they look realistic, as though they lie tucked down in their nest. To do that, you must have strong darks and equal- chisel marks like ly strong lights. When subtle twigs and : you apply the colors, sticks into wet paint. just remember the basic Highlight RS twigs with RS + W. 3. Add a few darker tsvigs in shadow areas around the outside of the nest with RU using chisel of brush. rule: blend only where the values meet, not all over the whole egg. And as you add lighter values, remember to pyramid them, making each succes- sive application of light smaller as it gets lighter in value. ‘That way the egg will become round almost like magic as you paint. =e1. Base with RS + W. 2. Shade with tiny amounts of 3. Stipple with a little CYP + W for 3. Blend in growth direction, Robin yy Bluo The nest and eggs shown here are painted actual size. A bird common to many backyards, the robin ‘may lay 3-4 eggs in a clutch and often chooses low bushes for the nest, making it easy to observe. The spotted babies give away their heritage as part of the thrush family, which includes bluebirds as well. 2. Blend with growth direction. Place BS accent on torn leaf edge with liner brush. 4. Deepen with a bit of pure PMA, 3. Blend a portion of BS accent with applied with round brush. growth direction. Add central Highlight with a bit of eggs 4, Soften edges of W highlights. Rehighlight if needed on a few: petals to make them more focal. Pollen dots are W applied with a +86 vein line and some soft side veins with light leaf mix + W. Highlight in a place or two with basecoat + W or FU + W. Blend highlights to soften.10 Basic but Beautiful Leaves eed Step 3 Highlight Step 4 Blend to soften value edges.Delta Misty Mauve part i Background Cb ily paint lo surface with Use sponge roller to blend pink into wet Delta Moss Green tae ee Iasecoat. Leave alittle texture for more interes. light touch Pansy Light Value 4. W Bud Basecoat Light Leaf Mix SG+RS+W Hindwings Light CYP +RS+PMA Re tt Lay pattern on top of wet butterfly, Leaf Highlight Mix then redraw detail markings. Light Leaf Mix + WNhe purpose of placing a dark color and a tighter one next lo each other - and then Mending between thom ts lo create a value gradation Ne only thing you have to where the values meet in suchaway Palette remember isto blend where the 25 to establish the direction that the _- Winsor & Newton Artists” Oils: colors meet, not all over the object. petal grows from the stem. Ivory Black (B), Titanium White i (W), Raw Sienna (RS), Raw Umber By blending only in the area where ‘The dark and light values on the for- (RU), Sap Green (SG), Cadmium you want to create a new value, you ward facing pansy are placed next to. _Yellow Pale (CYP), Purple Madder will prevent muddying ofolorsand Pach othe (color sie by side) to get _Alizarin (PMA), enue stronger contrast between the values. Forward Facing Pansy Pick up paint off your palette with Teddeiewtebdeped + Dak PMA + RS the lat of the brush, and then apply ee Light. RS +W with pressure tothe element you are ™fOP Of abasecoat of lighter value >. Blend where the colors meet, pee (color on top of color) which results i ‘ator Ihe bétler i analy cal using the chisel edge to create a cette a ate ina smaller value range and there- directional feel to the paint. If areas of paint several tines an. Aifcreless contrast the chisel digs up paint, lower to put too much paint on at one the angle of your brush 69 the time. Place color mixes next to each surface, Now add W highlights. other in a broken edge (Refer to page 3. Blend highlights to soften, 3,) Remember, we want to make Fece blending efficient so we don’t overwork or muddy the colors 2. Base with PMA, using a small brush and chisel to extend color over petals ina few places. Do not You want to blend on blend the edge of the the line where the color face into the petals. mixes meet but how you Colors should remain use your brush to do gears eed deg that blending depends oe. con the object you are painting. If am paint- ing a leaf, Iblend with the chisel edge, but with Center 1. Base inner triangle with PMA. 2. Use round brush to the brush held low to the ‘add fine lines of W at surface, so that I begin to age of center as shown. get a directional blend that 3. At bottom, add fuzzy lines of CYP and blend a indicates how the leaf is made. little into PMA center. ‘The same for flowers. Look at the pansy. use the brush to blendof CYP. 2. Place small amounts of PMA + RS shading color as shown, then blend. Now add small areas of W for highlight. 3. Blend to soften values. Do each | blending step with chisel to suggest petal growth direction. Pansy Bud 1. Base petals with RS +W +a tad | Leaves & Stems D. Dates B +SG Light.........SG +RS+W. Stems are normally based with the dark mix and highlighted with the light mix since they are too narrow to have two values placed side by side. 2. Blend with growth direction, at a natural angle to the center vein 3. Make a mix of Light Leaves + more W for highlight color. Apply it to leaves in a few places. 4. Blend highlights to soften. 5. Add central vein lines with highlight mix and add PMA accents as desired. Metalmark Butterfly This basic butterfly is not difficult. ‘Simply apply basecoat on wings and blend, then lay tracing paper pattern on top and redraw the detail markings into the wet paint. Easy! Qunsies 5 Netalmark The Ares Metalmark is found in Southeast Arizona ‘gardens and woodlands, and is one of a dozen related species in North America. The metalmarks are so-called because of the metallic markings often found on the wings. @2002 < Sherry C. Neher 1. Base forewings with RS + RU + PMA. On hindwings, use the same mix in the dark area and CYP + RS +a bit of PMA in light areas. 2. Blend between the values with the line of color. Highlight with dirty brush + W as shown. Draw pattern detail into wet paint. 3. Blend highlights to soften. Add markings with round brush and RU, Use W for detail on wing edges. 13Incorrect < Eyering too wide. Highlight in eye too Se. large, too central re FS Ww geeincones. Eyring shows ‘wiriation of width. Highlight dot correct size and position.yes and beaks are casity the mest important - and challenging - features lo con- sider when painting a bird, CA correctly painted eye and beak will make your bird took reat. Fire rtxanes give your bird its personality, as well as draw the observer into the painting, it’s important to get them right. In a painting, the eyes have it! Study the two detail sketches on the ‘worksheet. The first shows the most common errors made by many students when they paint their first bird. The second shows how to correct them. Using this sketch as a guide should make it easy for you to ‘understand the subtle things that will give your bird that realistic look you want. ‘As you paint, ask yourself these questions: Are the beak and eye in correct alignment, as the arrow shows? Does the eyering vary in width? Then make sure the highlight dot is tiny and in the correct location near the edge of the eye. The line dividing the beak should be about ?/; of the way down. the beak - not cuting it in halt How does your bird check out? Use small amounts of paint and good brushes. And be patient. Your skills will develop quickly. 16 y Palette Winsor & Newton Artists! Oils: Ivory Black (B), Titanium White (W), Raw Sienna (RS), Raw Umber (RU), Sap Green (SG), Cadmium Yellow Pale (CYP), French Ultramarine (FU), Purple Madder Alizarin (PMA). Post 1. Use RU and the chisel edge to lay on a pattern of wood grain- like streaks. Use a soft tissue or pad of cheesecloth to blend them into the background. 2. Now, detail the post again. Place the RU streaks irregularly to simulate wood grain. Fill in the top of the post with RU + B. Highlight on upper left of post with dirty brush + W. 3. Blend light to soften. Columbine White Petals De BaSe wn PMA 2. Highlight with W. 3. Blend highlights to soften. Rehighlight major petals if desired. Blue Petals A. Dark... RU + FU Light....Dirty brush + W 2. Blend with growth direction of petals. Use light mix + more W for highlight: 3. Soften highlights by blending with growth direction. Add central vein with dirty W. Add a bit of sparse PMA accent on some petals. Centers 1D, Base srsnneRS + SG 2. Add stamens of RS + RU. 3, Tip stamens with CYP + W. _RS+W + abit ofa (M+ a + AY URI peoy jo ur 14 nod se adeys pue -umorp 70.3989 pure zeap uO 4S01 UT [[Iq ‘PeayaIOJ UO Ay aDvId ‘9738 9109 0} Supaa MOLTEN, -Z Wade Coen “yooup uo aga zapun AY AUIS “L ‘aKa puryaq om Azany apy & yi eo pray fo 182% pur quoy UE NY +g aed “L aussi “(na + a UaEe ake uayjos 0} um puatg “¢ afiq punosy uryog pure yaoyp uo apeus “™m. M+ ysmaq “MUI Op UBTYsTY PpY “¢ Jo qq eI UMoud Uo ysTYSIE “€ Aurp wim auy vorstarp ppy ‘7 “gupta odo UT TE 7 ‘uoRDaNIp YIMoId YIM Pud|g “7 ay +g aseg “| “M+ SY uM Sunda aseg *] 0g afig arojaq se sayons Addoup yim w8qySny puaig ¢ ‘Mita yseauq JO so}uo> ur YBTYsRY “a\poue BuO Hay phucys « Se acne ‘Ng Yates pure py tas sea Jo Sopis ye apeys ‘apa jas ain jo soyons &ddoyp Sursn ‘qpau Sonpea aroya s10]0> pudygl *Z ‘uORD—NIp YIMOIS YEA ‘sayons kddoyp wpm s10]09 a2eI M aust M+ ng umipayy aye“ asvoug, Prgenig uonpaup yjaor8 ut Surpuayg ‘hq squanse uayjos ‘M+ AL + snug AuIp yim saneal juaDd¥ “¢ erm YH ya Uujaa zajua ppe pur uoRDastp ‘yor iim soaval ual -Z xn 14S MAEM ySTTBAY pur XIU sep YEN surays aseq ‘apis Aq apis sonyea aovyd Kise 0} monet 00} are Kayp aDuIg M+SY +98 = 9y8tT os +a” sued T Png 29 suia}g ’s2aea7, ‘papsooad st auo fi x0q ysau v ut aouaprsas dn ayo} jim pur ‘Surjsau Apavo 4of aouasafad ouws oy} sasvys ys 42 ‘spaaqanjq UDILAMY YON 4ayj0 ino unyy s2Biv AyySyg ys, ayy fo suorzvaaya soy8iy pun fsqanoo py ay} fo juapisos v ‘pargamyg wrpjunoyy any sysoU yO, pun ysvaig 4109 uo Surayivas anjg-hys aayouysiq: PPG) YDLeaf & Stem Highlight Light, ix + W Binal, strong highlights on ? ~ fished lily give dimenion — oN create pelals thal curve. Step 3 Blending with growth direction.Cy lap ean by using closely related colors. Background With aoe rile blend a itl of ech Darks recede on mid We cate backgrounds Light areas a come forward. 4 ¥ il Dark Leaf Mix SG+B F Light Leaf Mix } ; RS + W f Delta Flesh Tan ; Step 2 Fal Shade/ Hightight aL, a Step 1 iy ae Butterfly Dark Value oa ) +P Lay tracing paper pattern on wet basecoat and redraw Step 1 Basecoat. detail lines. : 19Rey lo oltre ling realistic flewers with gracefully curving pelals ts great fun and not at all dificult. Js just ancther way of indicating dimension on the painted surface by using Afferent values. Qua medium vauesurtace, dark values appear to recede and light values appear to come forward. So our goal becomes this: to create a graduation of values from dark to light so that the transition gives the object realistic shape and form on the painted surface. The focal elements of a painting should have good contrast against the background value, while the less important areas should be closer in color and value to the background, making them less obvious. In the lily painting, the butterfly, with its strong contrast and interesting detail, draws the eye to it. But you also notice the interesting detail of the flower center as well, which in turn draws you to the subtle but lovely curving petals, Following that line of design leads you back to the butterfly. T try to achieve a sequence of interest within a painting, to encourage the viewer to observe all parts of the design. y As you paint, study the effect of the choices you make. Are your values helping you create the look you want? Are the colors too strong for their position in the design? Training your eye to really see takes practice. Palette Winsor & Newton Artists’ Oils: Ivory Black (B), Titanium White (W), Raw Sienna (RS), Raw Umber (RU), Sap Green (SG), Winsor Red (WR), Cadmium Yellow Pale (CYP), Purple Madder Alizarin (PMA). Lily Petals 1. Base _RS + W + speck of 2. Shade. Highlight ....Dirty brush + W 3. Blend edges of shade into petal with growth direction of petals. Using a clean brush, blend edges of highlight in the same manner. Using a #2 bright, lay in dark pattem at base of petals with PMA + WR, but do not blend. 4. Rehighlight with W to curve petals even more. Blend to soften into adjacent value. Center 3. Base... 8S + CYP 4. Shade a bit at base of center with PMA. Stamens & Anther 3. Clean out shapes with a brush dampened with odorless thinner. 4, Base with a mix of CYP + RS. Highlight tips of the stamens with CYP, and the tip of the anther with W.Iz “sjop sep Suymaroy axp apisut ay amd yptss suSttyBHH “Ysnaq punos Zuisn “Oa pauunp- Jo anssiy os yi quted ssaox9 30 4019 ‘sep 00} 1995 S10[09 JT qaaur Katy arayan sanqea puaig Z ‘saujt] PUD saute uojssud aww syurjd poof ayoanf aroyy -oorxayy fo fms ay) 4vau saqvys wiayynos ay) usyj1o suf aBuiv4 s,y1 aouts havyuses fing oy pores st sorsads anpnoried sry, ‘sanfiaying paroof-ysnig fo hypunf ayy fo ssoquiow jo aun PUD ‘saqvIS payUN ayy ut sayfiazyng wwnsvjoads Jsou ayy fo amos auv saivyistaf fo sayaysve #21.) dad + 5a + ysnag Any i ma 4M + VINd eg ssexrur ap EM Ayuanng aseg “T Aypanng Arend JID “uonsamp ymor8 Yai sanqea 1ysrysny Jo soSpa puatg “> “xT SIT YE SUTDA PPY “M arour+ x1ur jeay uaa’ yysty YL sanvay pur sways wpoq 1yStTysiHy *€ “surajs Jo wpBuay wr pur saaval Jo woRDAMp yo YIM pud}g ~Z sry Hed T surayg 29 saaeay, “png ojur xis ep puaig “+ 2UM Jo >pads + VINd WM diy ayStTysiy puaig -¢ Mossy TZ xiur yeosaseq AIFDelta Tidepool Blue Background Blend with roller ito toet Delta Moss Green. Delta Light Ivory Crown RU+W. Breast Dark Mix RS+ RU 2 Step 3 Dirty brush + W —*% Leaf Highlight E Dirty brush + W+Fu Blossom Basecoat WaRS Step 2 Leaf Dark Mix B+SGGeather: feature and growth direction “ells the story” of your bird and makes it real. i Lines remaint between values - it’s underblended, looks flat. Surface is foo smooth - doest't indicate depth. Form & shape is created by directional brush strokes.24 have a rich, thick consistency which makes wonderful lertare ona painted sur face. And the texture of what you paint tells the story of what it is, in the same way hat values and colors do c# bird's breast is covered with a thick layer of feathers, so it has to be painted differently than a smooth apple skin if we want the bird to look fluffy and feathery. As you create texture, you also develop a pattern of strokes. To cre- ate the right form and shape, you ‘must make those strokes follow the contour ofthe object you're painting, Look at the diagram on the work- sheet. I've added arrows to show you the natural lie of feathers on ths little titmouse. Notice how round they make the bird appear. And look athow the texture actually suggests real feathers. In the second diagram, 1 used less paint on the left side of the bird. ‘You can see how that made the paint look more blend- ed, and made it difficult to get good texture. The lack of surface strokes keep the bird from looking so feathery. The divisions between values also remain, making each area look flat. But on the right side, I've been just a little more generous with my paint. y You see suggested feathering and shape right away, and the values interlock more readily. Practice making choppy strokes with the chisel edge of a #2 or #4 bright. Vary the amount of paint. Soon you'll get the knack of creating perfect feather strokes. And always change the direction of your strokes to match the growth direction ofthe bird's feathers in each area of the body. Palette Winsor & Newton Artists’ Oils: Ivory Black (B), Titanium White (W), Raw Sienna (RS), Raw Umber (RU), Sap Green (SG), Cadmium Yellow Pale (CYP), French Ultramarine (FU). Titmouse Tail 2. Base eneneB + RU 3. Pull a few feather lines with dirty brush + W. Leg 2. Base B+RU 3. Highlight.....Dirty brush + W 4. Add toenails and leg lines using slightly-thinned base mix applied with round brush. Place colors using choppy strokes, following growth direction of feathers. 2. Blend values where they meet. 3. Shad RU Highlig Ww 4. Use choppy strokes to blend highlights.Sunflower sods and a, ‘and tnzls in eis, busy family groups. Ard tiny a they are, the wile flock il 1p om any sll ot Eve 1 Base everng with RU + W. 2 Filineye with 3. Add baghght doe with W. Head Ais crown with RU +. 2 hilinehwek and nd above eye fet RU We Careful apy ‘TRU with sal sl na enaiting ores along 93. Blo a ite between pray and ‘sce aren justo salen Add ighlight om crown, check and above eye with 4. Blend highlights. Narrow ering, ‘wih dan rom around oe. (©2002 Beak 1 fae B+ RU 2 Ada in wh dey W. 5 Soften in to upper beak Blossoms 2 eS HW 3 Hight av 4 len geno highligh to site Blossom Centers 5, Ada stmen lies with RS-+ CYP, slighty thinned. 4 Pollen dots RS © Sherry C. Nelsen ~ Leaves 2 ath 5G Uightnse RS-+W Sere with Dak Bln eas with chisel eg, folewing growth direction ighigh wth ry brs + “FEU Highlight toms with igh sent mic 4 Hl lea bight with limon Aad ceil TShrsthligh laf en Branch Ue 4 Bled sbi with choppy chisel ‘where ale most bareStep 1 / Base sparsely with 4 small brush. Detail’ s bet Step 2 Highlight and blend a little. Step 3 Detail with round. liner brush,Delta Misty Mauve Delta Burnt Sienna Background Blend these colors ito wet Delta Lichen Grey basecoat. ‘ Use sponge roller to get Ruffle petals with strong darks a and lights for more detail. ae ee 4177 , © ee ver oe BS 5 Dirty brush + W Use stylus to mark. ‘eather tines into wet Dank Gat MAM Light Leaf Mix HEMPEntight Mix B+sG SG +RS+W Light Leaf + W Poppy Me ; BSW Wing & Tail Dark B+RU+E Detail center with liner brush Per Feather Lines Highlight / Bases W Wa RS Use chisel edge of good brush to add detail lines in ‘wing and tail 72eKCM Dutritrnahes apainting! Dela adds realism and creates excitement. Detail dvaus you in. She easiest way C} know lo create olear, sharp detail in oils ts simply this: tess paint. Refer le page 4 for the pattern. Nemore sparsely you apply the paint, the better you'll be able to con- trol it. Ifthe basecoat is dry (meaning very sparse) as we oil painters say, it will hold to the surface, instead of sliding around. Any detail added on top if t will adhere well, plus stay clear and sharp. You can wait until the basecoat is dry before detailing but then the detail doesn't soften or meld into the basecoat which I think is important for a realistic look. With a sparse basecoat, it seems the detail blends just enough to appear part ofthe element, while staying clear and beautiful, without muddying The key to sparse basecoat paint lies in how you load your brush. Drag paint into a dry loading area which has little paint and load your brush. there. (See sample palette on page 26,) By putting less paint on your brush, and applying each brushload with pressure, you'll get a very controlled basecoat on top of which you'll be able to get dramatic, wonderful detail Palette Winsor & Newton Artists’ Oils: Ivory Black (B), Titanium White (W), Raw Sienna (RS), Raw Umber (RU), Burnt Sienna (BS), Cadmium Yellow Pale (CYP), Sap Green (SG), Winsor Red (WR), French Ultramarine (FU). Tail, Underside 1, Dak vevnonaB + RU+ FU Light.......0Dirty brush + W 2. Blend between values with length of tal y Tail, Upper 1. Base eoesenoue-B + RU + FU 2. Lay on light edge to separate from tundertail using Base + W. Wing 1. Base with B + RU + FU. As feather lines are covered, draw them back in with a stylus. 2. Cover stylus lines with Dirty Brush + W feather lines, applied with chisel edge of #4. Complete the long primary feathers, then 0 on to shorter covert feathers. 3. Shade at base of long feathers and within some short coverts with Bp ‘Legs (See enlargement on page 26.) 1. Base . B+RU 2. Highlight.....Dirty brush + W 3. Detail with thinned B. 2, Blend with choppy motion of brush between values until gradation is achieved. Highlight ...RS-+ more W 3. Blend to soften. Back 1. Base 2, Highlight... RS + W 3, Blend highlight to soften with choppy strokes. Eyering & Cheek BS. 1. Bas -RS+W 2. Shade. RS BS between eye and beak Highlight.....W 3. Soften highlight. we Eye 2. Base B 3. Highlight....W Beak 1. Base B+RU 2. Add line of dirty W. 3. Soften line into upper mandible. Throat & Crown 1. Base B+ tad of RU Edge into surrounding light values with comer of brush. 2. Highlight on crown with choppy strokes of dirty W. 3. Soften highlight just a little Poppy 1, Dark. BS BS +WR Light ......Dirty brush + W Lay colors in fairly defined areas so good contrast can be retained. 2, Soften where values meet, blending with growth direction. ighlight with BS + W, then W. 3. Blend highlight to soften. Center 1. Dark round area is B + SG. The light area around it is RS. 2. Use liner to add stamens CYP +RS, 3, Highlight a few stamens with W. Leaves, Stems & Bud 1. DatkeneuinnnB + SG Light cosunSG + RS-+ W 2. Blend between values with growth direction, Add highlight with Light + W. 3. Blend again, adding light central vein. 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Leaf Dark Mix 4 Bsc | — Step2 eat Light Mix ( SG +RS+W ‘ Background Be, ‘ ce " \ Delta Gamal Green is bleed ae into a wet basecodt of Delia Moss ey mM Green using a sponge roller, : : @ Blossom Mighlight CYP + dirty brush + W See finished step Leaf Highlight Mix on the front cover. W + Leaf Light Mix A oe eo ; seloerblended Too gloppy ~ Correct an ugg Retal eat Peo not enough paint, too much paint nie Sis Hore on brush. LAH 121617 Pearl 955326 ne indiodual