A model 21 in the works and a painting I've started. With the painting I'm still refining values and composition but never fear the purple will eventually give way to other colors. I just hope the colors-to-come will make sense.
Thank you for the comments and I mean it sincerely. Some days are all fetch and no pat not the head and do not hesitate to offer suggestions. I can take it.
Here is the basic layout. The degree of difficulty is significantly increased when multiple figures or birds in this case are used especially when some are in flight and others are on the ground. Perspective becomes a real technical challenge was well as proportion. I've taken some liberties in compressing the perspective but I think it will work. As engravers working on such small canvases, we deal with constraints and do our best with these constraints.
The wing has begun to take flight. My primary focus is on making sure the form and values are correct. These are more important than detail. I am using lines on this scene. This photo may not be clear enough to see the lines but in the next photos I started using a tripod-duh- and you will see the lines.
I am using long parallel lines the length of the feathers leaving a small space for the quill. The markings are made by digging in and coming back out in a scooping motion. Where the feathers are short the lines become shorter and in some cases may appear as a "stick and pick"-thank you Sam W..
I rarely outline my animal as I have done here. In this case I did it so you could see the layout. I will burnish and sand some of these outlines and others I will cut over to give a ragged edge. The reason for not outlining is that with the exception of antler/horns almost nothing on an animal is a hard line. The edges are defines by feathers or fur, neither of which is a hard edge.
I believe this to be a better photo for seeing lines. Where the wing attaches to the body you can see a small area that was diagonally crosshatched. This is an efficient way to depict small feathers. For the body I cut random lines more or less parallel to each other. Stagger the lines and points where they begin and end. Be careful to not make it too uniform. Remember these are not 4H birds. No one has taken the time to groom them and shampoo the feathers. The shadow area on the belly is cut much deeper. For years I cut only with an optivisor and such is still the case with scroll and much of the scene work. With the passage of time my eyes are not what they once were and a microscope is grudgingly being transitioned in. I dial in at 5-6 power when I use the scope. It's a real temptation to zoom in tight but the disadvantage is the ability to see the whole animal or scene and keep the values and overall scene in harmony. Crosshatching is a valuable technique. The crosshatching may be perpendicular or at a variety of angles. Horizontal lines will appear darker than vertical lines.
I stress again the importance of values-darks and lights- and how they create form. Details are not as important as the values and form. Details are often not present in shadow areas or at the most a mere suggestion. I am working on disguising the outline I cut by nicking edges and adding extra lines at the tips of the outermost wing feathers. This is especially effective and necessary if one want s to create the illusion of movement. Notice the ragged edges of the tail feathers. Time for breakfast.
Wish I had time to work on the painting but I haven't touched it in several weeks. Something about taxes, family, bills, ...............etc.
Here is a closeup of the hen. Notice how sketchy the outline is. Now look at the line forming the back of the neck starting at the head and moving down to where the wing attaches. In the reference material it will probably appear as a smooth swooping curve. If you engrave it as a smooth swooping curve the line will be concave. To engrave a stronger more natural appearing bird/animal this swooping curve needs to formed by a series of straight/convex lines. Look again at the line of my bird and you will see a series of short straight or slightly convex lines. When it is viewed with the naked eye it will have the appearance of the swooping line but it will be stronger and more natural.