Learn to Paint Scenic Winter Barn Landscape | Geethu Chandramohan | Skillshare

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Learn to Paint Scenic Winter Barn Landscape

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

16 Lessons (1h 16m)
    • 1. Welcome to the Class

      2:26
    • 2. Things You Will Need

      3:48
    • 3. Skills, Traits, Techniques and More

      8:00
    • 4. Having Fun With Splatters

      4:27
    • 5. Creating Colour Values

      3:26
    • 6. Let Us Make the Browns

      8:01
    • 7. Composing our Painting

      3:00
    • 8. Let Us Sketch the Painting

      6:43
    • 9. Painting the Background

      7:39
    • 10. Snow on the Ground

      3:07
    • 11. Our Beautiful Barn House

      8:15
    • 12. Winter Trees in the Background

      2:22
    • 13. Its All In The Details

      5:02
    • 14. The Last Layer

      6:52
    • 15. Let it Snow

      1:05
    • 16. Practice to Perfection

      1:56
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About This Class

This is the third and final winter landscape for this month. You will learn to paint a beautiful winter barn landscape, but first going through each step in the process. Learning the composition, sketching, painting the foreground, the details and everything will help you to get over your fear of trying out new stuff. So this class is all about that too:

About practicing. About letting go your fear. About crossing that barrier inside your head and to discover your full potential so that you would discover the exact areas or exact things that you need to focus on. Practice is the key to perfection. So this class is all about discovering your potential in watercolours and discovering the key areas that we need to practice on. So join me and let's discover our inner aura!

Meet Your Teacher

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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

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Transcripts

1. Welcome to the Class: practice is the key to perfection. Beed, Kraftwerk, art or painting? But then how do we know what to focus on while practicing? How do we know where we need to do? No, 100% off our attention. Don't worry, I will tell you. Hi, everyone. I'm G two on after space in the United Kingdom. Although our originally from India, I painted almost every single day for the past one year to improve my watercolor paintings on to paint. Like I do know, Andi, it is a never ending learning curve. The more we keep doing something, the more you become a pro at it. But we all have this fear inside us to try out new stuff the experiment on to explore. So we shun away from them as soon as we see it thinking that it might be too soon to try it or that you're not capable to do it. No, it does not like that. Each of us have to let go that fear and dry out all different kinds of work. So today this class is going to be about breaking that barrier on crossing that line to open up your full potential on pain. This beautiful window bond landscape. This glass involves sketching exercises, learning about composition. Experiment in the colors to create your own sheets, learning different watercolor techniques on finding daily in paintings. Join me on paint along with me in this glass on Let go all your fears on Discover that in order within you, this class will help you to discover the subject that confuses you the most. Eight years where you need to practice more and more on the watercolor techniques that you need to focus on. I was too excited to paint this on, was afraid whether I would accidentally make any mistakes. But then I realized, even if we make mistakes, that's the way we learn on DSO friends. Let's dive into this class. But before that, let us learn about the materials that we will need for this class. 2. Things You Will Need: let us have a quick glance at all the art materials that you will need for this class. It is absolutely fine. If you don't have the exact art supplies that I am using, you can use any of your favorite alternative brand for all the supplies that I'm using here today. In my class, I will be using an artist 140 lb for 300 years and cold press paper. After a lot of experiments, I have observed that using the right watercolor paper will make a significant difference in your paintings. And that's when I started using 100% cotton paper. This paper will sustain multiple washes and is ideal for watercolor paintings with a lot of water for achieving the best results go with any 100% cotton artist grade papers. But if you do not have 100% cotton paper, it is all right because I will tell you a trick to make your paper stay moist or vet for a long time. In the next lesson, what color pains I will be using pains from my custom made ballot. This is a metal then I had in which I glued some off my most used and favorite colors. The full Vance are from ST Petersburg. White nights on all the half ban are from our philosophical prime, a marketing ballots. I will also be using whitewash paint from memory professional. This is one of the first wash pain that I had thought. Watercolor brushes. You will need a larger size brush, a medium sized brush on a small sized brush for the deep tailing. I'm using my favorite rushes from silver black Velvet series. The hairs of this brush holds a lot of water, and it's perfect for different watercolor techniques that needs a lot of water. The large one is a size 12. The media wants a size eight and the smaller one its size for cortical a palette to mix your colors. I always prefer ceramic ballots over plastic ones because they do not stain, and it is easy to clean them on. The colors mix flawlessly on it. You will need a board to fix your paper. I am using this plywood board you can use in kind of poor. Do you have, like, got gold or even a magazine to fix your people for this class? We cannot fix the paper onto the table because we will have toe till the board on also gave a slight angle to the board. Vile working. So I will be keeping something underneath the board to give it an angle. Two jars of water, one for taking fresh clear water on fresh paint onto a brushes on the other for washing our Russia's clean, which will eventually make this job down in tow. Modica Color Like here, This is why we need another fresh, clear water. Otherwise we will be mixing the muddy water with our new pains. We believe some tissues to clean up brushes on. Also, wipe off any things a pencil on a razor to do the rough sketch or the sketching off the painting onto our paper and lastly, masking tape to tape your paper on toe. Whichever board that you will be using 3. Skills, Traits, Techniques and More: I have paid a paper owned toe the surface here. Andi, I have divided it into separate areas just to show the different techniques. In this lesson, I will. Did you the different techniques that we will be using in our paintings. But first of all, I want to show you a simple trick on how to keep your people that or moist for a longer duration of time. This will be extremely use Will if you are using a paper that is not 100% cotton paper like for this paper. This is not 100% gotten paper. And if you want to get a feel off this 100% gotten paper, then district will be useful for you. I am going to show you on this smaller square here. How this can be achieved. First, we will apply water on the surface off the paper. Evenly. Andi, you can see from this angle how much water I'm applying. The trick is very simple. We will have to wait for a few seconds for the water to sink into the paper. You can see how the water is getting absolved by the people. It is actually going into the pores on fibers of the paper. Now you can see here it's almost right, but not completely dry. So after a few seconds has gone by, I'm going to apply water on the paper again. But because this is the second court off water, it will take longer to dry. This is because the pores on fibers of the paper inside is already vet from the previous wash, and now the extra water will need longer time to sink into the paper because there is no space for it to be absolved by the paper. Yet the trip is very simple on, so obviously you cannot imagine how long we can keep 100% cotton paper voice to using this method. Now on the same paper. I will show you that on wet technique, and we say that don't take me The first word refers to the pains on the second word refers to the paper here. My paper is vet on. I will be taking that paints with my brush, my brushes vet. So when I take beans on it, it will become bet pains. Andi, I will apply it onto the paper, and hence this is called list of that. All the technique. I'm going to load up my brush with a little off while it. As soon as I apply the paint, the paint will spread in the water and give us a nice watercolor effect. See how it's prince on this area is already Bet so I can apply on top off it again, using my pains. So this technique is basically called us wet on wet. The next technique that I will show you is backed own bet, blending or mixing. So I'll take some water and I'm going to let this area. I'm going to be working fast, so I'm not going to use the trick to keep the paper wet for a longer time. Just going to apply. So I'm going to stay. Let's say some sap green. I'm just going to applied randomly. There's no definite rule as to how I'm applying this. Now I'm going to blend a different color into this one, so I'm gonna take a bit off my Indian yellow. So see, I've just blended it nicely together. This happened because e water consistency in both the pains is the same. If it wasn't, it would spread and form blooms. Gonna take some yellow again. I'm gonna mix it here. See how I haven't fixed it. I'll show you what it is to form blooms. So if I was to have more water on my brush So there's more water on my brush right now, and if I touch it, see it spread. So this would have been the case if there was more water when I took the yellow paint. Which is why we have to be careful that when you're blending two different colors, make sure that the water on your brush is the same throughout. This would make it blend evenly without forming any extra lines or dark edges or even these blooms. The third I think that I really sure is vet on Dry Andi, as the name suggest, it is vet pains on dry paper. So with my vet brush going to take some that's paint and I'm going to apply here so you can see the pained does not spread like it did here. This is because the paper is try, so this is the bet on dry on Bet on Dry can also be applied on a surface which already has some paint a test, right? So this surface has tried. It's not that anymore. But they're Spain on it and it's tried up. But I can do that on try on top of this. Let's see, I see. So you can do multiple layers on this. Thus, this technique is called us. Bet on dry. You have more control over the vet on dry technique like here, because you can rule whatever shapes and trucks you want with your brush bearers for the wet on wet technique. The 1st 1 that I showed the water will do the job. It is uncontrollable on moves the pain to wherever there is water, but that is the beauty off it. 4. Having Fun With Splatters: I will show you the splattering technique. For this we will need all the three brushes. First I'll take my largest brush on. Do some splatters here. I will be doing the splatters in the small square. So I have to be careful that it not does not go outside into the other squares For this I'm going to use a tissue to cover it up. So now I have covered all the full corners. Onda. Only this part of the paper is exposed. I will take my large ursprache for the first platter and I'm going to mix up some paint. I didn't find it again. So I'm going to load my brush with water and then makes the pains on the ballot. We will need a good consistency off the paint for the splatters. So there are different ways to do this lattice you can use with your hand in this position holding it with your other fingers on using your index finger to do this platters. Or you can use another brush. Andi, do this or on the dock. So you see. No, we have put their splatters on the square. Now I'll take my medium size brush for the second square Load up the beans nicely going to do with the splattering again So right, I just accidentally hit the brush on the paper. But so right, so we're done with the second splatter. No, I will do the same with the smaller Brush the sides for one to load up the paint on my brush you can see that there is a slight difference in the size of the slap. Tous on the size of the brush actually matters when you're doing this Platters. I decided to do this exercise. I'm sure you because I have been getting a lot of questions whether the size of the brush chili matters file doing the splatters whether you need a larger brush for a biggest latter or you need a smaller one for us. More for status slightly Yes, The most important thing that matters is how much water there is on your brush. So with a larger brush, it would hold more water on. Hence, the splatters would be a bit larger. Onda. Also another advantage off using a larger brush is that it will hold more water and veined on bus will give you more splatters before the brush need to be loaded with the paint again for us. In the case of a smaller brush, obviously tools less water and less of beans, so you'd have to load your brush with water and paint repeatedly if you want to cover a large area. 5. Creating Colour Values: Now we will look at the tonal value off a color. I'm going to do this with sepia going to take sepia Hankin or my dirty palette. But here, sepia so going to take the darkest value off sepia. So I have the darkest value off step Yah straight out of the pan. You can use it straight out of your two bottle, but with a little water. So see here this is the darker stool off sepia. Now I'm going to apply a bit more water into it. Are added a slight water and I would make the next watch so you can see that this is a bit lighter than the first. No, I like more water. You can see it's getting lighter and lighter as I add water on to my sepia. You can even get a lighter tone. Done this. Each time When we add water to the color, we will make it lighter and lighter. So this is cold donuts. Watch off a color. This exercise is important because in watercolor paintings the background will have the lighter stools somewhere from here to here on the foreground, details will have the darker stone, for example, that make sure you this monochromatic painting this painting has been done with only pain screen on. Do you can see how the backgrounds on the things that are far away from the we were in the painting. I have used lighter tools, for example, thes mountains on the sky. So I have used a lighter tone of paint clay for that. Andi. As you go near to the viewer on all the details in the painting, I have used a darker tone. So this is how you can use a single color to depict your painting by using the lighter and darker shades of a single color. 6. Let Us Make the Browns: in this class, I will show you about color mixing so color Mixing is an important topic in watercolors on this fund, which has a lot of theories, but it can only be learned with experimentation, so you have to experiment it yourself. In reality, you only need three colors the three primary colors, which are red, yellow and blue for color, mixing for different shades that you can make with them. So when you use different shades of thes three primary colors, you can get all the vibe variety of colors that you need. But in this class, I am not going to focus on the primary colors, but because I'm going to be using a wide variety of part Brown's in my paintings. So I will be using White Knights Brown's on also art philosophical Brown's from various ballots such as this bound number sepia e g govern brown redwood, etcetera. So I will show you how we can makes all these grounds. This is my gamblin artists trade watercolors, which I have put it onto this plastic pallet, so it only has the basic bronze Andi colors, so I will be using the's to show how we can create these colors. So first of all, let us see what these colors actually are So sepia. This is Scipio then they're stinky, you know, occur your local is there in most ballots. But I just wanted to add it here. Cobbler brown and I would. So this is the color chart for Can Lin artist Great watercolors in See that Although de Rossi now raw umber burnt sienna is included also burned amber is included in the basic palette, but I will show you how we can mix these other colors. Let's see how we can make set bail. So for that I'm going to use bone number on and we even make some ivory black onto it. That's safe. It's close. I see. So you can see that it's almost close to this so we can use burn dumper Andi Ivory Black to get myself together. Almost same the next color. We want to get a stay sticky. So let's take some roll number and I'm going to mix this with the sepia that I got so that would be raw umber burnt umber Andi ivory, black Quite close. So if we want to make yellow ocher just engaged. We don't have your local enough. That's you can use yellow. So I'm gonna add yellow to this mixture. Maria Low doesn't make it really close, but that's how the closest you can obtain. I think if you add a bit off more of this roll number, we can get a closer value. Yes, So meaning that a bit more raw umber into that. So I added a bit of for a number and I got the lower next a scabbard. So for that, I'm going to use the, uh, wrong number. But I think that the wrong number color is almost similar to the cavern color in out philosophy. Good. They just have named it differently. So, yes, you can see government is actually the raw number. Next is making this brown. But I think we already did that when we mixed with the raw number to make the yellow ocher . So the hat would be adding the yellow to this mixture. Remember something we needed to make it dark. What did we use? We used this used found number. Yes. So this is this color the brown from our philosophical palette. I put all my browns together in my palette because it's easy for one to use them when I'm traveling. So I actually don't remember Rich Brown comes in which after palettes So they've got different ballots in the name Tropical Classics O. D C Extra Pastors Redwood for that, I'm guessing maybe you might have guessed it all today. So we're all Amber Andi off course. If we can mix it with red, that's the closest we can get. Yes, so that's how we can get different rooms. So you see the exercise. What the best way to do color mixing is to do this. Exercise yourself, learn it yourself and see how we can mix different colors. So what happens when you mix a brown on the yellow or brown on a red brown on black and see for yourself all the colors that you can obtain, and you will see that you will get a different variety of shades of brown in this exercise , we learned how to make the friend rounds is in row Amber, Ivory black here, little red on burned number. So just using these four colors, we got differentiates of brown, so I hope you like this exercise 7. Composing our Painting: let us first fix the composition off our painting. We will be doing our paintings in the landscape mode. We will be deciding how we want the elements in a painting needs to be. It's going to be of in Dubon. Painting on the bomb was going to be the main element in the painting, even sketched a bond. The tip off the von is going to be outside the Babo. It's going to be a simple bond painting. The bond is going to be in the form of a simple shaped like this. Then we will have a porch in front of the house in order to make it look. Really, we have to give it a three dimensional look. You can see the bend towards the inside part of the porch. It's basically using the principle of one point perspective, so the killer's on the porch will be smaller as we go further away. So that's why it's getting smaller towards the inner side of the porch. Then we can have something on the porch, maybe a haystack, and it's going to cast a shadow on the right side. On at the background, we will have the horizon for the spending, and then we can have a lone pine tree covered in snow. Here. All the bottom part of the painting is going to be covered in snow, and we will add some trees and branches in the background. Here we can add some crease so there will be a hill covered in snow at the back of the bond on the left side. On. That's where the trees are going to be. Then we've allowed Bean does to the VON. We can have a longer window on the first floor and then another window at the bottom Onda carton inside the window, on through the window. We didn't see the brightness inside the Bond house. And to make the whole painting interesting, we can have some branches extending outwards and then some grass and twigs in the background, and that's it. This is how the conversation of far painting is going to be 8. Let Us Sketch the Painting: This is the A five Archie's paper that I will be using for today's painting that there's no tape down the paper onto the board. I will use the masking tape to tape down the paper onto the wooden boat on all the four sides. Taping down the paper will prevent the paper from bending due to the multiple layers of water colors that we will apply on. The paper also will give up painting a nice white border and future proof it in case we want to frame up in these after taping, we have to make sure that all the four corners where the masking dick overlaps another Dave . It's tightly pressed down and secure because we do not want our pains to be bleeding onto the paper through any air gaps in the tape. On the composition sketch that we did earlier, let us not put the sketch onto the paper. He will have our bond right ear. We will start this landing off the roof by leaving a slight gap from the left, even draw two lines for the slanting roof off the barn house because the roof off their house is going to be outside of the frame, and you want to know how much gap Richard Lee for the slanting roof. Then you can extend the line outwards to get the exact geometry off the shape off the roof . When you do this, you can see how the geometry is automatically formed. Everything is based on equal proportions, so you can see where you started the roof on the left side on extend the other half to the same horizontal line for the bottom part of the Bond House. We can use a ruler. We will draw two straight lines for the walls of the bond. We relieve some rule space extending outwards. I will not draw a straight line at the bottom because the ground is going to be covered in snow and it is going to be uneven. We will then join the end off the roof to the walls, then roughly at 3/4. Position on the right is where the porch even start. We will draw its landing downwards to show the slanting roof off the porch. Then, as I explained in the composition video, we will draw the inside part of the boards. Using the perspective method people draw the pillars off the front porch one by one. After that. As I said, it will be smaller insight and get bigger towards the outside. That s towards the viewer, then the small haystack. Next, the base of the bond is partly covered in snow on for the window on the top, it has to be in the center, so even marked the center point using the top point of the roof on the left point. So here's the center, and using the center point, we will draw the windows. The long window is going to extend downwards, just under the top part off the porch roof. So that's the horizontal line that we do has to end. Draw a rectangle for the window. So this is how you can do the sketch. You know, when you look at the painting and want to draw something, try to compare it with other elements in the picture. Like here. We want to draw the window in the center. So we MMA shared it with the top point on the left point on mark percenter, and we know that it has to extend till here because the point where the poor joints this becomes the ground floor on the top becomes the first floor, which is by the window is finishing right about the line where the first floor starts. Sketching a building or subject becomes much easier when we compare it with other elements in the picture. We can compare with the angle directions is facing. If it is perpendicular or Lord etcetera. I have added borders for the windows for the window on the ground floor. I'm going to measure and mark the hood is on the line. Then I will draw the window by drawing a small rectangle. Don't worry about making the sketch perfect, because this is a house made of wood, not brick, So it's all right not to have exactly straight lines. I'm adding the borders to this window as well, Andi, adding some details onto the windows. Next, the background horizon line is going to be starting from behind the porch. Draw very lightly. Do not trust you up in silver and doing the sketch. From here, we will have our pine tree. The pine tree is going to be in the background on really far away if you just buy it a smaller in height on the bond we build roughly draw the branches and leaves off the tree I teacher to draw snow covered pine trees in a difference. Kill share class. You can refer to that. If you want to learn it in detail, the snow in the ground is going to extend to the left like this. We will have a part of the wall or break here on the left side, and then we will draw the snow hill, starting from the back off the bond. Then we will draw the trees in the background. Just simple lines on branches for the trees. This is how our final sketch is going to be. Don't be tensed. Just follow the steps on. I've made it really easy to follow through, so join me on. Let's make this beautiful winter bond colorful. 9. Painting the Background: even first pains the background part that is the part behind the bond. We have to apply water all over that place. But remember to not touch the pine trees. Let's start applying water evenly on the paper. Since there is a separation between the skies, we can work on them separately, and we don't need to apply water on both sides simultaneously. This is because the bond is separating that part. We have to be careful around the roof off the bomb. We don't want it to be spreading onto the roof. So very carefully we will apply the water for the snow on the pine trees. You can use masking fluid if you want, but I would not be using it. I'm going to leave it just like that. I have switched to a smaller brush to apply the water at delegate areas. We've been carefully applied the water around the pine trees on in the background areas, such that there is no excess water. We have to make sure that any large blobs off water are not formed in a particular area here. Using size a brush, I'm going to take ultra marine blue and makes it on to my perfect I've been Apply the paint onto the night sky, part where I applied the water. We have to be careful along the edges off the bomb roof. Since we are applying on that paper, this is wet on wet technique. We will paint very carefully is the stars. We don't bleedin Do any areas of the Bonn for a new reach here Don't paint all the way to the bottom. We're going to leave it right for now. We will paint around the pine trees carefully and taking care to leave it fight. You can switch to a smaller brush if you want, so that you don't accidentally paint over the pine tree. Next, we're going to make it a bit more darker at the top because it's going to be a night scene . For that, I'm going to mix indigo, which is a darker shade. I'm going to apply in the go at the top on top off the ultra Marine blue. We will apply it in downward strokes in all the places at the top. Now I'm going to live to my board and give it an angle. So that gravity we left the mean flow down on mix with ultramarine blue on its own. This is the advantage of taping the paper because then we will use the full potential of watercolors by making it flow down. Next, we will apply water on the left side off the sky. Here, my brush still has a blue pigment in it from the blue and indigo from before. But it is all right in this case because we're going to paint with the same color. If it wasn't the case, we would have to wash the brush totally with a mild fresh care. So to remove the staining pigments from it because imagine painting it yellow shade With this blue pigment in the brush I'm going to mix ultramarine blue again. Andi, I will apply it in the same manner that I have night on the other side to anybody about the tree because we've been paid it in the end Keep applying the darker stool off ultramarine blue to get the night sky in napping. We're going to stop right here when we reach like the window. Don't go any further down before I take the indigo going to give another shade to the background. But first I'm just making the undulating blue dog. Then, for the really nice background, I'm going to take your number on applied at the border. But to give a nice background depicting the bottom part off the trees, we're going to start right here on leave the bottom bar fight for now for the snow on the ground. Then we even applied the indigo over the blue to give the darker nights guy at the top. Not my blue is still that so. I'm still using the vet on vet matter. We want the indigo to be only at the half because we left the ultimate. We knew to be seen in the middle, then ideal the board like before because I want the beans to flow down on Do the magic keep giving gravity in different directions so that they mixed naturally now because I feel that the indigo on the left side is not in the same level as on the right and wound applied a bit more downwards on. Then I let it flow down on mix again. There's this cap off night sky that I want to paint. So let us do that. I'm going to use my small brush to apply the water because it's a really small area on. We have to be cautious that on the haystack, and gently apply the water. Then we will add the ultimate in blue, but not all the way to the bottom. We will leave a dining space for the snow effect. Then there is the space between the Penis. So we will apply water on being that area again. If you accidentally apply water or the water goes on to the bill s, you can wipe it off with a tissue and lastly used the undulating blue for the sky part again. And here we have the night sky on most ready. 10. Snow on the Ground: we will now be in the ground, which is in the foreground. First, we will apply water for the wet on wet technique. It is all right to cross over to the boundary here because we do not want a distinctive visible line there. Please get through when you apply next to the house. After applying water, I'm going to use into go for painting the shadows on the ground. I'm using indigo, which is a darker shade, because this is a night scene and that's the snow will have darker shadows from the night sky. I am applying Indigo Grandin places on. That's important totally random. Just putting my strokes at the places I feel I should add Information in the snow. One status done. I'm going to give a darker tone to the bottom to give the full crowned a shadow effect. We will keep adding darker doors to the indigo so that there's more shadow on the snow Onda, also some towards the bottom off the pine tree. We have to be really careful around the ears of the bond. There's a window facing this direction on. We will have a yellow tint inside so that yellow is going to cast a shadow on the ground which would be a slightly yellowish tint. Even paint with engineer No on applied right below for the window is facing. We have to be careful that you don't touch the indigo. Otherwise it would turn green. And then we will blend it without rush on the ground at the center point off the shadow of the night. I wanted to be a bit more darker she so that I will think Indian gold on apply it on the top Onda also at random places. With this, you can see that the background here is done. 11. Our Beautiful Barn House: for painting the bond. We will first apply water on the boil. India, off the side of the bond they don't met is the best technique to get that flawless effect on the paper, which is why it is always my go to method for any kind of paintings onto village. Applying the water, leaving the mind inside the doors, using the medium size eight crush or Spain the lighter shades first, which is by even pain with Indian gold on the moon to us before any other show. They will paint board of Indians with England gold on nobody about it spreading outside because we will paint over it and it wont be seen. So don't be afraid. Let it flow. Enjoy the process. Then I'm going to be in the bomb using burned number. I'll be using differentiates of brown to get a nice contrast on to give it the wooden effect to the Bond House. I'm using Brown from our philosophical on burnt umber from white knights to give a mix of both on the paper. I'm don't really get me because I do not want shapes to bleed out onto the sky region. Enjoy this process on Deadwood released your test your limits and see what it is that you can achieve. Don't be afraid to try anything like this. I'm just using both the Browns on applying all over the bond. Leave the gap off the windows on being around it. He will carefully apply bolder colors all over the bond. The technique amusing is that on that which is one you can see the colors flawlessly mixing on the paper. Amusing boat burned number on ground from our philosophical so they mix together well. Pickers Terrence Water on the paper. Try to use the brush strokes in one particular direction. Here I'm using that are chimp adoptable Because of the angle here, the gravity will act on. The pain will flow down on Give us a nice effect next. Cleveland, you said Yeah, on a flight under the rules area for the shadows because it's better on bet. It's going to slow down and mix well with the burned number giving nice shadows. This is the shadow. Under the roof area of the roof extends out off the house, so we will add the shadows at both sides. Next, we will add texture to the wood, so we will paint some lines on it with a single gala burned number. Draw straight lines on the same met surface on they do, Not even at the same distance for painting the roof. I'm going to mix brown chocolate hands appear together. I will carefully pain that goes with this mix feigned both sides off the roof With this band number comes up. How carefully underling this on. Just relax, enjoying the process. You can take your old time to do this and believe me at the end, you're going to be happy because you would realise what are the things that you need working on middle distance, sketching just a bit on that technique or whatever different techniques that belonged after that date burns una and apply it here at the bend in to give contrast, he really was burned number again for the move off the porch. Cover the whole off the roof with this burned number on for the floor off the board, she used the mix off coconut on brown. From our philosophical, we have to be careful. Can not painted on the haystack on the floor. I'm going to give the shadow off the stock on the floor a bit a bit off, Dark brown or Dickie. From our philosophy. Go. I will change the villas with yellow joker on brown mix. The killers are going to be just thin lines. I will use the same color but in stock onto the same color at mixed sepia for a slight, darker shade on applied here on the foundation area under the porch. Then I'll apply a darker shadow with the sepia. It would be just a simple line. Next, I'm going to use cavern color from our philosophical who painting the foundation bought off the bond. Remember, you can create the Scala using the gala mixing technique that I showed. So don't worry. If you don't have these colors now, we can move on to the next lesson. 12. Winter Trees in the Background: we will first pay in the pine tree. I'm going to mix a really dark shade of cream for the pine tree because this is a night scene. So I will make staff bring into go on things great together to create that dark color. And then I've been start from the top and paints the tree find or even had snow on it. So I believe gaps that this some white spaces or the snow. Then I'll make these small branches on by leaves, using a small brush all the way to the bottom. I'm fast forwarding this we do here because the steps so pine tree are same throughout just making the small use, leaving some white spaces for the snow for the trees in the background. Even sepia, he will be starting from the bottom. We will make window tree branches like thes Andi. Remember that drunks on branches of the dreams do not have to be straight because trees are exactly not like that. They have bend on religious. We will add small grand just through the trees. For some off the trees. We will use a lighter tone off Sophia because we wanted to be in the background, so it will have a lighter door. As I explained earlier now, we didn't want to the next lesson. 13. Its All In The Details: the Bond House has fully dried, so let us paint all the details on it. I'm going to take burned number and mix it with taking to get a nice dark brown shade. We even make straight lines on the boat on beings. The tip off the brush If you want, you can use a smaller brush or dealing brush or even a rigger brush like this one from Russia. For me, the pointed tip off this one works. Make straight lines for the texture on the wood on the lines don't necessarily have to meet at all points. You can have gaps in between. We will make these lines for the wooden texture on the bond before we proceed upwards in. Father, let us do the windows. Every user clicks off Dickie and drowned for being in the details. On the windows, we will add the window bars on the window sill. We're just using the tip off the brush to make horizontal and vertical lines, which would effectively form the shape off the windows. This exercise would give us a really nice gun, cruel with the tip off the brush on details, how to make straight lines now let us continue painting the wooden texture. I'll fast forward doesn't do here because it's really did me the same process throughout. Just making straight lines Onda a lot, using a very much darker don't but just a slightly darker dole. A mix off tiki on ground. Next, fusing burned amber on after the dudes to the roof again just trade lying. Using the tip off my brush. I'm basically pending the edge off the roof with band number, so this India off the roof is going to be darker. It bend inwards into the bomb. It's darker because it does not have any light falling on it, then leaving our details to the rules off the porch. Just simple lines. The lines will be outward from the left side to give a perspective for the very loose, we will add shadows. I'm just going to draw a line with burn number. I'm adding of all or part off a large brick your to represent some original into the painting, Then the details on the foundation off the Bond House. We will simply paint it in the form of different shapes for the bricks at this part of the house it does not, wouldn't it does bricks, which is why we have to give it some shape and lastly, the gardens inside the windows leaving news Indian red. But this you can pay in the gardens with whatever color you prefer, maybe blue or green, depending on what you want the color off the gardens to be. Now we will move on to the final detailing and adding more snow onto our painting. 14. The Last Layer: Now we will add the snow and its shadows to the pine tree in the right. For the have first, I will add water to the white surfaces. That is the snowy ideas that I left white earlier. I want to get a night shadow effect, which is why I'm doing this. Just applying water on all the white areas. Then I will use Spain's great Andi added to the bottom part off all those fight areas so that it spreads upwards naturally and gives us a shadow effect on the pine tree. I will also use a mix off cobalt blue on bein sleep for painting this part off the snow. So alternate between the cobalt blue and pain scream mix on pains crave so that you have a nice contrast between the two. We will make this spending more interesting by adding some foreground three branches. Remember that I do know that the big deals on the things in the foreground will be using the darker storm, and thus were using the darkest value off sepia here to paint the tree branches in the foreground. I'm using my size full small brush on using the tip to make the branches the size off the grand just should be small as you move upwards away from the main crunch. Then we will add some final details on the ground. You can use different shades of brown. For this. This will be some twigs and grass at random places on the snow, so wherever using that the grass is protruding out of the snow, so just make it at random places for adding the slow. I'm going to squeeze out some fresh coorsh paint, and I'm going to load my brush with the wash and then feigned on dark off the horizontal branches to imitate the snow, sticking to it. If you do not have wash, you can use a thick consistency off white water colors as well. Just remember to apply it on the top surface because that's where the snow, which has fallen, would stick to Andi mostly on horizontal surfaces. Now I'm going to add no on the roof off the porch had the wash on the door part unevenly, because the slow will not be flat. Then you seize downward strokes to the fixem snow that's stripping down from the top on on the side as well, this part is basically just about adding snow toe all the horizontal surfaces where the snow will stick to on this now the roof area off the bond house pained on both sides. Off the rules. Men. The snow was falling down. It would stick to the bottom part off the bond as in the bottom part. Very weather is a flat surface. Just white would stick on to the north. Then we'll even add some drippings here as well. The windows is a flat horizontal surface, so there will be snow sticking onto it. We would have to imagine there are the services that the snow is likely to fall on D stay on, which is almost all the horizontal India's. So I'm adding dip ings here as well. Some snow do their trees in the background as well as you can see for the particle lines. I'm only adding snow at some places, just few darts. Lastly, we will pain the surface here with some light, ultimately blue by applying water first on, then being hunting is a very light owner, Arte Moreno Lou, because I do not want the whole thing to be like the night sky darker. Ultra marine blue 15. Let it Snow: This is the most fun part in any painting from doing the splatters. So I'm going to load up my brush with nice three white Wash banged. If you do know top wash paint, you can use a quiet watercolors as well, but just remember to use it in the mating. The consistency. Then I'm just going to do these platters, so I'm going to use this finger to do the splatters instead of the second rush or the pen. Or I can just do it with one hand, so do it in the general way that suits you the most. Add as many snowflakes as you want, because this is basically the most fun part. So if you want to cover your end, are painting with snowflakes that's also fine, and there it's done. 16. Practice to Perfection: let us know. Peel off the most Indeed, Andi, all you have to be careful is that you tear it off at an angle away from the paper on very carefully. I know that this painting looks like a very dark subject of bend. But trust me, you have to drive this because if we're going to stay and sit behind thinking that this is really tough for me, then we're never going to learn. We're never going to experiment with ourselves and see what are our capabilities on. That is why I brought forward this glass. I wanted all of you to test your limits on DSI what days that you are capable off so that you can see where you're lacking on put more practice into it. Don't worry about the end result. Don't become backing yourself with any others. This is Julian exercise for your own purpose. So don't judge yourself with other people's work or even my work. This is not all about that. This is just about having fun in the process on and seeing where you need to put more practice. As you can see here, I have done a lot of factors for window bring things. It is how you get more exposure towards one specific topic on you will become a pro at it. So you need to people trying Don't be discouraged on. Be afraid to try out new topics. You can contact me anytime through Instagram. My instagram handle is colorful mystique. I hope that you enjoyed this class on. We're joined me in my next one. Still then goodbye.