How To Draw Different Bird Species Bird Species
Wherever you live, you likely don't live solitary. Non when you consider the birds in your backyard or the pigeons on the sidewalk or seagulls cawing at you lot if you alive along the coast. Birds are a constant companion for many of us and yet we can forget to explore them in our art. Take birds equally your subject area matter and you find the fun of color and texture … and mental attitude!
Here David Kitler shows us how to draw a bird with a ton of mental attitude in just ten steps. And when y'all are washed with that, you'll be ready to add together luscious paint, which is where the Essentials of Painting Birds comes in. Y'all'll acquire how to create beautiful paintings of realistic birds in impressionist natural settings that are full of colour and void of complications. It'll be easy and it'll exist fun. Savor!
Draw Realistic Animals
Nature artist David Northward. Kitler shares like shooting fish in a barrel techniques and expert tips on how to draw birds.
I've always been intrigued by nature's intricate details. It'south this complication — combined with the subtleties of mood and environment — that I try to capture in my drawings and paintings.
I tend to travel to where my subjects live then I can observe their behaviors and interactions inside their natural habitats. While on location, I besides gather as much reference every bit possible, from photographs to actual specimens — fallen feathers, fur, grasses and the like. Back in the studio, I'll look through all the reference I've gathered to decide which of my experiences I want to depict at that detail moment.
I then set my initial thought on a split piece of paper and transfer information technology to a board so I can preserve my original experience and enjoy developing it once again. These drawings that I make for my paintings I call preliminary sketches, and they have by definition an unfinished look — no background, parts of the field of study that fade off and undefined edges.
I'll prove yous the techniques I used to create one of my preliminary sketches enhanced with acrylic washes in the post-obit demonstration. My option of subject field — a red-breasted nuthatch — wasn't dictated by the bird'due south pose or an interesting light source.
I simply chose it because it reminds me of the feel of being in the woods on a common cold winter'due south solar day (the shortest day of the year), when the birds and I were the only creatures around. I should likewise mention that the nuthatch is a tiny bird (4 inches from bill to tail), but I decided to describe it larger than life to better showcase the species and its beautiful markings.
1. Depict the bones shapes
I view my world every bit a serial of shapes and forms — mainly circles, squares, triangles and cylinders. Equally an initial exercise (on the lower right of the sheet), I drew the bird in its nigh basic shapes to show you how I see it.
Tip: If you first to wait at things in terms of basic shapes, whether your reference is three-dimensional (an object) or 2-dimensional (a photo) or simply in your imagination, you'll discover that replicating those simple shapes in either a larger or smaller size is an efficient style to brainstorm a drawing.
I develop those basic shapes a little further, equally I've done with the drawing in the center of this photo. For a painting, this is as far equally I'd take the drawing earlier transferring it to a lath, where I'd proceed "drawing" with a paintbrush. For this do, I've finished my slice as a drawing.
ii. Focus on the center
In this case, I've decided to outset the drawing with the nuthatch's center. This area is commonly the most important chemical element in my pieces. Information technology's the place I aim to accept the most detail, contrast and crispness, in an endeavour to assistance the viewer connect to the fauna in the drawing or painting. Later cartoon the eye'due south bones shape, I blocked in the surrounding areas to ensure proper placement and proportions, using an HB lead in a mechanical pencil.
Keeping in mind that viewers will be drawn to the surface area with the well-nigh contrast, I used a 9B pencil to fill the pupil's bottom one-half, which will exist the darkest part of the bird. Next, in order to incorporate the reflection of the surrounding trees, I used HB lead in a technical pencil to push some of the graphite from the pupil expanse in club to suggest tree shapes. Finally, using 4H and HB leads, I pulled out radiating lines to fill in the iris.
3. Complete the middle
Working with a mask — in this case, the holes at the edge of an old computer printout — I used a white eraser to remove the pinnacle half of the guideline I'd used for the pupil. I then used a woods dowel, sharpened to a point, to burnish the different grades of graphite.
Adjacent I proceeded to fill in the residual of the iris and reflections by using very sharp pencils in a mixture of pencil grades, applied in tiny circular motions and burnished again with the pointed dowel.
Remember that, in guild to get a better feel for what the finished eye might look like, you'll need to have an approximate value established effectually the eye. Therefore I started to add together the fine lines surrounding the eye to stand for the bird's eye ring and next feathers.
4. Lightly render the body
I started working on the areas around the centre past drawing short lines made with mechanical, technical and woods-cased pencils and using pencil grades in the center range (3H–3B). I then added an overall coat to the bird'due south trunk using 4H marks — without applying a lot of pressure — to indicate things like plume barbs, markings, toe scales and bill texture.
Tip: At this phase, you should focus on the direction and length of each marking, and you lot should use curved strokes for the beak, toes and other features to suggest their form. For feathers — and fur and scales — always work from the tail toward the caput so these elements appear to overlap as they practice in nature.
v. Add together a darker layer
Adjacent I switched to a medium-form pencil (HB) and added a second, darker layer of graphite.
Tip: Drawing over some areas, such every bit a branch, is less difficult than trying to avoid them or preserve them intact. By doing this, you'll maintain continuity from one side of an obstacle to the other. Every bit I don't apply a lot of pressure when drawing, these unnecessary marks can easily exist erased later.
6. Complete the finishing touches
Finally I used an eraser to re-establish the co-operative's edges and then added more tone to stop the branch, as well equally the bird'southward toes and claws.
Tip: It'south easier to describe the anxiety first and and then to draw a branch that fits your drawing.
Every bit this is a preliminary sketch, I concentrated only on the most important areas and deliberately faded off parts of the image in my design. I left the tail, which is pointing away from the viewer, lighter and unfinished.
Usually the final thing I do to my preliminary sketch is to add a few washes of acrylic paint to places I feel are important focal areas. These sketches with acrylic washes are a pop way for beginner collectors to upgrade from reproductions to originals. Here'southward what you can practise.
seven. Lighten the centre
One matter I needed to do in preparation for adding color is to lighten the eye. I took a slice of tracing paper, cut out an eye-shaped hole and used a white eraser (you can also use a kneadable one) to remove some of the graphite by dabbing, not rubbing.
8. Utilize washes to the pupil
The heart is where I want the main focus, so I started with the pupil. Commencement I mixed a modest corporeality of color — in this case, black. I took some paint with the brush and then touched the castor to a piece of newspaper towel to wick off most of the paint. This left me with a dryer brush and a small amount of pigment.
Tip: The fundamental hither is non to wet the paper excessively, which might warp it. I used this technique throughout, applying thin washes of transparent colors, allowing each layer to dry before applying the next. Every bit the paint in the jars isn't diluted enough, I thinned it with water to increase its transparency.
I completed the iris by adding sparse dark-brown washes, mixed from my primary colors, to the bottom half of the iris, and a blueish imperial color to represent the reflected heaven. I left the white of the paper showing through to evoke clouds.
ix. Utilize washes to the body
After calculation some color effectually the center to frame it, I turned my attention to the rest of the body. I added an overall "coat" using browns, oranges and blues to indicate feathers and markings.
Tip: At this stage, you lot should focus on the direction and length of each mark and use transparent/diluted layers, allowing a lot of the paper to show through.
10. Decide how far to develop the piece
Function of the fun at this point is deciding how "unfinished" y'all want the final piece to be. I chose to block in some areas further, while leaving others—the tail, branch and lower foot—without any paint. In a few areas, I too applied more pencil over the paint.
Sign the "finished" work
Many artists have trouble recognizing when a piece is completed and hesitate to carry out the final step: signing the piece. The signature is the only thing that marks the completion of this type of work, so this exercise is a skilful one for experimenting with different stopping points. When I had accomplished my desired end — what I thought was an interesting wait with this sketch — I went ahead and signed it.
In conclusion
I hope that this article prompts yous to expect at your experiences and sketches in a new light. These tips and techniques are useful whenever you're drawing any blazon of wildlife. Mayhap yous'll share my two primary objectives: to bring the wild within reach of those who haven't had the opportunity to feel it for themselves, and to provide a permanent reminder to those who have.
Naturalist and creative person David Northward. Kitler's work has received many awards, including kickoff place in the Creature Art category for The Creative person'southward Magazine 2007 Almanac Competition. He has taught classes and workshops throughout North America for more than 15 years. To view his online gallery, read more art tips and learn almost his DVDs, visit www.davidkitler.com.
This commodity appeared in Artists Magazine. Click here to subscribe toThe Artist'south Magazine today!
Source: https://www.artistsnetwork.com/art-subjects/animals/draw-birds-draw-realistic-animals/
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