Leisure Painter - UK (2019-06)

38 JUNE 2019 http://www.painters-online.co.uk

Demonstrationcontinued

Step 7

1 Next it’s the turn of the avocet’s pale feathers.

Although the bird’s shadowed plumage is

similar in colour to the water, you don’t want

to use the same paint mix. Doing so would

make the bird look too similar to the water.

2 Mix ultramarine, cadmium red and titanium

white, to give a soft mauve-grey. Again, mix

several tones of this and paint each in turn

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to imply the modelling on the plumage.

Blending the tones where they meet will suggest

the softness of feathers. The only hard edges

should be where dark wing feathers meet light.

3 It’s now a good time to step back and

evaluate the painting. The avocet has

progressed well and generally the water

is working. The two large dark shapes in

the reflections – originally a post – are

concerning, as they look too heavy and

distract the viewer’s attention away from

the bird.

4 In a picture, the viewer’s eye will always

be drawn to areas of contrast and detail.

Detail is not the issue here, but contrast

certainly is. You need to break up that shape,

by toning it down and making it less solid.

Never be afraid to change something that

isn’t working in a painting.

Step 8

The best answer is to turn the shapes into

reeds, which will also imply a more natural

habitat. Just a suggestion will be sufficient,

as too much detail will take the viewer’s

attention back to that area. A range of lighter

tones and a flat brush will do the trick.

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Step 6

Now return to the avocet, painting the dark

markings with a mix of ultramarine and burnt

umber. Use a Rigger or detail brush for the

beak. The reflection of the head and neck can

be painted now too, using lighter versions of

the dark mix.

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Heavy-body acrylics