Introducing: "Rhapsody in Red"

This post by Barry Hattingh on the Kgalagadi Sightings Facebook group could not have crossed my path at a better time... It gave me such a laugh! 

Ironically enough, when I saw it, I had a Crimson-breasted Shrike on my easel! The photo that I used as reference, expertly captured by Paul Livingstone, is absolutely astonishing... Not merely because of its composition and crispness; not only because the bird is so exceptionally beautiful and singing its little heart out to boot; but because these stunning little fellows are notoriously difficult to capture.

Always on the move and often skulking in greenery, they tease hopeful photographers with their sensational colouring, paired with their not-today-sucker-elusiveness!

I know I often say that I enjoyed working on a piece (I wouldn't be doing this for a living if that wasn't the case...), but I super-duper-uper enjoyed this one!!! I caught myself smiling as I worked on it! I'm sure this was influenced by the feelings that this bird evokes in me -- it reminds me of my Northern Cape roots and my dad. In fact, I drew one when I was a kid at my dad's request (it was one of his favourites birds!). I can't remember why the poor thing is hunching in the rain... Perhaps this was also inspired by a true Northern Cape thunderstorm!

What was also really great about this piece (my new Crimson-breasted Shrike, not my eight-year-old version) was realising just how far I've come since last tackling a subject with so much “black.” Black in watercolour can be tricky. Sure, there’s a tube for it, but it often appears flat and lifeless. Instead, I build my blacks by mixing a deep blue, rich brown, yellow ochre and a dark grey (I'm too lazy to go look up the names on my tubes now, so don't quote me on this -- Ultra-something, maybe marine; Burnt Umber; Yellow Ochre and Payne's Grey). Because watercolour is transparent, those layered pigments bring depth, vibrancy, and subtle colour shifts to black areas — making the “black” feel alive rather than dull.

When I was working on the pencil sketch, I wasn’t quite sure where I wanted the painting to end. I decided to play it safe and leave plenty of space above the bird’s head, deciding that I’d make that call once the painting was finished. When I finally reached that point, I realised my original idea - cropping just above the bird’s head - didn’t do the piece justice. This may sound a little froufrou, but it felt like there simply wasn’t enough room for the bird’s... song! So, I went with a square crop instead, leaving generous space above the bird. Look at the comparison of crop below:

Perhaps not everybody's cup of tea (and of course the owner of the original and limited edition, fine art prints - coming soon - can decide for themselves how to crop the painting when framed!), but I feel like it has an incredibly special effect on the piece -- It makes it feel modern and minimalistic. And I can almost feel the music dancing around the bird in that beautiful breathing room!

What do you think? Promise I won't be offended -- art is a personal thing, and there is no right or wrong opinion! ;)

While I'm absolutely open to even the most dramatically disapproving opinions regarding this artsy crop, I think we can all agree that the title sits just right for this scarlet songbird: "Rhapsody in Red"

You can see more of my super-realistic wildlife art in my online shop!