Part 10: Creating a Critter from My Mind

The yucky pink/purple beak color is now covered with a thin layer of muted orange (which worked beautifully for the lower eyelids).

Fine sandpaper wrapped around the end of a paintbrush handle and taped in place, is perfect for making major changes to small paintings. The old beak color (lower image below) had to be sanded a little to get rid of all the bumps created by the pointillism technique used for its original shading. The paint “dust” caused by the sanding is then washed off with a wet paper towel. Two minutes later, the lovely smooth surface is dry and ready for a new layer of paint.

When you draw/paint any subject that leans to the right or left, make sure that all its parts slant at the same angle. Note the white guidelines painted on the main section of the beak to help me stay on track.


Part 9: Creating a Critter from My Mind

Hawk was just way too dark and scary (lower image below), so I lightened both her eyes and eyelids (upper image ). I also tried a muted orange color on her lower eyelids, which seems to suit her beautifully.

BUT! Now, the color of her beak looks totally wrong. The following short lesson in color theory explains the problem:

  1. Alizarin Crimson (a red) contains a wee bit of blue and was used to mix the beak colors (when mixed together, red and blue create purple).
  2. Most of her fur/feather colors are mixed with yellow. Yellow and purple are complementary colors and when placed beside one another, both appear brighter.
  3. The beak now looks a yucky purple/pink and sticks out like a sore thumb (pun intended). The beak’s shadow sections demonstrate the “purple problem”.

Thankfully, painting with acrylics is like putting on makeup – super fast and easy to change.

I have authored several lessons on painting. These two are FREE until Sept 12, 2017:

Painting Supplies for Beginners: Selecting painting surfaces, brushes, soap, palette knives, palettes, and paints

Color Theory for Beginners: Introduction to the fundamentals of color theory for painters.


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