I did this watercolor painting of a Rhode Island Red rooster recently as part of a series on animals I am doing with my watercolor painting students. This subject can be tackled in various ways and I used two different techniques with my two classes.
In the first watercolor painting I built the red watercolor wash of the bird’s comb and wattle (the red bits) in a number of glazes. In the second version I did it mostly in just one wash.
Here is the reference photo I used for these watercolor paintings in case you would like to have a go at it yourself. The reference photo is of a Rhode Island Red rooster on a friends farm.
Rhode Island Red Rooster
Below are the two watercolor paintings of the same subject . In the first example I built up the color with a number of layers of watercolor paint. I made sure each layer was totally dry before I placed the next one on top. It was in the second layer that I sprinkled salt where I wanted to create texture. The salt was sprinkled while the wash was still wet and left to dry. Afterwards I brushed off the dry salt.
In the second watercolor painting of this Rhode Island Red rooster I painted most of the comb and wattle of the rooster in one go, the salt was used at this time as well.
You can see that in the first example the watercolor is much stronger and vibrant than in the second example. The reason for this is the extra layers of paint used.
The green background, being the complement of red, makes the red appear brighter as well.
You can see in the second example that the watercolor is a lot lighter though it has a fresher feel to it. There is no right or wrong way to paint this subject. I have given you these two watercolor painting examples to show just two ways in which this subject can be tackled. I can think of many more. I will be producing a full demonstration article on how these paintings were done in the coming months once I get through a few projects I have under way.
Below is another version of this rooster this time the body is shown as well.
Now the sand is done we will now look at painting the sea.
Using the same mix of watercolor paints but make sure the consistency is stronger than that used for the sky; we use a dry brush technique to paint the water.
I use the point of my brush to establish the horizon line and then use the side of the brush with quick horizontal dry brush strokes to create the sea and waves.
I add a little clean water to the mix in my brush for the foreground water and waves.
The trick is to leave just enough untouched white patches in the sea area that they look like the white of waves. If you have too many, the sea looks very choppy, not enough white and it looks too calm or maybe like a lake.
This watercolor painting is nearly finished now, once we paint the figures.
Painting small figures
To paint these people, figure 9, start by using an almost buttery mixture of French Ultramarine and Burnt Sienna (learning towards the brown) to paint the head, arms, and legs. Notice the legs are drawn with dry brush strokes that are of different lengths, this is done to give them the feeling of motion.
If both legs are touching the sand with sharp edges, the figures will look stationary.
Then use the same mixture with some more blue added for the shorts.
For their shirts I use a weak tea strength mixture of these two colors and shade in the sides of their clothing away from the sun, some parts of the shirt are left untouched. Notice that the shadows on the shirt are irregular to give the feeling of motion and surface variety.
By using a quick semi dry brush stroke we can give the impression of sea weed on the sand. By giving it a bit of a curve we can more gracefully lead the eye into our painting, it also adds more interest to the sand.
The foreground rocks are painted with almost pure paint with just enough water for it to flow off the brush. Again remember to leave highlights. Also make sure the rocks vary in size or they will look unnatural and boring.
Before the rocks dry, get a damp brush and soften their edges here and there at their bases. This will help anchor them to the sand and not make them look like they were stuck on as an afterthought.
Now put in the birds in the sky. The key to this is to use birds as a device to direct the eye of the viewer where you would like it to go. Don’t just put them any old where. Also vary the space between the birds, their size and the angle of their wings.
Birds in the sky can also be used to add interest if the sky is looking a bit too plain and open.
The birds on the wet sand are painted by first putting a little flick of paint to represent a bird. Then under each bird, leave a little gap (for their legs which are too thin to show) and then place a little dab of the same colored paint underneath. You then get your finger and touch this dab and drag in down the page to create a little dry brush (with your finger) stroke under each bird – this should read like the birds reflection.
If you put these birds on the part of your painting which is supposed to be dry sand then they will not have a reflection, but will instead have a shadow that is away from the light source (usually the sun). Remember when painting reflections and shadows – reflections are towards the viewer or the bottom of the painting while shadows are away for the source of light in your landscape (usually the sun).
The shadow for the two figures is the last step in this painting, though it could have been done any time after the figures were painted in. A couple of quick irregular brush strokes starting from the figures legs and away from the direction of the sun with give their shadow and the painting is done!
As you can see, even with a relatively simple two color painting as this there are many steps to consider with a watercolor painting. By thinking through any of your paintings in this way, and deciding when to let various sections dry, what painting consistencies to use and what type of edge (wet on wet, dry brush, wet on dry, etc) to use where, you can tackle any watercolor painting with increased confidence.