Dramatic Winter Paintings with Watercolors | Geethu Chandramohan | Skillshare

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Dramatic Winter Paintings with Watercolors

teacher avatar Geethu Chandramohan, Colourfulmystique - Watercolor Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (58m)
    • 1. Welcome to My Class

      2:38
    • 2. Materials You Need

      3:09
    • 3. Watercolor Techniques

      7:44
    • 4. Trees and Branches

      8:06
    • 5. Bonus Lesson - Trees and Branches

      3:43
    • 6. Winter Sunset - Part I

      5:28
    • 7. Winter Sunset - Part II

      4:25
    • 8. Winter Sunset - Part III

      5:40
    • 9. Winter Scene - Part I

      5:18
    • 10. Winter Scene - Part II

      6:08
    • 11. Winter Scene - Part III

      4:12
    • 12. Thank You For Watching!

      1:36
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About This Class

Winter is one of the beautiful seasons and painting winter landscapes is one of the most sought for and delicate subjects in watercolors. Even though it is really cold, I jump up in joy when it is snowing and run outside to play in the snow. 

In this class, I will take you through the different watercolor techniques and have also included a bonus lesson on rigger brushes. 

Join me in this class with a hot cup of coffee and I hope that you will enjoy painting these winter landscapes as much as I did. 

Happy Winter :)

If you like this class, don't forget to leave a review which will help to get this class reach more students. :)

Meet Your Teacher

Teacher Profile Image

Geethu Chandramohan

Colourfulmystique - Watercolor Artist

Teacher

Every one us dream of travelling the world, exploring new places and cities and capturing those spectacular moments in our memories. Welcome to the first of a series of classes on painting cityscapes and urban landscapes. You are going to tread on an exceptional journey into painting the places in your dreams. We start the series with learning all the elements that make up a cityscape or urban landscape such as buildings, cars, street lamps, lights, people and anything and everything that you can think of and then head over to 6 gorgeous cityscape class projects.

1. Elements of Cityscapes and Urban Landscapes

2. Perspective - Painting Cityscapes and Urban Landscapes with Watercolours

See full profile

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Transcripts

1. Welcome to My Class: welcome to my third skin share class in the landscapes our of the most interesting on delicate subjects in watercolors. Winder is the time to have a walk in this new or stay indoors with a hot cup of coffee. But I always find it the best time to sit and paint. But if it's knowing, I jump up, enjoy and run outside to play in the snow. I would like to share the joy off, painting these wonderful winter landscapes with you world and hope you will enjoy painting them as much as I did. Hi friends. I'm ghetto an artist, an illustrator from Cochin, India, and I live in the UK With my husband. I will be teaching you different ways to paint window trees, and I have also included a bonus lists and on how to use at Riga brush. Then we will go through different watercolor techniques used in this class. Projects such as Better NMET wet on dry playing wash traded wash on some fun techniques, such a splattering through the first winter's onset technique. We will learn to clean a dramatic sky with the right of colors. Aan den, apply the techniques learned to paint the trees on garages. This will breed life into our paintings. You will also learn how to apply different color contras to give the texture on the snow. In the second landscape, we will learn to apply different color combinations on how to make gorgeous effects on the snow. I have also included a list of color combinations in the resource and section. So without any further ado, let's jump into the next lesson that I'll tell you about the materials you need for this class. 2. Materials You Need: but the color paper I really be using Archie's 300 years. Um, call press paper. This is 100% quarter on paper and I would recommend using 100% cotton paper for this class . But if you do not have 100% important paper, don't be worried. You conjoined me with any other watercolor paper that you may have be it student Great. Or at a straight papers, What color brushes? I will be using a size 12 size eight size four brushes from silver blackmail met Andi. I will also be using this regard brush from rust role. So these gold rush is what I will be using for my class. This one This regal brush from Russia will only be used for the techniques Lesson where I will show you what is the use of this regard? Rush What color pains. I will be using watercolor tubes from Majel Omission Gold Water girl opinions. So it comes still in this palette. These are the watercolors fromage inflammation, gold palette, the individual colors that I will be using. I'll show you in a different lesson. Also, I will not be using this palette from middle omission This came with the set, but I would not be using this from my class. But instead I'll be using ceramic late, a small ceramic plate, because this one is so comfortable for me, and I can easily mix the pains and show them in the glass a pencil to make the rough sketches and razor to rub it off in case you make any mistakes. Some tissues to wipe off excess water as Villa Spain's from your brushes. Two jars off water. One for taking fresh new pains and also Clearwater toe. Apply on your people on the other to wash off your pains from the rushes. So we always use to jaws off water because one build on Mahdi when you wash off all the pains on different colors mixed together, so one off them build on muddy. So we need another jar where it's got fresh, clear water so that when you take fresh pains, it does not mix up with the muddy water on former different color, so satisfy it is always ideal to use two different jobs when you're using watercolors and lastly masking tape to tape down your paper on all the four sides. I am using this. Archie's paper block on my paper is glued on the top for now. So I will be using this masking tape to get nice border for my paper. But if you're using a single sheet of paper, you might want this masking date toe tape it down onto your surface. 3. Watercolor Techniques: The 1st 3 techniques that we will be using in our class are going to be wet on wet playing wash and graded wash. Here I'm using my silver blackmail that size eight brushed for the wet on wet technique, I'm going to apply an even coat of water on the people. This method is called Bet on Met because both the surface on the pains I use are yet the first word Enough. Most of the beans on the brush and the second word refers to the surface. It is the people here. I'm applying the water evenly inside the borders, making sure that there is no excess water at any place. As I finished vetting my paper, I'm going to take my wet paint Cobalt blue. Here my brush is vet. So when I take the paint on it, it will be wet pains. That is why this is called us. Bet on it. So I'm going to put some random strokes using the tip of the brush. Also, some simple strokes. You can see how the pain spreads. As soon as I put my strokes onto the paper, you contest us by applying both smaller and bigger strokes, and you can see how the pain spreads as soon as you touch your brush on to the paper. And this is why this technique is called bet on a bet. This technique is what we will be using to paint the sky in our paintings. The next technique is plain wash. This technique can be done using both bet on, but overtone dry, wet on dry would mean the dry surface on with bet beans on it. I will apply an even court of water to the second rectangle now, and I'm using Cobalt blue again. I'm just going to apply the pain from the top all the way to the bottom here and make sure that the pain is even on the same value from the top to the bottom for the traded wash, it means that the pains are going to be grated. We're going to create a nice radiant so that despite this is called us created wash. I will apply water at first just like we did for the plane wash, then taking about blue. And I'm going to tell my paper or surface because that is how we will create the greedy because we want to let the pains to flow down. I'm going to apply the paint using the exact same method, just like in the plane wash. But here I'm using gravity to allow the pains to flow down in the water. This will create a nice, greedy int you can see at the bottom part and not even using much means. I'm only just blending it towards the bottom so that the pains will flow down nicely. I will apply more beans only to the top part because I want the tonal value at the top to be more so. I'm just gonna take more pains walkabouts blue and applied at the top. So just see there as soon as I touch my brush onto the paper, it's slowing down, and I'm just gonna blended evenly towards the base first layer that we applied so that it's not uneven. But you can just see how we have obtained a very nice radiant. So that is what is known as a grated wash. Because we have obtained a nice Grady in from the top to the bottom pumps. The paper has tried to conceive how nice guy radiant we have obtained Andi. You can also see the difference between the plane wash on the grated wash and how beautiful it looks for the wet on wet technique. You can see how nice and really organic shapes thes drugs have given us. So these are formed with the natural flow off water and the pains on its own. So this is in a more uncontrolled manner. This technique is what we're going to be using for our skies on top off the plane wash. I'm going to show you the next technique, which is better on dry. So that means other surface is going to be dry. And we're going to use bet, pains and top if it using my size force of the black velvet brush and taking a bit off rose Mother. So I'm just going to apply on the dry surface using my vet pains, which is why does this Caldas wet on dry? Just going to make the shape of a tree right now. But what I want to show you is really how it looks. With wet on dry on the paper, you can see that the pains would not flu as we did in the wet on wet technique. Bet on dry can be on a dry surface or even on top of dried up pains like here. The next technique I'll show you is called us the splattering technique. So I've been issuing you how we condo's the splattering on a control surface that is within the boundaries of this rectangle. For that, I'm going to use some tissues to cover up the other areas where I do not want to splatter the paint sold a tissue to the left side and some tissues to the right side so that I am only exposing this rectangle over here. I'm going to use my size for small brush ongoing Do take up that nice little Baines and want to keep it issue in hand. Just in case. Andi, I wanna load up my brush with a lot of things and I'm going to hold my brush like this, using my two fingers and then gonna top it so you can see that as I'm not being it. I get thes splatters on the people so tap tap. This is usually how I do it. But I will also show you different ways that you can use thes flattering techniques. So hold you brush in one hand and use another brush or a pen. Two back on the top. So as you are tapping it, you can see how you get these nice matters on the paper. See the night splatters so you can tap it like this, using the two finger matter and just really one hand. Or you can use another pen that Ben could be on the top or at the bottom. So it depends what suits you the most. I'm removing the shoes on Steen Oh, we've got this platters within the borders of the rectangle. Andi It had not spread to other surfaces. 4. Trees and Branches: I will not show you how we can make our trees. So I'm just going to make a very rough sketch with my pencil off. How I should place my tree branches. I was chewing you using my three main brushes Hotel draw the tree. So the size four size eight and size Well. So first I'll show you with my size 12 brush. We'll be using the tip off the brush. So I'm going to take a mix off and I gave Brown on burn number on. We have to load the pains onto the brush very carefully. And since we're going to be using the tip, we have to make sure that there is enough pains on the tip and you have to use it using that dip. So, as you can see here, I'm using the tip off the brush toe, draw the lines off the trees. We have to remember that the trees are ticker at the bottom on Daz, they go up a paper and become thinner. So if you look here, this trunk is joining the tree. So where the prime joins that would be Tigger. And as it spreads out, it would become thinner and thinner. So whatever direction you're painting, you have to be careful that you use the point, the tip off the brush regarding the shape off the branches. It doesn't have any specific room, so just keep bending and making your branches, and they can overlap themselves. It's so right because, as you know, branches spread out on bond form, different shapes. You don't have to be stressed out when you're drawing the branches. Just tried to use the tip off your brush, and you can make your tree as beautiful as it can be. So all the tree branches may not be spread out to the top, but rather they may be facing downwards due to gravity. I'm almost done with the street. So for the next tree, I will be using the next all a size brush the medium sized one. This is the size eight crush on the other. One was size 12 so now we will use the medium sized one and even see what the difference is between the two. So I load the pains again, a mix off, and I keep around on bond number, and I'm going to do it on this side just right next to the other one on using the tip off the brush, and I'm going to do the branches on the tree trunks again. I will make thes different lines, just like we did with the pre mystery. And as I said, the tree trunk has to be thicker, and the branches, as it goes outwards, gets thinner and thinner, keep spreading out the branches and try to make them in different directions. Different angle. I am making these multiple launches, but hopes see here I have made a mistake, and that has done about to be a bit thicker, but I'll show you how we can adjust that. Just keep adding thickness to it all the way to the bottom, where it joins the tree, so that would make it appear as if that brunch is a thicker one coming out of the main trunk off the tree. This is how we can rectify a mistake in case we make one. So you see, after joined that crunch onto the main trunk off the tree. And no, it just appears, since if that that crunch is the main brunch extending out of the tree, so as I said What? We have to be careful is that the branches as you go extending outwards, it has to go 10 around dinner. I'm going to just add more brown just marked tree. And another thing to note is that of a tree has not to be exactly, you know, flat or the tree branches or the tree trunk itself doesn't have to be in a straight line. So you see that small bend that I've added there So the tree shapes can be in a mini form that you won't. This tree is done, so the next I will try is with my size four small brush from silver black women brush. It has really nice pointed the evidence, being smaller size of the tree that I have. And again I will use a mix off burned number and and I gave wrong and I will load the tip off the brush nicely and I will start drawing the tree again with my breath. You can clearly see the difference between these three brushes on their strokes. You can see that this is evidence Lee dinner and coming to make the tree trunk thicker. I'm having to add multiple strokes on it. This brush has a really nice pointed tip and using the tip off the brush, I'm making these branches just like with it for the other two, so you can see how really thin and nice branches I'm getting with this one. As I said earlier, the main thing to remember is that as you go outwards spreading away from the tree branches get dinner and dinner. I'm going to add a dinner brunch at the bottom here. Discretions really both back for the branches. And even though the other brush has a really nice going to DEP, I would prefer painting the branches with this one because it gives move control. Ondo. Accidentally, I wouldn't be making larger or the country's visions why my goto rush for making branches would always be the size for rush closely. How I'm holding the brush, man. I make each off those tree branches. I'm done with this tree, so now you can see the difference between all the three different trees, how they gets dinner and dinner with the different size of passions that you use 5. Bonus Lesson - Trees and Branches: in this lesson, I mean, sure you are regard brushed. There are some artists that prefer to have a stroke for their branches. If you do not want to focus on the lines much, then you can use a rigger brush. This is a crossroad to slice, erode regard. Brush. You can see the shape of the regard brush. Having this long pointed has. This is because the name of the rigger brush game from its use. In the olden days, it was mostly used for painting the rigor lines off the ship. Let's see how you can make your loose drugs because it's got Lola has. You have to make sure you take pains nicely onto it. These kinds of Russians don't hold a lot of paint, so you've got to use a lot of water and mix your pains. Lord, all the brush with the pains and then you can just create branches really nice and loose. The advantage of this brush is that you don't have to be careful to use the tip off the brush, like with the other ones. This has got longer has and is really thin, so you don't have to worry that your tree branches might get thicker. This brush is so much different from the size four brush that I used earlier, even though it's small test brushwood still greedy the shape in the form of relief. If we use the full hairs of the brush, I'll show you. Let me load some things. So if we use the tip, you would get dinner lines like this. But using the same brush, you can make leaves by using the whole of the brush instead of only the tip. So starting from the dip, if I pressed down my brush, I get these leaves on day shows, the biggest of the lines that I can get that rush that us. If they used every go brush, the ticker you could make is a stick. The brush heads are see here. That's the thickest line I cannot paint. That's why they go. Brush is the easiest for branches, even the Wipro further size for one. It's all personal differences, so you have to choose the one that you like the most. That is the reason why I regard Russians are mostly used for painting trees. Group's CEO made the same mistake again, but As I said earlier, it can be rectified. So using your trigger brush just tried to make some different branches over there and try to make your branches dinner at the end and then thicker as you go towards the trunk of the tree. So you see here I've just rectified the mistake I've made on. That is why you don't have to be so tense when you're trying to make the tree branches. So my whole point is stoned. Have to be danced about anything when you're drawing the tree branches. My pains have dried up over here because this is a rough sketch. I'm not so much bothered just adding one more branch. But see, it's so easy to paint the trees with the rigger brush, see the thinnest of the lines that they can obtain with this brush. 6. Winter Sunset - Part I: I will first make the rough sketch off my painting, starting with the horizon line. Then I will just roughly draw the branches where I wanted to be. So these founders are in the foreground. Then using my size 12 silver black velvet brush, I'm going to apply and even goto water on my paper. It has to be applied evenly without forming any large pools or blobs. Which is why I'm using the swift left and right wing movements. So that isn't applied evenly on my people. I'm going to start with permanent yellow light on going to mix it with a bit off prominent Hello, deep So that I get this really nice dark here load. And I'm going to apply it right about the horizon line so you can see I'm making this straight stroke right about the horizon line on. I'm going to blend it towards the top. So remember that my paper is still wet. Then I'm going to take a bit off yellow orange. Andi, I'm going to apply some strokes just using the tip off my brush going to separate every stroke and leaves and gaps in between on monologist make thes smaller shapes or using the tip of my brush. Just going to put some dots going to make some on the yellow pains as well. We will make these more ships for the clouds, so this is going to be a really dramatic sky. That's what we want to achieve. So the first color for the sky is this orange that we just applied. Then we dry off our brushes on beagle mix a bit off indigo on bright, clear violet, so we get the color similar toe a bit gray on. We applied on the spaces between the orange. You can also use a very light of pain straight. For this, we will mostly use the tip off the brush to apply the pains on. Because my paper is backed, you can see how my pain spreads nicely and gives me this beautiful sky texture. I am also leaving some white spaces in between so that it allows for my thing to spread to that area on give a lighter tone by itself, as you can see and making tiny, smaller strokes towards the bottom. As you can see, I'm applying in all the white spaces between the orange paint so that my sky looks like a blend of those orange Andi, the I agree. And the next color I'm going to be taking is Rose madder. I'm going to make these small clouds so we will apply the rose matter paint on top off the orange. I remember that my paper is still vet on. We're using the vet on best technique, which is why, as soon as I put the euro's matter onto my paper, it spreads and forms thes beautiful shapes we have to remember doing is the tip off the brush? I'm putting down thes smaller dining shapes using my tip of the brush. One thing we should remember is that our brush should not be loaded with a lot of water else. We've informed blooms on the paper, so now we will give a darker tone to our colors that we used earlier. So, using a darker toe off orange and then again using the indigo and the violet mix, then we'll take the mix off the bombing and your duty on Berman in your blue light and apply in the white spaces that remain so that we discover it up. But we do really want to leave a bit off those white spaces, so we're not going to apply a lot of places. Then we'll mark the darker close. So we take Rose Matter again and we will make these dining clouds near to the horizon. Since my colors have now blended into the paper, I'm going to give a better talker tone to my clouds. So I'm taking rule slaughter again and applying it on top off the Rose matter that I applied. Yes, so that they give it a bit of tac toe. 7. Winter Sunset - Part II: once the sky is done now we can move on to the next part that it's painting the cloned. So I'm using my sized. Well, should the plaque well, that rush again to apply a coat of water? I will take a bit off. Um, exhausting pride. Dear Violet on Indigo. So it should be around 70% violet and that it wasn't indigo, and I'm going to be using the graded war sheer a mix off the graded on the plane wash. I'm applying the things evenly making it in England. But I wondered, pushed off the darker color on the top, Which is why I said that this is going to be a Grady int. So I'm just going to let the pain flow down. But I'm not using gravity here to let the pain flow down, just using my brush to apply darker color at the top and then just blending evenly. Since I feel that there is too much color at the bottom part, I am wiping it off with my brush and then stabbing it onto a tissue so you can use this method if you want to get the nysc radiant and you feel that there's too much color at the bottom part. One stat has dried or even for that. You can apply the next layer off water on top of it again, because I want to give it a bit off shadow off the orange and the yellow mix on my ground, because this is mainly going to be the eyes that melted on. This is the reflection on that melted ice, so it's the reflection in water. The rest of the areas does not have reflection because it's hard eyes only reflection will be formed in those Syrians where the snow or the ice has meant it, So it's melted in the shape off a river. Ministers layer is completely dry. I lose my size for dealing. Rush to draw some deals onto the ice. I'm loading up into go paint on my brush and will tap off the excess water on the soup. And I want to make the small detail in lines on the aisles. These will form like small extra on the eyes and give it a nice effect. There is no rule as to how the texture should be. So make these small lines long dogs, however, you want it, but randomly. Also, make sure that these lines are towards the bottom part off the paper that is away from the horizon, because towards the horizon, DZ deals would not be visible to the ice. Next, we will paint the small hills at the horizon, So I'm using my ivory black color from middle omission. I will paint along the horizon line and then I will paint thes small hills at the horizon. The first Al just marked the outlines off the hills and then later on, on being inside it, we will carefully paying the hills at the horizon line. Now we're applying paint on top off the already painted yellow sky. Andi, the sky has fully dried on. Only then we're painting. So because this is on a dry surface were using BET pains. This technique is called as bet on dry technique. I'm just painting inside the outline of the hills, the Digest mate. Usually I do not use black in my paintings. Traditional Arturs performed or tombs lack but rather than next different shades to obtain what is closer to black. In my case, I prefer to use pain screen rather than black But somehow for this painting A decided to be with ivory black from middle omission cold want gunners Once the system, we can move on to paint in the tree branches. 8. Winter Sunset - Part III: for the trees in the whole ground. That is the tree branches. I'm going to use a mix off burnt umber, and I came around and safe here. Andi, I'm just going to make thes foreground tree branches, just like we learned how to make the trees. So the tree branches are just going to be random, and the main trunk is going to be thicker than the rest. And as you can see, I'm making it more ticker at the bottom. This is because the tree branch is extending from the foreground, away from the painter or the viewer. So as it goes away from the painter, it's going to be dinner, which is why it's really thin at the top. And then we will make these small branches. And as I said before, these passengers are going to be thinner as it spreads out from the tree. Then we will make similarly the next tree mark the branches. We will have overlapping lunges as well. I mixed all the three browns because the sepia would give it a nice darker color, and here and extending on making a ticker at the bottom because, as I said, it is closer to the viewer and we seat more ticker on it goes. Dinner toe works the top. Always. If we mark the outline of what we want to do, even if it is our ticker tree branch or a thinner one, it would help us in giving the shape the world tree. So which is why I made the outline first, and then I filled it up with paint. Then we will have a small branch at the bottom here, and some may be small twigs extending out of the tree. So, as you can see, this is just all random, and I'm just placing it at places where I wanted to be. I will add another at the bottom here because if I didn't add another at the bottom there, it would have felt some kind of empty. And I didn't want that space to be empty. Which is why I'm adding the branches there and again. So, no, I have to give it a bit of thickness for the main drunk. We'll add more branches. Just sit, relax and enjoy the painting crosses. And remember, you have to use the tip off the brush. If you want your branches to be really, really thin else. As I showed in the techniques lesson, you can go with the record brush. Next, we will paint the snow on the tree branches. For that, I'm going to take Chinese white from vigil omission, and I will use my size four Smalley dealing brush. I loaded up the white paint onto it, and I'm just going to make these smaller lines on the tree. I am not using wash pained here. This is because if I use wash paint, the white color is going to be dominant and clearly visible. There is in this case, I want to show it as somehow muted and not really dominant, just to show that it's not really snow covered but just traces off snow that has appeared on the trees. So as I apply this white color, it is going to get blended into the ground mix and form a ring, a dark color, which is exactly what I want. If I had used white gorge pain that would become clearly visible on, it would appear as dick white snow on top of it. Also, another reason for not using bite gosh pain is because This is a sunset seen, so I wanted my white color that is, the snow on the trees to be muted and mixed with the brown so that it would look as if the sunset shadows are on top of it. So, as you know, we painted the ice on the ground using a mix off the indigo and violet. But if we use the same mix on top afar trees, it would not be visible, Which is why I went with Chinese white on top of the tree so that this Chinese right would mix with the brown mix but will not give us a very bright white but rather muted white and would clearly depict the's. No during the sunset time. Once you finish adding the snow on the trees, your painting is complete. 9. Winter Scene - Part I: for the next project. I'm going to use the other half off the paper, so I will mark my horizon line on and a few lines. Then onto this, using my size 12 brush, I'm going to apply an even coat off water. Unlike the other painting, I'm going to apply water evenly on the whole, off the surface, because I do not want it to have a separation between the horizon line. Then again, using a mix off the permanent yellow deep and permanent yellow light, I'm going to paint from the top and to make the small downward strokes using my size 12 crush. So going to cover up the whole off the upper part of the paper with this yellow mix. Then I'm going to take orange and I will mark and pained right there. Diello joints and some places. I will overlap the orange on top off the yellow, and I will gained along the line off the sketch that I made earlier. So this is just how the horizon is extending downwards. But that is not actually the horizon. It's just the shape off the river that is going to flow down. Then next, I will take red. Why let Andi applied on the right side on top, off the yellow on the orange. Using red violet, I'm going to make some upward strokes, toe mark, some background trees and then some color on top off the orange. Then, using my size eight brush, I'm going to take a mix off the orange on the red violet and mark the boundary off the area that orange I did earlier. And then, using the tip of my brush, make these small strokes just to give it a bit off texture on that area on the snow or the ice. Then I will take yellow orange on Mark, the river area on the snow. So again, this is going to be in like a one point perspective. Where the river Vico Daynard Webster horizon on the girder, works the bottom. So, as you can see, I've made it tapering downwards. It gets sticker. Then for the ice or the snow, I'm going to paint it with cobalt blue. The whole of this technique is going to be on that on that technique. So the water that I applied earlier is still there, and my people still vet This is all because off the 100% gotten people and I'm using my cobalt blue toe. Apply this random strokes on the ice. This is just to mark the texture on the ice, so we will applied on both sides off the river. Then I'm going to make peace. More lines on top, off the river, just a mark, some snow or ice it represents. I see rocks on the river, so just make these thoughts as well. Then we will give more texture towards the bottom part off the river on and the painting with a bit of a darker tone off cobalt blue. And as you go towards the top, it will be lighter. Just see how I am giving it a bit of texture. Then I really news my indigo paint and makes it. It's a bit off while it so that we get a nice indigo color, and I will also makes it a bit off Rose matter so that I get really nice mix off pain spray on Drew's murder and have been marked the line. The boundary where the grass starts so and also make the small texture small lines, doctored lines so that will give us a more texture towards that side. Blue parts represents the eyes on, and the orange Andi thread by lead part actually represents the grass in the background. 10. Winter Scene - Part II: let us know beings the trees in the foreground. Once the first layer has come completely dried. I'm going to use a mix of burnt amber on bond. I kept around and I'm making the tree branch starting from the left towards the right. So as this tree is starting from the left, this means that the thicker side would be on the left side. On the thinner side, on all the branches tapering out would be on the right side. So I've marked the outline off the thickness that I won't for the tree and then I would paint inside it. If you have joined me from the beginning of this class, then you will know how to draw the tree branches. The tree branches goes dinner, the words that thought side. So here it's a tree that has fallen down on D is lying on the surface. It is why the topside is depicted by the right side on on the left at the sticker because that is the bottom side or the drunk part off the tree. Then we will have branches tapering out. I relied Bo branches towards the left side. I will add another, larger brunch over here, so that would be touching the water. We will add the reflection off this brunch on the water. Later, we'll just stop it right there for no. Next we will add some old trees in the background, observe shapes I am making, and they are just very random. Andi, irregular. And as I make those strokes that it is not a tall, preplanned, and I'm just making as and how the brush takes me, we will keep adding more trees. You can add as many tree branches or as militaries as you want. Whenever a few that it's a bit empty. I add more tree branches. Audrey's so you can see. I felt that it is a bit empty over here, so I added another branch over there. Next we will add more branches again. Now we will add some texture to the ground on some twigs on the ice. So for that I'm going to add a bit off mud, and then I am going to use a mix off yellow ocher and row number, and I'm going to make peace. More twigs, small grass on the eyes. So using the tip off my small brush I'm just making these more lines. Andi, the grass maybe bend downwards. So I take my upward stroke. And then I said I reached the talk that bend it downwards a little to get touched book and I will do the same at other places just to Marxism. Good, us. So you can see a port stroke and then as you reach the top downward Andi, they need not all have the downward stroke. Some can be just simple grass. I will take them brown and apply it at the border part of the grass. But I won't leave it like that. I wanted to spread out and join the ice. So which is why I'll take the water on my brush and spread it out. Using my brush, you can see I've blended nicely onto the layer underneath. Now we will pain the reflection. So for that we will take the mix of brown on bitter pro number and the yellow ocher licks on Just make peace. More lines extending downwards onto the river. That would seem as the reflection off that crunch on the river. Use water on, blend it downwards onto the river, and you can see how you get a really nice reflection 11. Winter Scene - Part III: for the slow on the trees. Here I will be using White Wash. So this is a whitewash from memory professional. I would load up my brush with white paint on. I'm going to apply it on the trees. So, as you know, the snow falls from the top. Andi, it will fall on the trees on the top areas and stick onto it, which is why I will apply the white paint on the top off the fallen tree horizontally. So I believe some caps off the tree trunk at the bottom part so you can see that brown still there on the top. I will apply the snow, and we don't have to be doing it in a straight line, but make small strokes very randomly because we wanted to be seen as the snow that has fallen on top of the tree so some or the brown parts will be visible. Keep adding the snow on the tree branches. I will not be adding it toe all the branches, but only on those branches, which are almost horizontal bill to the surface. This is because if there is a France that is really vertical, the snow would fall on it, but then it would fall down due to gravity right, which is why I will apply to the top areas off horizontal branches. Andi slanting branches will have lesser of the goulash. Pain is sitting under set off colors, which is water based. It is known us or bake watercolors because it is very bake, as opposed to how watercolors are. But the Lord be varied. If you do not have any white wash pain, you can also use your watercolors for doing this. No, just remember to use your water gun owners in a very dark consistence. Load up your brush with a very nice, creamy, rich white paint, and you can do the snow on the trees just like this. Also, I relied some snow on the white grass as well. So using my white wash pain, I'm going to draw some similar lines just to mock some snow on the grass. So draw these smaller lines that would just mean some of the Gus is covered in snow. Then let's just make these small, random lines in the work. That could just mean the rocks are the unlamented ice on the river. Next, I'm going to give it a bit more texture, so only on the bottom part of the river. For that I'm going to cover my dog portion. Mentoring is with the teacher and the numbering to mix up the cobalt blue nicely on duty in splatters, using the splattering method. This would give a nice texture to the ground on the river. Then some splatters with them. White gained as well. So amusing white gosh here. Remember that and splatters onto the ground so that will give a mix of the cobalt blue splatter on some white wash. This will give us a really nice texture. When we removed the tissue, we can see how beautiful are fainting has formed. 12. Thank You For Watching!: they will now be lost the masking day from our paper. First, I'm removing the center mosque empty The main thing when we're removing masking deep IHS, we have to remember to pull it off. Actel angle away from the direction of the paper or the pains. This is because otherwise vigorous the johns off, daring off part off the people. Once you remove the tape from your paper, you can see how beautiful your painting is And how nice borders in or tingling deep down your paper on all the full sides is think how the big thing is Since mine paper is glued together, I'm no Gundogan's up on at night or something very shocked To remove the paper from these arches block, I would like to thank each and everyone of you who got their dying toe watch my class. I hope that you enjoy this class as much as I do on you Love to dry out the paintings. And if you do dry it out and want to post it on social media, don't forget to attack me. My instagram handle is gonna for mystique. I will be more than happy to share them in monster lease on provide anything back once again. Thank you all for watching my glass