59 baltimore oriole coloring page

baltimore oriole coloring page

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welcome back to my channel for another, bird painting tutorial today we're, painting a baltimore oriole if you've, been following along with this series, already you know that i've designed and, laid out nine different birds that i, want to paint on this large 12 by 12, inch sheet of paper and my baltimore, oriole is going to be going in this, right hand upper corner my reference, photo today is from unsplash i'll be, sure to include a link in the, description below so you guys can, download that and follow along if like, me you're working on a large sheet of, paper with other birds that you're going, to be painting on it you're going to, want to protect those from getting, spattered on or drawn on so i'm just, going to lay down some paper towel to, protect the rest of the paper although, initially i might want to see them so, that i can see better for where i'm, placing my bird when i draw it on but, some tools you'll need today are paper, towel water jars a pencil and a, watercolor brush i'm going to be using, my silver black velvet size 4 round, brush to capture the beautiful colors in, this baltimore oriole i'm going to be, using my gamboge nova which is a warm, yellow you could also use cadmium yellow, any warm sunflower yellow will work, perfect and then for the orange and the, belly i'll be using winsor newton, transparent orange for the black of the, bird i'll be using daniel smith indigo, or you can use payne's gray any kind of, dark color and if you mix it with brown, it will neutralize and look like a dark, black i like mixing my blacks because, it's more transparent and less murky, looking so to start out with the sketch, i've got my design already laid out i, also did a smaller design as a thumbnail, sketch on just a little post-it note, earlier and i want to make sure that i, have the placement correct so i'm going, to have this handy as a guide for how, large i want my bird to be one of the, reasons that i decided to put this guy, in this corner was because he's his head, is facing in towards the painting i want, our viewers eye to be visually drawn, around almost in a circle from one bird, to the next and i want each bird to be, kind of leading to the next you can, start by just doing a oval shape for the, body of the bird and if it starts out a, little too large don't worry we can, always make small adjustments and then, overlapping that oval is the head so, look at the black shape made by the head, and try to draw that shape and a rough, beak here i'm looking at the negative, space between this black area and the, yellow spot, and then i'm also deciding how far this, black marking comes back there's a, little indent with the yellow here and, then the wing that's both black and, white, and then the tail very foreshortened we, can barely see it it's just a little, pokey shape over here, and the rounded belly, so we weren't too far off in our size, assessment but i am going to erase some, of the excess markings from this oval, and since my initial sketch was very, rough it doesn't have to look exactly, like this but i'm going to set that, aside now that i have the size marked, out and then we have these legs that are, coming forward wrapping around a tree, branch his little toes, all right so there's the rough size and, placement now we're going to go in and, really study our reference photo and, tighten up the drawing and make it, something that we can feel confident, going in with paint, so i'll start by the sketching the beak, first, being much more careful with my pencil, marks there's a little nostril here, and part of the eye is visible just, barely along the left side, pretty much the whole head is going to, be, dark and black, there's a little strip of lighter, colored feathers along the top where the, light is hitting it, but it's barely visible, then there's this almost bib shape, coming over the chest, and i'm really just trying to see, the shape and what direction it's, curving, here along the belly, we draw, a rounded shape, and with my other birds i tried to leave, little areas that were lost edges where, the color almost disappears into the, background for our baltimore oriole, there are just a couple spots where this, could be possible such as along the back, near the tail, over here, because this is a much lighter area, color and value wise we can probably get, away with losing that edge, so, instead of rendering it i'll erase it, that way i know for when i go back in, with the paint that this is going to be, a lost edge and then along the top of, the feathers here, i do want to be careful about marking, out where the black feathers meet the, white feathers, so there's a black stretch of feathers, right here, and then a white strip of feathers, and then another little bit of black, and then a few little separated feathers, here, nothing too crazy remember not to overdo, it with details this is an illustration, we want it to just be a whimsical, beautiful piece, it doesn't have to be an audubon, scientific study of each bird, although if you want it to look like, that just spend more time on the drawing, all right so there we've got our rough, body shape let's, locate where the eye goes and draw that, in, it's going to be important to paint, around this little highlight on the top, of the eye, so you might want to mark that out ahead, of time, and then last but not least the little, legs here, i'm not doing much on these sketches in, the way of details in the feet i'm just, kind of painting little gray marks for, the legs i won't deviate from that too, much with this drawing either and then, there is a branch that we'll have to, paint just so he looks like he's sitting, on something but there we go there's our, sketch i think we're ready to start, painting once you have your sketch on, do cover your other painting so you, don't accidentally get paint splotches, or splashes on them so i'm protecting my, paper, and then i'm going to grab an extra, paper towel for blotting over here so, important to have something on hand to, help control how much water is in your, brush all right first of all make sure, your brush is completely clean because, we're going to be starting with the, bright yellow color, for my yellow i'm going to be using as i, said gamboge nova, this holbein color it's a beautiful, brilliant yellow, so i'm going to mix some of that up and, you know i, for some of these other paintings i was, going in wet and wet, most of the time i like to start with, wet and wet techniques but for this one, i want my yellow to be as bright and, brilliant as possible and it's going to, go on in its purest form if i use a, milky texture with my paint, on dry paper so we're going to paint in, all of the yellow and cover up the, orange, with this gamboge nova first thing, wet undry, so if to avoid any hard edges from, forming just use lots of paint really, load up your brush, and you're basically just covering and, coloring in the whole shape of the belly, bright yellow look how beautiful that is, almost blinding it's so bright, and then we'll paint right up here where, i said i wanted to lose an edge i'll, show you how i'm going to resolve that, in a second, so paint everywhere you see yellow, and then rinse that out, rinse in a clean jar if you have another, if you have a second jar that's all, clean that'll help you really get your, brush completely clean, now remove most of the water so you, should still have a damp brush and, gently scrub along that edge, removing and lifting some of the paint, so that it looks like a lost edge just, fading into the background, this painting it's a little harder to i, think have lost edges in it because, there's so many dark colors in it but, we'll do our best all right now i'm, going to take my transparent orange this, is a winsor and newton color, you can also create an orange by mixing, a cadmium red with a warm yellow, and we're going to go right over the top, of that yellow, wet on wet now remember it's still wet, because we just painted it, so this orange is going to soften out, and disperse a little bit, you can paint it almost up to the edges, of your yellow, now as you approach this area in the, light if you're looking at your, reference photo you can see it gets, lighter so i'm going to remove a little, bit of paint but dry on the towel and, then begin to, spread the paint around over the yellow, remove some more, so it's just a very light tint on my, brush hardly any water, and it's softening into the light, gradually getting lighter, now i'm removing almost all of it, and pushing and pulling the paint, ever so slightly, up towards the, yellow over here there's a little, separation in the body so i'm adding a, little more orange, and just like that we've been able to, paint this brilliant belly super quickly, in the reference photo it's even a, little bit darker so if you wish to go, darker you could add a dark red, something like alizarin crimson, just make sure you don't have any excess, water in your brush or it will spread, that paint out and cause a cauliflower, so it should be all pigment, from your palette no excess water in, your, brush and i'm just darkening that, underbelly a little more, so pretty, alright with that done now we can work, on the gray parts of the bird such as, the legs and the beak let's take our, indigo, swirl it around in the palette it might, just be a beautiful color all by itself, and i think this will work if i add, enough water to it, so i have a light gray, sort of a bluish gray and i'll go ahead, and paint the beak that color, and then we can do that for the feet, just be careful not to touch your, red or orange if it's still wet because, that will reactivate that paint and, cause, it to seep into your gray, okay so there we have roughly painted on, the beak, and the legs, now we need everything else we need to, do is pretty much black so while this is, drying we can mix up our black i'm going, to take transparent brown oxide, and mix it with my daniel smith indigo, and i'll go ahead and paint some shadow, tones under these little toes, may have already dried by now when, you're working on dry paper it does dry, really fast, wet in wet it takes a little longer, because you've soaked the paper ahead of, time, the more you paint the easier it will be, to judge the drying time of your paper, and that can also depend on where you, live for example i live in a really dry, climate so my paper dries quite quickly, whereas if you live in a more humid, location, your paper may not dry that fast, giving you more time to do wet and wet, effects, without having to re-wet, okay i'm going to take this light, grayish tone here it's not really light, it's quite dark actually but it's, going to serve as my lighter value, for the head as i mentioned while we, were sketching at the top of the head, and along the back here, they're catching the light the sunlight, is shining down on this black, head on the black feathers, and there is an area along the top, that's a little lighter in value, than the rest of the black markings, so this will serve as your lightest, value within the black, paint around that highlight in the eye, that's so important to preserve the, white of the paper there, so really slow down for these details, and of course as you're approaching the, orange if it's still wet don't touch it, with your brush, or it will push aside that still wet, paint, cause some problems, but if it's dry you're safe to paint, right up next to it, so i'm going to go ahead and paint with, my indigo, all the way inside of this marking this, black marking on the chest, and along the top, that gambogenova that we've painted, first is definitely dry by now now with, your black that's on your brush you can, begin to paint in between, along the top wing here there's those, distinctive black and white markings so, let's go ahead and use our indigo at its, darkest value or payne's gray if you, have that, and i'm using a little bit of a dabbing, motion with the brush to create the look, of little feathers overlapping the, yellow, you can do that on the underside of this, shape too, so it looks a little bit fuzzy like, feather texture, so i'm really studying my reference, photo for the markings here i want to, get these right, the wings are the most distinctive, marking on this baltimore oriole of, course besides the orange belly, and then you've got a black mark on the, tail, the top feather is dark, i'm going to rinse that out, most of the way, and swipe along the top of the tail, feather, with a tiny bit of water to get it, loosened up so it's a lighter value, across the top, painting a little bit of texture on the, feet while i have that gray on my brush, still, [Music], little sides side by side parallel brush, strokes, showing the texture okay now we need to, go back into the head with a darker, value, mixing up more indigo and transparent, brown oxide for black, so much pigment very little water here, and now we paint the head again this, time at its darkest value, careful underneath the beak, and just like we did with the wing, feathers if you want to add a little bit, of texture, you can do that almost like fur, overlapping the chest, where this black feather on the head, meets the orange, add a little bit of texture, don't just do one straight line across, that won't look as realistic, and then leave a little strip of light, along the back where you had already, painted that first layer of gray, so that it looks like it's, shiny, same with the top of the head leave a, strip of light along the top, painting right up to that and then, filling everything in, as dark as possible, when you get to the eye slow down really, take your time painting around it, and then you can fill it in, weaving that little highlight, he looks a little startled maybe adjust, the shape of your highlights, can make them slightly smaller so i'm, going to remove most of the paint my, brush is now just damp and i'm going to, lift, just a little bit back out around the, outside edge of the eye, might need a stiffer bristled brush for, this, but i lost that little bit of highlight, there so i'm lifting it back out and, then i can restore, the shape again using the pointed tip of, my brush, then i'm going to outline the shape of, the mouth one more time, i think this bird is unusual from the, rest of the birds that i've chosen he's, got his mouth open a little bit okay the, last thing will be to well two things, left we're gonna add a branch underneath, him the color i used for my other birds, so far was transparent brown oxide so we, might as well stick with that maybe mix, in a little of the indigo to neutralize, it and i'm just going to paint the, shadow side of the branch first dip in, the water so it goes smoothly for me, here, and i'm going to paint it really roughly, letting my brush scrape along the, surface of the paper, catching on the texture, and then i'm going to twist my brush, upward in this curved motion, mimicking the shape and curve of the, branch, we'll have it come down a little bit, like that, off the paper even, let's see how that looks with the other, birds so bright and colorful now i'm, going to add some orange spatter just, like i did with my cardinal here once, again cover everything else up with, paper towel to protect it and then i'm, going to take my transparent orange, swirling it on the palette ahead of time, having it nice and wet in my brush this, is the one time i'll say, use plenty of water in your bristles and, then gently tap, across the painting, wherever i want a little bit of spatter, i'm going to take a look again and see, what i want to add i think i'm going to, do a couple of these individual little, circle shapes, underneath the composition maybe one, right there, what fun to paint with such bright, colors there's the finished baltimore, oriole i'm so happy with how he turned, out i don't paint with bright colors, very often because i do a lot of organic, natural animal looking things, so this was a really fun departure from, the usual if you're following along with, this series be sure to check out the, previous two videos about the cardinal, and the tufted titmouse you can find, links to that below and if you like my, style of teaching and want to take your, skills to the next level check out my, watercolor mastery membership thanks for, watching today and i'll see you in the, next video

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Recap Page 1 MLB 17 – PRESEASON GAME Friday 24, February 2017 – Baltimo... Read my description. #BaltimoreOrioles #MLB17 #DetroitTigers #MLBSeries #Preseason #Baseball #PS4 #Playstation4 #Writer #Writers #WritingCommunity #WritersLife #WritersCommunity #MentalHealthOutlets #MentalHealthAwareness 7

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