Whether it’s their sweet song, colorful breast, or way of bobbing across the lawn, seeing robins in springtime is a welcome sight. They spend the winter in small flocks feeding on berries and sheltering in nearby woods, where they blend in well with russet-colored oaks leaves and gray bark. But as the grass begins to green, robins are frequenting my yard more often, probing the soft ground for worms and other insects. They are common birds, yes, but no less deserving of attention, gratitude, and a sketch.
Tips and Techniques– I enjoy doing sketchbook pages like this, where I pick a bird and study it in different postures. I always learn a lot, both in the pencil sketch stage and when painting. My goal is to get the essential shapes and features down, preferably without too much fuss, so that the sketch stays fresh. Repeating the same species forces me to look more carefully. Here’s what I think about: What makes a robin look like a robin (and not another bird of similar size)? How can I get at least a basic amount of information on the page while the bird is moving? How can I use a photo reference without simply copying a photo? How can I let the paint do more of the work—mixing and blending on the paper to add interest?
Sketchers place a lot of emphasis on being about to work fast to quickly capture what they are seeing. I work with the same time pressures when working outside or when sketching on the go. However, I find the exact opposite is needed when I sit down to do a detailed painting. Then, there is no substitute for taking my time and working slowly and carefully. Here’s the third painting in my perching bird series. It took me several days of drawing in fits and starts to get the bird’s position the way I wanted it, and then I painted it over the course of a week, stopping to breath, observe, think through color choices, and take things one step at a time.
Tips and Techniques– Here are two images of the American robin in progress. You can see the underlying loose wash on the robin that helps make the colors interesting and lively. The initial wash on the gray back and head is a mix of ultramarine blue and burnt sienna. Second washes included more of the same mix, as well as washes of ultramarine with alizarin crimson to create purple tones. The breast began with burnt sienna, but later washes included a mix of aureolin yellow and pyrol scarlet, which gave it a warmer orange color. My choice to paint the word Robin in yellow ochre came after taking a hiatus in order to think through possibilities. I made some color swatches of other contenders before settling on ochre, but I think it makes a perfect complement to the eggs and the bird. (Click to view larger; sorry the image quality isn’t better)