Remember this fellow, who had just been started in an earlier post? I thought you might like to see him completed. I love using this watercolor technique: first painting the entire paper with the background color, then using clean water and a dry brush to lift away the lighter areas. Once that’s done, the detailed work begins with a #4 round brush and some rich browns. Highlights in white gouache are added in a final step.
He’s becoming a regular, arriving after the bossy cardinal couple and before the mourning doves. Red-bellied woodpeckers are year-round residents here, and apparently they have a hearty appetite for seeds. “My” woodpecker is a male, easily recognized by his red cowl. Females display a red patch only on the backs of their necks. (Despite their name, you can watch these birds for hours and never catch a glimpse of their red-tinged belly feathers. But the bold black-and-white bars on their wings and their bright caps make it easy to identify them anyway. Bon apetit, Mr. Woodpecker.)
Just started a burrowing owl in watercolor. I always paint the eyes first — I think they are my favorite part of the process. Burrowing owls are the nonconformists of the owl family: often active during the day, they can sprint on their long legs when necessary. They nest and roost underground, inhabiting burrows abandoned by rabbits or prairie dogs. Their diet, too, is different from the typical owl menu. In addition to insects, frogs and mice, the little burrowing owl also dines on fruits and seeds. A particular favorite treat is the prickly pear cactus.
I always include chickens in my online courses on drawing and painting birds. There are so many things that make a hen fun to draw — scaly toes, fierce beady eyes, all those feathers — and everyone has a basic understanding of chicken anatomy. This lovely girl was a demo for the current session of Birds in Watercolor and Beyond.
I know, I know… ink and gouache resist was supposed to come several weeks later in my course schedule for “Birds in Watercolor and Beyond.” But I just couldn’t wait to share it. My all-time favorite painting technique, its inky outlines and sudden transformation (as the result of spraying it with a garden hose, the best part of the whole process) remind me of my years spent carving colorful raku tiles. There’s more information on the process in an older post.
If you liked the atmospheric effect created by dripping alcohol into watercolor wash in the earlier mermaid post, here’s a very similar drawing with a slightly different background texture. Sprinkling ordinary table salt into your freshly painted watercolor wash makes a rich, grainy texture that looks a little like crystals, a little like foliage. It’s a fun and slightly unpredictable way to make interesting backgrounds. I salted only the top and bottom of this small (4×6) rectangle, so that the middle would be smooth enough to add a fairy and her friend. They were painted in watercolor, with finishing details drawn in Prismacolor (the color is Terra Cotta).
Any type of salt will work. Using coarse salt, such as rock salt, results in a larger pattern. Sprinkle it directly into the wet watercolor layer, then allow it to dry completely. Overnight is ideal. Then the grains of salt can be brushed gently away to reveal the textures beneath.
This simple “profile view while holding something up” is a pose that works well if you are not yet comfortable drawing hands. While it offers plenty of possibilities — she could be holding up a small bird, a flower, a soap bubble, a friendly insect — it’s still rewarding to be able to choose whether or not you wish to paint realistic hands. Click here to see my tutorial on drawing them.