In most drawings, you will use both a structural understanding of your subject and simplifying three-dimensional forms to flat shapes to help you draw what you see. In this gouache illustration, I switch back and forth between these ways of seeing as the drawing progresses.
This step-by-step demonstration explores both how to get your subject on to paper and how to use gouache on toned paper. As you draw, let your mind flicker between positive shapes, negative shapes, and structural visualizations. In one moment, think of the bird anatomically, as a profile head, chest, and foreshortened wings and tail. In the next, see the bird as an assemblage of angular geometric shapes. Each of these ways of thinking informs the other. Some people thrive emphasizing the shapes. Others love the understanding that comes with the structural approach. Though you may prefer one approach more than the other, learn to use both. Find the balance that feels right for you.
Click on the first image to start an annotated side-show.
Lay down the posture, and proportions with light graphite pencil.
With the proportions in place, Draw the white cap as a flat shape.
Now switch to structural drawing and add the eye and bill, paying attention to how the bill inserts into the head.
Back to shapes. Add the dark mask as a shape connected to the white cap.
The breast is a boxy angular shape with a strong zigzag on the left side.
Draw the front edges of the wings as shapes on either side. Neither of these shapes feels like how a “wing” should look. Trust the shapes.
Draw the shape of the air between the breast, leg, and branch. If this shape is accurately observed, the legs will fall into place.
Now back to structural drawing. Draw the feet around the shape just created.
A foreshortened tail is confusing to draw. This is another place where trusting the shape solves big drawing problems.
Now back to structural drawing. Recheck the proportions and angles. Here I changed the forehead shape and enlarged the back of the head.
Add the darks with transparent watercolor. Use less water to create rich darks.
Add the mid-values once the darks are dry. You also could have done the mid-value first but I painted them in this order because I did not want to lose the light pencil guidelines under a coat of watercolor.
Lay a coat of white gouache on the chest and head. You can deepen shadows by lifting out some of the gouache with a damp brush, letting more of the paper show through. When it is dry, add a second coat on the highlight areas.
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