Nature studies, painting blackbird's eggs with Paul Hopkinson

Equipment

NOT 300gsm watercolour paper, 8¼x11¾in. (21x30cm)

Masking fluid

Ruling pen or an old small brush to apply the masking fluid

Brushes Nos. 5 & 00

Pencil

Graphite transfer paper

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Colours

Cerulan blue

Phthalo blue

Yellow ochre

Burnt sienna

Burnt umber

Lamp black

Opaque white

Take out your smallest brushes and a handful of colours to paint a blackbird’s eggs in all their beauty

Blackbirds are lovely birds that are often seen bouncing across our lawns, looking for a quick meal. During the breeding season we notice them carrying food to their nests to feed the young ones, who will be waiting anxiously for those worms. They often have a couple of broods every year and can start as early as March.

Your reference photo for this project

Drawing out

To paint these beautiful eggs, first transfer the drawing onto the paper. You can do this freehand, using the grid system or by tracing a printout of the reference photo using graphite paper. Should you use the last method, I suggest that you make reference marks around the edge of the photo when you position it on your watercolour paper. This will enable you to reposition the print of the outline drawing back over the top to add any missing details later.

Once you have the drawing done you then need to decide if you would like to have a background on your painting. This is entirely your choice as this painting will work well with or without one.

The colour mixes you will need for the eggs should be of a milky consistency of cerulean blue and phthalo blue. You will also need a milky consistency mix of burnt umber, phthalo blue and lamp black for the dark areas. I hope you enjoy following along with me as we paint the eggs in detail.

Demonstration: Blackbird’s Eggs

Blackbird’s Eggs, watercolour on 300gsm watercolour paper, (21x30cm)

1. Work on one egg at a time. Begin by wetting the inside of the egg with clean water, using the No. 5 brush.

2. Allow the water to soak in a little then fill the egg with cerulean blue. The water on the paper will dilute the paint even more.

3. Before this dries, add a line of phthalo blue to the inside edge of the egg, lightly blending a quarter of the way in towards the middle. Allow it to dry.

1. Before you start on the next part, study the photo and see where you can spot the more shaded areas. Then, once the previous layer is dry, lightly re-wet the egg with a clean damp No. 5 brush, and again allow it to soak in a little.

2. Using the No. 00 brush carefully paint the inside edge using the dark mix of burnt umber, phthalo blue and lamp black.

3. Wash your brush out, dry it a little then, whilst all is still wet, lightly soften this inner darker edge. Give it a dry.

4. Make a creamy mix of lamp black and burnt umber to add the darker line around the outside edge of the egg.

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1. The spots and tiny marks on top of the egg need to be added in layers of colour, beginning with a watery mix of burnt umber and burnt sienna. Load the No. 00 brush and dab off some of the paint onto kitchen roll; a couple of taps should do it. Use a variety of tiny marks – dots, dashes and scumbling – with the side of the brush. Create the first layer of very light details – a shaky hand comes in handy for this part – then give it a dry.

2. Notice how the markings at the large end of the egg are increased so using the same milky consistency of burnt umber and burnt sienna, but now with a touch of lamp black, add the next layer of the shell detail.

1. Using the creamy mix of burnt umber and lamp black add the darkest of details. Try not to cover up too much of the blue within the egg. Dry it.

2. Follow the same procedure for the other three eggs.

Our next stage involves watercolour white or white gouache. Make this to a creamy consistency and add small white dots to the brightest part of each egg. When using white, remember ‘less is best’ so hold back from adding too much. You can always add a few more marks later when viewing with a fresh eye.

We will now move on to work on the nest and this will involve painting a layer of masking fluid using fine lines, some thicker than others and varying their direction. The nest is round so add more curves to the circle of fluid. I did this using a ruling pen, which is very handy for varying the thickness of the lines by altering the size of the nib gap, simply by turning the little wheel. Pouring a little of the fluid into a separate pot will allow you to replace the lid on the main pot to prevent the fluid ageing too quickly. I used a blue-coloured version so I could see where I applied it. Once you have done this allow it to dry (tacky to the touch).

1. Make separate mixes of yellow ochre, burnt sienna and burnt umber mixed with lamp black to a milky consistency.

2. Using the No. 5 brush, wet the entire nest area, avoiding the eggs. Wet further away than you need to go with the colours; this way you will achieve a nice graduated blend to the white of the paper.

3. Once wet, apply the lightest colours first, leaving gaps here and there. Use the No. 5 brush to drop in the yellow ochre in various places, leaving gaps, then a little burnt sienna and a touch of burnt umber. Leave it until it’s completely dry.

Top Tip

Never dry masking fluid using a hairdryer, as this could cause the fluid to harden, which will tear the paper when removing later on.

Head back to your ruling pen and add another layer of masking fluid over the nest and the previous fluid, again varying the lines, thickness and direction. Leave to dry.

1. Now to add even more colour! Return to the same palette and add a little more pigment to make each colour a little stronger and to a creamy consistency. Remember that the wet paper will also dilute the paint when you apply it.

2. Do the same as before; add the colours randomly around the nest but ease off toward the outer edges.

3. Use a little of the creamy lamp black and burnt umber mix to the nest, concentrating slightly closer to the eggs. Again, let it dry.

4. You can add another layer if you wish using the same method, depending on the depth of detail you wish to achieve.

Use a finger to roll the masking fluid off the paper gently; take your time, especially near to the eggs. Roll the fluid away from the eggs just in case any tiny tears occur.

1. Mix a little yellow ochre with burnt umber to a watery consistency. Load the No. 00 brush then dab off any surplus from your brush onto kitchen roll.

2. Add a few light marks to some of the white areas where the masking fluid was removed.

3. Then all you need to do is fine tune a few dark areas around the eggs, especially where some of the blades of grass go underneath them. Do this using the No. 00 brush and a creamy lamp black and burnt umber mix.