Page 43 - The Decorative Painter Spring 2014

12. On the margins of the dark wing covert feathers, add lighter values of Sap Green+Cadmium Yellow Pale+tch Ti- taniumWhite. Fill in the remaining edges of the brighter green feathers with a yellowish mix of Cadmium Yellow Pale+Raw Sienna+Titanium White (1:tch:tch). The bright shoulder patch is Cadmium Yellow Pale.
13. Begin by blending between the dark and light values on each covert feather using the chisel edge and follow- ing the appropriate direction of growth. When all the feathers are blended, blend between individual feathers to further soften the look of the wing. Highlight a few of the dark feathers with the same yellowish mix used on the brighter green feathers—Cadmium Yellow Pale+Raw Sienna+Titanium White (1:tch:tch).
14. Re-blend highlighted feathers to soften. Add addi- tional highlights on other feathers and on the shoulder of the wing, where needed, using the same yellowish mix of Cadmium Yellow Pale+Raw Sienna+Titanium White (1:tch:tch). Add an accent on the wing, as shown, with French Ultramarine+Titanium White+tch Ivory Black.
15. Blend final highlights on the feathers of the wing, and soften the edges of the blue accents to connect them to adjacent colors.
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CHOOSING THE CORRECT BRUSH SIZE
n In this project, the red sable brights are blenders, and the round brushes are used for detail. Use brights for most paint applications and for most blending done between values. Always choose the brush that best fits the size of the area in which you are working.
n The no. 1 bright is used for the brushwork in tiny areas where any other brush is too large; it’s great for eyes, for example.
n The nos. 2 and 4 are the other “workhorse” brushes—I used them for almost all of the painting. When the
instructions say to “base” something, nine times out of ten, I’m using one of these two brushes to do the work. Again, use the brush that best fits.
n The no. 8 bright is my usual choice for cleaning up graphite, removing bits of messy paint from within the design, clearing out an area for another color applica- tion, and so forth. Dip the brush into thinner, blot it on the Viva towel, and proceed. The larger brush has more body, and the corner of the brush works won- derfully for removing even the smallest bits of paint.
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