Painting a Winter Landscape and Starry Night Sky with Watercolors | Jana Bodin | Skillshare

Painting a Winter Landscape and Starry Night Sky with Watercolors

Jana Bodin, watercolor illustration & lettering

Painting a Winter Landscape and Starry Night Sky with Watercolors

Jana Bodin, watercolor illustration & lettering

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7 Lessons (50m)
    • 1. Intro Winter landscape

    • 2. Watercolor supplies

    • 3. Practice: wet on wet technique

    • 4. Practice: Painting the Landscape

    • 5. Winter Sky and landscape - 1

    • 6. The landscape - 2

    • 7. Adding stars and snow - final part

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About This Class

This class is suitable for the intermediate watercolor painting level but also for the adventurous beginner.

This class is teaching how to paint a Winter landscape with evergreen trees and a night sky (or Winter sky - you can choose).

Just as in my first skillshare class, I start with demonstrating some basic watercolor painting techniques, which we will use for the main painting. If you are familiar with the demonstrated exercises, you are welcome to skip the exercises and dive right into the main painting. Though I find it always helpful to do some 'warm up' paintings in my journal, to get the mood set right for my main paintings :)

I made sure the painting processes for painting the night sky and the Winter landscape are broken down into manageable steps. This ensures that you can follow along and learn how to achieve the pictured results.

By the end of this class you will know how to paint a Winter landscape with evergreens and a Night sky with stars.

Don’t forget to follow me on Skillshare. Click the “follow” button and you’ll know when I launch a new class. Feel free to follow me on Instagram or facebook as well :) That's where I post my work the most.

PS.: A list with suggested supplies for this class is available as download (pdf) in the class project. Or follow the links below. Here is also a link to all my favorite art supplies in general.

Watercolor paper:
small watercolor pad (Strathmore)
9x12 watercolor pad (Canson)

Payne's Gray (Winsor & Newton)
French Ultramarine (Daniel Smith)
Indigo (Daniel Smith)
Helio Turquoise (Schmincke)

White Ink:
Gelly Roll Ink Pen (Sakura)
Bleed Proof White Ink (Dr. PH. Martin's)
Copic White Ink

Any round watercolor brush should work, as long as it forms a nice pointed tip, when wet. Try to avoid brushes that fray or have loose hair. Usually the medium priced generic watercolor brushes in your local art supply store should work for this class.

Meet Your Teacher

Teacher Profile Image

Jana Bodin

watercolor illustration & lettering


Hi, I’m Jana.
I’m a self-taught artist working mostly with watercolors. I loved painting since I was a little girl - it just stuck with me. During my teens and early twenties I painted a lot. Then my husband and I moved from Europe to the U.S.A. and a little later our family started to grow, so the priorities shifted.
In 2012, when we moved to Sweden temporarily, I started painting again almost daily as well as practicing calligraphy and hand lettering. Since then I have filled pages on pages of watercolor paper and I’m not tired of doing so. There’s always something that needs to be painted! :)

In the past I have taught quite a few watercolor and lettering workshops in person. I enjoy connecting with my students and love to see their progress. I... See full profile

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1. Intro Winter landscape: Okay. Hello, everyone. I'm Yana. Thank you for joining me class today where I will show you how to paint the winter landscape with a nice guy. Dan, how to add some stars to the night sight and have some snow to the ground onto the trees that this grasses suited for the for intermediate level as well as the beginner. If you are a beginner, I strongly recommend that you go through every video I posted for this class because it contains some exercises that will show you how to. I have nobody technique which we will use and how to have the trees for the landslip. The videos split into several parts so that it's not too overwhelming. And I hope that I explained everything in a way that you can follow it all and that you have fun painting. Well, it's It's started 2. Watercolor supplies: Okay, So supplies for this class are very similar to the supplies I used in my first CASS. And if you already have painted with watercolors, you probably know. But for all of you who like to know which pains exactly I use, I will show them here. And also, if you are a beginner, it's always interesting to see what other artists used for their paintings. So since we doing some exercises before we start the main painting, I recommend having some sort of your test papers. So to say I like this one, is like ring bound. It's basically a journal where you can just test your your pains, make little pallets at some notes, for that matter. I really like it on. And I still have some unfinished sketches here, some swatches off paint that I had never used before. Just some testing and little things in here. So this one works pretty well for doing the exercises. This is from the first passed. So if you haven't seen this, we did this exercise their and for the main painting in the elect us. These are the swatches for the exercise with this class. Yeah, this is one I really like. It has a nice, dirty paper, so you can add lots of water and test your water colors for the main painting. It depends on if you want to do a bigger painting or a smaller size, this one I like because it's not too overwhelmingly big. If you're a beginner, it's always nice to be able to not have to cover too much empty space. So this is a nice oneness struck more just to smaller size, like half sheet. Then I like this for my scripts. Paintings, actually, because it's already square, as you see, so I don't have to cut it. This I think I found this ad hobby lobby and then also this one from Canton. I really like. It's big enough that you can. I cut half sheet if you don't want to use the whole one. It's a nine by 12 and a nice weight, so it's a £140. That's usually the paper I go for its not to taking up too thin. Then off course. We need the paints, basically any kind of article, a painful work, of course, but over time I found out that really the professional type of pains are better pigmented. They have a higher amount of pigment in them, so they are really worth there. Money. You only need a little bit at a time. So they really last a long time to, for instance, here in this planet of these hands I have filled well, maybe three years ago, and I'm still working with these. So also these up here, it's just yeah, a piece of advice. If you if you think about it. If you can't decide, should I should I not invest in that? If you want to keep painting, it's really worth it for the main painting today or in discuss, I use the just blue. This is from shrink it. I really like this blue. I used the French Ultra Marine from Daniel Smith, the Indio from Geno Smith, the Pain's grave from Winsor and Newton and a little bit off turquoise. This is called Helio Tour cars from shrinking again. Then for adding stores or snow, I used the bully proof white pink from Doctor Ph Martin's. I diluted it for us. No one, some trees and otherwise I use it straight off the boat. of the jaw. It's rather think, and you might have to send it a little bit bad. You'll figure it out. You can. If you don't have that, you don't have to get it. You can also use some white acrylic panes for some wash. If you use acrylic, you have to think about the fact that you cannot re but this pain that there's also some white watercolor. It's called whitewater color, but it's basically quash. Yeah, of course. Some brushes I use the grown tip rush. These are all wrong tip brushes in different sizes to cover this guy in the background I have used for this cast. Use number 12 or, if you form it is a little bit smaller. Yeah, any anything between 12 and six would work this one, of course. Then you have to work a little harder who turns off. You have to dip the brush more often in the border and the paint to cover the area for the sky, but it works. Then, for the tiny details are the smaller details. I used a size zero, but then again, it depends on what you're comfortable with, and you might use the number two, for instance. For number one, these were quite well, too. But just make sure you have ah, brushed. It has a nice sharp tip. So for this one, for instance, doesn't look that sure. And it had been afraid. But you can check if you want it. You can see it forms a really nice tip. So that's what you want for the details. What else? We have, of course, A little bit of paper towel today off your brush to drive your brush or to get some excess in the water off If you need to sketch out something or like the shape off your your main painting if you want the white border and you don't have any tape masking tape, you can use pencil and eraser. And for that also me. Warner, I don't have masking tape here to show you, but you can use masking tape, of course, to to achieve a nice white frame around your painting. A jar of border, of course. And some sort of pet it you can use. Ah, yeah, just a porcelain plate. Yeah, I used coming the lid off my palate. Still quite messy all the time. But that's just how I work so that you can mix your paints a little bit. So I think that should be it. So, yeah, we're ready to paint. And if you have questions, feel free to add them in the comments or the discussion board. And I will I will have a list of all the materials I use. So you can read again. A few didn't quite get what I had showed here. Okay, now we're ready to paint. 3. Practice: wet on wet technique: Okay, so you see what we will practice in this little exercise. We're just trying to find the blue tone or whichever color you will use for this guy will work best for your painting. We will also practice how to use the wet on wet technique for this guy in this painting. For this, I will use single color washes wet on wet technique and then just to try how the effect would be with two or more colors, we will have also swatches for this. We will also try to practice a few of these landscape e hills with some trees. So let's get started first. I always just at some order to my paper for a little spot. Yeah, just at some water to an area on your page. And where did the rule? I don't know if you can see it, but there should be visible. You will see when you do that, so just make a not too big area. So it's just for trying to find the right color at the pigment or the paint to your brush and then at the pain, just a natural part on this wet area, and then you see already how nicely it spreads, and I will keep adding a little more off this paint. And even though it's recognized me, I will just wash my brush and go over the lower area again. And this way spread the color a little more towards the lower part, and that's it. So it's straight again. If you have never done it before, just try again. It doesn't have to be perfect the first time, and it's also it could be. The paint you're using is different than mine, of course, and each pig man behaves a little bit different. So this 1st 1 here, by the way, waas this paint I will listed in the information about. Of course, it's called Delft Blue and from Shrinky, and I really like this paint we're using in size. Next, I will use the French Ultra Marine from Daniel Smith, and I do the same. I have paint on my brush can use a little more because you see it's a very light. No, if you had a lot of border before you can dip like this in the red area and inaudible spread or just stroke back and forth, and then you will see how this pigment will spread into the rest area, and you can leave it as is or again. You can wash your brush and spread whatever has collected bone here on your second swatch. It's a really quick exercise. You shouldn't just overdue. It's just somewhere on the paper. Your next color. I use the Europeans great, which is usually the one I go to four nights, guys and let it either do its thing and see you know how it behaves. This'll one. It doesn't spread as much as the blue Waas to make it go further down in this area, we just worship brush. It can have saluted with paint in it. Uh, it's not. That works fine too. And then just go with this wet brush and other area again and go back and forth. And then you see already that it's going to be lighter in the lower area and really dark in that one. And I have one more clue that I want to try for this. This ISS the indigo also about any of Smith and we will see how this will behave was a spreads very softly, which is very nice, full of paintings, guys so or border, and that's how I will leave it. Now you have a single paint swatches and you see how are they able dry? And after that you can decide which one you like best and which one you want to use for your. For your friend of painting before your main painting, I should say, I hope you paint more than just this one, okay? And no, I will do. One must watch here and then one next door to I will use the Gulf Blue because I really like us in the Hobart. It's a bit stronger. That's okay. And let's pick the ultra Marine next good and well, I said, too, but we're not free. I like I like a little bit off gray in this type of it's guys, especially winter skies. I think we'll you without that. There were some spots that will really pigmented. I usually go over these with a little more water, because otherwise, when they dry, it's just to too much pigment in one spot. And then right, one more. Here, you see, this is that's not very you clean what I use here because I wash it no many times in here, but it's certainly fine because I will add some color to with anyway. And it's the same tone or shade, so that's gonna be fine. I have in mind that I might do a very light grey sky for women to printing, and therefore, I just at this pains great a little bit on also like this indigo, very much because it appears to be rather grayish. And then, instead of just swiping it across, I just dab it in and leave some light areas. And this can be you abstract clothes, for instance. So if you want to have a little bit of variety in your sky, you can try or sports is like this and see how how do you go dry? And then you have a much better idea about the behavior of the paint on and how it might look like when it dries. Never looks the same Pretoria technique again, but it always be will be similar to the one you tried. So yeah, just go ahead and try something like this until you feel comfortable and I tell you, feel right to to paint the sky for your main painting 4. Practice: Painting the Landscape: This next exercise is for practicing the landscape part for these type of paintings. Andi, I just want you to add some pain to your brush. You couldn't make any color. It doesn't really matter. In this case, just draw a line can be quantity or very straight, just the lot of pigment on it. And just throw another one, too, just any way you like it. Then wash your brush so it's not filled with paint anymore. And then I want you to take your wet brush and has direct and then follow the line you just drew and there underneath, so that your tip off the brush touches. The paint is sort of, say, connecting the water and a brush to the paint on the paper, and then you will just see what happens. So I'm doing is here, and then as soon as you touch the brush with the water, the pigment form the stroke above will just follow in the watery brush area where you're stroking and you can see what happens. If the pain already has dried a little bit. Then it's takes a little more effort to get the paint from this stroke above into this wet area, it's still possible you can wash it out for leave. It'd as is because this gives nice effects, I find so I will leave it as this. But here I go over this area again and it's still possible to get some pigment off. And then you can even go over here and touch the other line you had done. And here you see, this is a very nice effect for this type of painting. In the classical watercolor paintings this is frowned upon. This is the so called blooming. But we want this or me personally. I like it a lot that happens. So I treasure those areas a lot. And for our main painting, I will also go into this very light area. That's the wet now and at more color just like that. Just either with a line or just some dots are small areas legless and inedible bleed into their into the red area and give and spread more color to areas. Very, there's no color yet and this will give a nice dimension to the painting. No, I did all this with my number six brush. No, we're taking a smaller one. I take this one. It's a size zero, but can be a size one or two. Just whatever you feel comfortable, you can also try different ones. I just know I like this one best and then had been to your brush and just add small lines like this. You know that those lines will be treaties eventually, so those are the tree trunks, but it's all rather abstract. So IHS also just the practice peace. So don't be afraid. Just go ahead and at them in the does matter. If they are completely straight, can you cook it? I like the Murray delicate, but if they turn out to be somewhat stronger, that's going to, and you see that you know where the areas. So let's. It's a nice effect again that you can kind of connect the tree trunk to the ground, which is nice, so it doesn't look like you had just stuck it on top of your That's keep soc. It's hard to describe sometimes, but yeah, this how I would describe it, and then if you've seen my other plus, you know how I symbolized or how I paint to trees just with some short strokes left, right zigzag emotion not to regular. So it doesn't look too symmetrical because trees and nature on that completely symmetrical while most of them are not. And yeah, that's what you can practice over and over again until you feel happy and comfortable. If you have done this enough, if you think you already, you very welcome to go on and start your main painting. 5. Winter Sky and landscape - 1: Okay, I'm ready to paint this main picture here. I'm going to start with this guy. I will use my number 12 brush. Maybe I was rich to buy number six, but I'm not sure it. So just use one of the bigger Burgess you have. And this will work best for this area. Of course, it all depends on how big your piece of paper's. I have a eight by eight inches watercolor paper here, just from one of the pets I mentioned in the supplies. I will start from the top to about 2/3 stone. And that's where I will stop for the sky area. And because I want to leave the north third roughly Lord third for the four clones, just as in the practice pieces and exercises just go ahead on but the area where this guy is supposed to be. And you see already that my water is not very clear anymore, but or clean because I'm using the one I had already here that I used for the exercises. And it's pretty dark, I know. But since I will paint a darker sky, this will work just fine. I had marked where I want to paint lovely with pencil lines. But you are welcome to use masking tape. I just sometimes like them organic lines that I will produce when I just marks, um, light pencil lines and then just pain free hand. Okay. And I will leave it at that. So 2/3 are just pre read with some order. And just as I found during exercise, I like the self flew a lot and I will start with this. I just added some pain to my brush and I start up here. I want I want a darker sky, but not necessarily a nights guy. I decided so. Maybe it will be a nice guy. We'll see. But it's supposed to be a darker sky that my before off snowy clouds or clouds, Dad will produce some snow. No, it looks kind of to graze over here. So I will, at some blue, my dog, and just some more over here. And if you do this, if you don't, if you're not happy with a certain area, just at some more pain or lift some pain with tissue paper and I will work just for you, Uh, maybe maybe I do it some more door up here? Yeah, let's just do this. Well, that's possible to just if you change your mind just at some more paint and transparent to a night sky anyway. Because I just remembered Well, I wanted to add some stars in yen. So for that I have to make a bit darker. So why not? There we go. They can see it's nothing is set. You can just change your mind. Just changes into the night sky. And the more more blue that was a bit more French new And don't here I will not do too much because I know out of experience involved was paintballs press and it will look. It will look nice. ***. Brian, you over here. This area, I think, might be too in my b two part too dark. So I go in with my brush, some water, just move it out of it. And then over the course of the drying time, intervals spread out and we'll be fine. So don't Here. You see, there is a definite line. The letter dry like this. It will be a hard line. I wanted to self enough this area, so I washed my brush with the border and I would just go over this area. And it's still while the darkness water so more washing out. And that will do so to take one of my paper towels and even death. It is a bit off here, so I have this area over here where can just have a nice transition from sky to four phone , which I will work on right now. I am not touching this area. This little joy. I'm just betting the very bottom because I want to add some lines, as we did in the exercise that are not washed out yet. I'm taking some mixed off blue and paints great, and I just at some not straight lines, but suggesting some hilly areas may be held in the distance. And then you see as soon as it touches the area, of course, Then it spreads and softens up immediately. And that's what we want. We want somewhere I d Okay, we want some hard lines and some soft lines. That's what I like this and then you see where we well, with this water on the paper and at the pain, it spreads immediately and in your very soft the area issue, which is nice. What of entry landscape? Because there, when we at some white later or leave it as is it. It's interpreted usually as snowy areas and then as an exercise just at some water below these lines so that the pain can spread. And then, as I said, you know, this is dried already, but that's fine because we'll go back into this and so open it up a little bit. Usually it looks fine in the end, even though in between, you might think like I don't know like this you can wash over these areas to self in these lines on will just be fine and what I like to do to make it a bit more warm tone. I like to add some turquoise to these four grown areas because a friend this lightens up the world seeing a little bit. So here are like that. There is this white in between this white space because we have a snowy landscape, supposedly so, so we'll need some white, and then we don't have to paint the snow but can use them. The white off the paper that comes to that is suggesting that there's snow on the road. I'm just putting these areas here. Where is he in the background that there was so some white speaking food. I think that's good. I will leave it and I will. You still can add details later, but this is as rough a background as the first layer. This full. Do you just fine? And I go in now and at my 1st 3 drugs, just always a bit challenging because I like to work from left to right because I'm right handed. It's all, too. But I just leave this area alone and start here and then make sure it's not too saturated. The paint you're using because if you make it, doesn't the shed a little lighter? Then you can layer trees, some top off the lighter ones on immediately. You have more structure in a picture of suggesting death, but it's one was for the dark, but it's okay, and you see, once the paint gets the red still red area, it softens up of it. And that's fine, too, because this could very well be a misty area to. So yeah, just go ahead. It's all an experiment. It's not supposed to be perfect. In that sense, it's perfect. As long as you have fun painting, and as long as you learn something and as low as you feel like this, I want to do this again. So I will stop here and let it dry. Want to come back? I will add more tree trunks and the 1st 2 weeks, so say. 6. The landscape - 2: somewhere for bone is no dry enough that I can add more of those tree trunks and this time already start over here because I know I wanted to add some trees in this area, too, and I just go ahead and just at some lines, that will be trees later. I will not over, dude, because I know I can get crowded rather quickly, and I I prefer to add trees later on of a feel I don't have enough like over here. For instance, I see that the tree trunk it's much darker than the area underneath. That's where I like to add with the same pain I have on the brush. Still, I just do a quick line like this, just not too straight, but just a little ragged and at some warder later. And then it's blending in better, and it doesn't look like a stick on a colored surface. So it's more like, uh, it seemed pained, the same color, hopefully later, that looks just like trees growing from that area. Okay, I will know at the bigs and branches, which I do with the loose, back and forth, kind off zigzag emotion if you took my first sculpture class the story Night one. I'll explain a little more detailed how I do this and the exercises there. Perhaps if you want to practice that a little more, just go and have a look at that exercise from this class. It's written down and description for this class here, too. So you are welcome to have a look in discuss to see what I have to say about painting those trees. This one right here. I just make this longer because I for some reason I do not like if there are two trees just exactly the same height next to each other happens in nature, too, but well, and the picture. Sometimes it's a bit disturbing. So, yeah, that's what I do. I just keep adding those next, overthinking it, just getting pain to your brush. And maybe also what I like to do is dipping my brush into a different color in between, like a dark green door blue brown. And this gives some variety. It's very subtle, but in your trees do not look exactly the same color all over. This just helps to to give them more natural look current more death, and then you see this, Probably I just keep adding also these little areas off additional layers on top of these first landscape E hills, I just keep yeah, adding those darker areas underneath a tree trunk, spread it out a little bit left and right, and then I take wash my brush and take a little water to smooth it out. That's how I prefer to do it. In my opinion, it gives just a nice impression off a soft landscape, and later it's very easy to add some right to these areas so that you really have the impression that it it has snowed in these areas. And while I was talking, I was completely overlooking the area back here because usually what I do, of course, is to work from the back to the front because, yeah, that's just how you do it. And I would just do this at just some light colored strokes and maybe not as defined. This might as well be a foggy area and the fog. You can't see the definite shapes so clearly on. And yeah, that's what I just keep doing over here, just some very lose back and forth strokes. Let this dry and I will come back here and at more trees in this area. If this is your first painting, make sure you don't have too many trees because this can get over. You can taste for me sometimes I think I didn't want that many trees, but adding those three trunks in the beginning is so quick and easy. But once you have added this trunk, you better make tree out of it. So you get the idea. Just spread the trees in a manner that it's a nice composition over here. I know it's not what I like in the end, so I will definitely add more trees over here so it doesn't look as yeah, sword it, you know, it's like four here, three there It's almost like as if they would. Those trees would just fit in here in those gaps. And this is just too artificial to for my taste. I'm sure ever add more trees over there, these air drying rather quickly. I will just keep on adding, you're welcome toe watch until I'm done, or you can just listen to what I I have to say while you're painting yourself you to say I will just keep this very loose because I found this. This just what I like in these paintings when they're done, just looks nice. It's not, too, if it's not too organized but rather loose. So and then Yes, of course you can overlap. That means meaning if you have a Trina background and there's one right next to it, of course, it can overlap the one in the background, and it should cause that's how trees grow in nature, too, right? So, And if there's one like this one here, my dissed or for my taste, it's a bit too blobby. I had too much water on my brush. Just let it dry, and then you can go in later, either at snow with white ink or wash more acrylic paint or go in with border and take some of the paint off. That's possible, too, I think. Yes, one more that needs to be here. You see, I do this a little darker because the four groaned. Things tend to be somewhat darker, and this also gives gives a nice impression off depth and again, this is something I explain more detailed in the story night class. So if you want to study this a bit more, go look and watch that one little more trackless on maybe another tree over a year. And then I think, no coldest area. Don't and I will let us try again because I think I will add a few little trees over here. And I have to know also at some here because otherwise this right side is too heavy compared to the left side. But this is something you can decide for yourself. Of course, when you paint, if it doesn't turn out the way you like it, just leave it. Come back to it later. In between. Just start a new one that always books for me Anyway, one more Over here, it's nice and dark. Most of these seeing because it's so dark. I like to add this little area here, too, so it's more kind of cohesive. Another one here sought can go into the still red area sword plans in as well. It's a more ammonia us. Look this way. Maybe there has to be one here just a little yes, and to some water sort of pain can bleed out into the bridge area. Maybe some more pain just so. And the oldest pained heading layer by layer gives the whole painting a more realistic impression in a sense that it's really has a foreground, middle ground and the background. And then this guy. So this is really, really dark ones Here are really the foreground. If you keep adding in front of you, even darker ones that will be coming closer to you, so to speak, and everything in this area here, this really area I just would be the mid groaned and then in the very back, all those misty and very light trees almost just shadows. This is gonna be your background for sure. And you you can add to the background to that. You can do this with just worst, what paint and then get some shadows of trees. And well, I keep doing this. I shouldn't. I wouldn't do it if this would be a commission on something like this, but just for the learning purposes, so you can see that it's possible just with some very, very light paint to add to the background. And it looks like a very distant trees or the trees that are almost in a fog. Okay, I think I stop here. Let it dry, and we will come back to this toe at the stars. 7. Adding stars and snow - final part: So we are ready to add stars and snow. I just wanted to show you this little square again. Here I use just a really grayish sky or the dark, but not historic as it would be for a night sky. And I just added the white dots and here they're clearly snow to have two trees, a little more snow. Also edit white ink over these dark. There were very dark to trees. Um, so this turned out brother to my liking. And even though usually I like a very dark sky and at stores. But in this case, for the falling snow, I I thought it was rather cute, too. To do it to to Ed, there's no flex sort of say, um not only the white to the trees. So for all painting here, or at least for mine, I will. To me, the white dots in this guy will be stars. You can look into the first class I did to listen to or to watch how I at the stores there to the story. Night sky. I just like to go over this whole area of the dark area, so I won't overthink where two at the stores because this can easily happen to me anyway. So so I tried to at the main dots rather quickly. Do not over think where to put all the stores. And once I have the main ones, then it's always easier just to fill the spaces in between. And in this case I will. I find my ink insulin but too watery, so I will let destroy and at some doubts later again so that there really white. If you are a fan off glittery things or pains, this would be a good a good opportunity to use them because I did that in the past two, and it's really need. If you have stars that glitter and twinkle in the light, I will keep adding stars until I find that I have filled the area. It's filled with enough stores, you know. Some like it with a lot of stars, some just with some main spots in the sky. So it all depends. If if there would be, this would be for a commission. I would just ask my client. What is your idea off the night sky? Do you want a lot of stores? And then I give them examples and also just an idea you can you could add easily now, a consolation if this would be a present for somebody or for yourself. Just work in somebody's constellation in the sky Dust also need personalization. Okay, now to the snow on the ground. So, as I mentioned before, I left some areas white. So the background off the paper shines through, which is a good indicator for snow underground. But we might as well at some to the trees. And I usually do this just lightly and not all over the place. So that knocked the whole tree will be right. And sometimes if the trees are very little like I chose for this demonstration purposes, I chose rather small piece of paper. Um, so I don't have to cover too much, and you don't have to wait so long to see where does this all going? They got to be careful not to overdo it with the white. Sometimes it helps, depending on the white paint or ink you're using to wash it down a little bit with border. Then you still can add more white later, versus if it's too bright. Already then that's hard toe softened down. You can do that, too, but elected with this may just at some random spots on those trees. Rituals. So just that they have been snowed on. And this one, I made it on purpose. But to White, I'll show you in a little bit that you can really go over that whole area again, was some pain and and make the tree shine through. Better again. Otherwise, just at some random lines some wiggly lines mainly in the foreground, because in the background it would look to two defined. I think so in the four groans. That's the best area where you could add some weight, especially maybe where we used the darkest colors. It's just don't overwork that it's just really an a small addition to this already wintery looking mix. So just wiggle your brush over the area. Yeah, I didn't mention, um, I'm using my numbers. You will rush for this. Fighting the snow as well as for adding the stores that's no area on the foregone is fine for me now. I'm just showing you were quick how to add paint again to that one tree, which I thought would be to two snowy. Just go over it. Well, think hasn't dried yet. I think fully that's advice to wait until the ink has dried. But yeah, you can see you can go over that and has a nice effect to cause. Then you have the white on top off the base layer, and then you go over that base layer and the white again was some paint, and it's dimensional. This tree was very lights or add some pain to it. This one, too. You get the idea right? With layers on layers. The painting gets more life, I think right. It's just tiny details. Uh, this That's just what makes this painting come to life. Okay, I call the four won't done, but I will keep adding a few more stars. You're welcome to do the same. You will come to watch me do this, or just go ahead, paint away, finish your main painting. And as I mentioned before, if you are not happy with your result, don't given. Just try again because the more you practice, the better you will become. And the more confident you will be to use thes watercolor techniques, I promise you, the more fun you will have later on, too, because this all takes practice. And if you have done, there's only the first time. Then it's to be expected that things happen that you I didn't anticipate on and it might not look the way you want it. But trust me, it will be fine and you will treasure it. And also, it really does help to just walk away from a painting for a while if you feel stuck or if you think it's not going in the direction you wanted to go also you You see, this one is rather big. I don't like that, but I leave it as is right now and later. I might just go over that spot with a bit of color or I might leave it. Woolsey, Okay. And of course you can turn your page. This is also a good trick, actually, yeah, to trick your brain, to not over think what you're doing in this guy. Just work from upside down and at stars. This gives it just holding you approach of adding stars to I do that sometimes because this way you can start overthinking it. But it won't help because it will look completely different than expected once you trying to their own. I like to do that often, actually with adding store since guys and also Galaxies I turned him always when I paint. I just turned him around and around. And this gives a nice Grady and adding stores. All right, I think I call this one done on. I hope you enjoy Discuss. I hope also that you will post you're finished pieces. You're finished paintings and the project gallery. That would be great. I'll be very happy if you share your work either here on sculpture or on instagram and tag me there. That great to see your work. Thanks so much for watching and see you in my next class hopefully by