Realistic Watercolor: Paint a Cute Fox in Winter Snowfall | Yana Shvets | Skillshare

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Realistic Watercolor: Paint a Cute Fox in Winter Snowfall

teacher avatar Yana Shvets, Paint.Travel.Take a risk

Watch this class and thousands more

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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

7 Lessons (1h 21m)
    • 1. Let's discuss art supplies you need

      5:54
    • 2. Working on a sketch

      7:03
    • 3. Theory in action: creating grey

      7:04
    • 4. Applying first layer: sky

      22:33
    • 5. Mastering layering technique

      14:57
    • 6. Painting snowflakes on the fox, detailing the fox

      19:22
    • 7. Painting realistic snowfall

      4:32
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About This Class

Greetings!

This is an intermediate class where you will follow the proccess of paiting a lovely foxy in aquarelle. It's a real-time record, you can paint along and won't miss anything!

This class consists of theoretical & practical parts.

Theoretical: you will learn how to create a perfect grey color. How to find a balance mixing grey. How to create muted grey. And finally how to create volumes using grey, how to paint white snow.

Practical: apply that knowledge on paper with me! Practice creating perfect greys and use this skill to paint realistic snow! And of course paint a lovely fox together.

In this class you will learn:

  • How to create a proper composition and sketch a fox in pencil
  • How to paint a realistic night sky
  • Recreating a feeling of a snowfall, secrets & tips to bring Winter in you artwork
  • How to paint a fluffy fox covered with snow
  • How to create volume using grey colors and muted colors
  • How to paint white snow that looks realistic
  • How to create a perfect grey color yourself
  • and much more...

This class if perfect for:

  • those who already have some experience painting in watercolor
  • those who like challenges & want to expand horizons
  • those who want to learn a specific skill: how to paint realistic snowfall

Take you time and enjoy the process!

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Meet Your Teacher

Teacher Profile Image

Yana Shvets

Paint.Travel.Take a risk

Teacher

Born in Ukraine, raised in travel. 
I am a professional watercolor artist, full-time traveler and a salsa lover ;)
After a burnout in the office, I hit the road without any plan and since 2014 I've been travelling around the globe, visiting different countries & settling down for a few months (sometimes years) in different cities. My watercolors are inspired by places I've visited and people I've met.

You can follow my travel-inspired adventures on Instagram.

 

My original paintings and prints of those are available for sale if you appreciate art on your walls ;) 
I am open for commissions and happy to create an artwork that will inspire you, have an impact on your family or become a gift for beloved ones. Just hit me a message.

... See full profile

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Transcripts

1. Let's discuss art supplies you need: Hello, everybody. And welcome to my watercolor course about how to paint acute, folksy in winter. This is an intermediate course, so make sure that you feel comfortable with different techniques were going to use today. And this course requires people who have some experience and painting with watercolors. Since I'm not going to explain Ah, the basics off this medium. If you're interested into learning some more basic techniques, herbal off what color, Please go ahead and check out my other courses that I have in in the dashboard and big, the one that has ah, beginner level so that you will be comfortable painting this cute foxy today. So let's talk about, um, different tools that we're going to use in this class. So for this cost, you would need, um, soft pencil and eraser. Um, the pencil I uses HB two B. Actually, you can go for HB as well itself to s so that you can make yours catches very nice and soft . Then you will need white backspace color color pen, but it's that colored, but it's just white, and the most important part is that it's box based. Then we will use a wide open for some tiny details you might use white painted can big watch, like in my case, it can be a very thick white Ah, what a color pigment from the tube or even Ah, our krill if you want. So also, we will used for special technique a little bit of salt, so you don't necessarily need that much of sold, but little we will definitely used today. My watercolor sets for today is a Russian, said near Scalpel it. And this is how it looks like it's professional. What a concept you can go for student quality said as well, it's ah, good enough to paint. Ah, nice watercolor pieces. I also have a, uh, let that well half used. I like to leave some old pigments in my palette so I can pick up the kind of like dirty tones also have this little plate that I will use for mixing washes and mixing different colors, and I need more space than here. That's why I use Justus single plate off course, a cup of water, some white dishes as well to lift the color. And in terms of brushes, I have the whole variety of brushes over here. But for today's painting, we don't need probably just a small, pointy nature of brush. In my case is cutting scheme number four and ah, since it's natural, has a very nice pointy end but very soft Bristol. So it absorbs a lot of water and release ally water as well. For the background, we will use slightly bigger size. And mine is a sable over here also natural. Um, number eight, size eight. I also have my favorite brush it some half natural, half synthetic. But today we're not gonna use it. Um, because the piece of paper arm using is way too small for the size of a brush. For tiny details, I have the number three synthetic brush. It's perfect for making details and like, delicate spots in the end of their all painting. And of course, we will use um Well, I will use a cotton paper 100% cotton, and I would highly recommend you to use, um, 100% cotton paper as well. My paper is a five size, so it's it's pretty small, and it's our sh Brende and, um, I think it's, ah, 200 GSM. So it's quite thing. It's not super thick, but it's okay. Are not planning to use way too much of what techniques today. So this paper will be perfectly fine for me. Also, if you feel like you will use a lot off what techniques today, just take a Talbot to tape your paper to the top of or directly to the table so that your paper will not buckle up. And also, I like to have a separate piece of paper. That is, um, more same bolts that a lot of sane paper, maybe like 120 GSM just to make some sketches. And just try your mixes that you've created before to see how they look quick before you applied them on actual piece of paper that you're working with. And also, this is a good way to, um, double check what you're doing and check if the if the tones and colors are correct before you actually appoint them on, uh, your piece. So this is it for the materials and let's move to painting s sketch 2. Working on a sketch: all right, so I opened up my photograph and please download your photo that's attached to this car is to be able to use it. You can print it or put it on your phone or gained from computer screen. It doesn't really matter. So usually I do the sketch with the very soft pencil, and the most important part here is that I need to be very soft while I'm sketching. So oh, my strokes should be very light and almost invisible. I don't want you to do this because Aziz you the darker the doctor line. You draw with the pencil, the more difficult it is to erase it with the razor. That's first, and secondly, when you do, you raise it. There's light, um, path off the pencil left that still will not be taken away. And when you paint with water calorie, the pencil will shine through the layers. That will kind of that much the whole view of them artwork. So make sure that your lines are very light and that the water column will be able to actually cover over it, so this catch will be very simple. I'm not going to do much details in it, and I'm gonna be very soft. So usually you want to place. You might want to mark the area where the animal is going to be placed. And so the horrors in line is kind of holding the snow over here. And so this is the area where will be my foxy and now I'm going to add some more details to it. If you're struggling with proportions and painting sort of joing in general. Ah, you might want Teoh look into drawing classes before because I don't really explain the drawings and proportions I work more with. Ah ah, what a collar. Tones, collars and color mixing rules and stuff like that. So I don't go in depth into how to make the sketch or draw in general. But here I would suggest you, if you're struggling with, let's say proportions, you could have start Ah, by Joey in circles, circle for the head circle for a body circle for the year. And then from there you would work on detail in each circle into actual part of the body. And, yeah, I said, Don't use your razor. But I used myself, and it's fine. Unless you don't press the razor too hard so that damage the paper Because normally, if you move, if you press a paper too much with a razor or you raise in the same place too many times, that will definitely affect the texture of the paper and that share of the paper effects they way the ability to absorb water and absorb the pains and all that leads to a bit off a damaged layers and not nice painting in the end. So now I'm just add in some final strokes, indeed else to Marine Foxy. I'm just gonna Marek where the eyes here's to nose if you want, you can send me a sketch first, and I will try to help you correct it. And then you will be able to proceed with the watercolor painting with more, uh, confidence bit more for over here. So again, your skates should not be way too detailed. I don't want you to do all the little for, uh, women's and strokes. You need to show the outline off the body, but not every single small detail you see. And now I'm trying to erase the lines that I think are too dark just by moving my razor like this off the lines, getting even more invisible, contented. We're before anything now. My sketches Pretty good. Uh, yeah. Maybe I will just fix this little toe over here. - All right? I think that's enough for the sketch, and I'm ready to start painting. With what car? Yeah. 3. Theory in action: creating grey: now, before we start painting everything bought a car. I just wanna add a few details about there to click techniques and approach we're going to use in this particular painting. So I actually painted a similar artwork some time ago, and you can see that here I used pretty much similar approach to, um, faint in the sky, the snowy effect, fluffy animal and white snow. So we're going to do the same with other fox. And first, I would like to guide you through the process that I'm going to follow today. So we will start from the top and go all the way down to the bottom off the paper. And even though it's the winter night and we have a lot of snow and snow is white, we can't really leave snow just pure white or blank clean paper. Because on this, even though it is a pure white color, we know that white will reflect the color off the other object that's our next next to it. So the snow will reflect other colors that surrounding it. So that's why the snow will have a little bit of fight come bluish or Graystone dependent on the color of the sky and animal. That's why we have to think off how to paint the snow on, not just leave it blank white. So for that I would like to talk a little bit about great colors. So most of beginners think that gray color is just a little black. But actually, if you do that, if you're just, um, take black and little with water. Yes, you do achieve gray. But this great looks flat and not interesting and overall boring, not deep. So, in order to achieve a nice color, nice, great tone that has beautiful transitions in it, we need to create it. And the way we created is too makes tree primary colors from our set. So in my case, I will take cadmium yellow. Feel free to do this with me. It's very important if you can practice creating perfect balance our great colors, then for the blue, a political term marine and for the red, it's cadmium red. So now the job is to find the perfect balance off this tree primary colors. - So when you find this perfect balance off this tree primaries, you will be able to create a very nice and interesting. Great tone. Eso take your time and make sure you can mix Um, great with this tree primaries and achieve a nice balance color. After that, I would like to practice Teoh paint gray with additions off other colors like, for example, additional blue collar to it or gray with additional purple. So you see that here I have are gray that moves into blue and gray that moves into violet but purple, meaning that there consistency off. Both colors are saying that's why it looks like one layer but one wash. But actually these are two colors that I combine together to have a nice and interesting flow from gray into another color. This is very important, skilled to have and to improve when you're painting white objects. And it is very important to be able to also notice those other colors that you add, um, to the white object when you painted. So to be more illustrative, I will show you here the bunny. We know it's white, but because of the the black knight and other colors that are in the color off the sky, we see those colors reflecting on the bunny um that's why I added different other tones into his white for so that's why here you can see, um, a little bit off a purple and little bit off blue and other tones, and not just pure white and not just pure grade. All right, so take your time. Practice mixing, graze at in other colors. And from there we will move to finally painting our fox. 4. Applying first layer: sky: I will start from painting, thereby ground the snow and to mark all the little snowflakes as we're seeing in the background. Um, I would like to thirst. Use this wax pencil to you, Mark. Um, all the snowflakes, obviously you can't really paint them all. But, um just trying best to point out the areas were you think the snowflakes will be resist the urge to make, like, long strokes with it? Because when you will cover the whole painting with the color, it will not be able to cover the dots that you just marked with the wax pencil. And if you did like a loans choke, this long stroke will be very visible through the water color, so it won't first look very nature. And second, it's just, uh um it doesn't look nice here on the head of the foxy and knows I'm marking snowflakes, too. But don't worry, we will work on that much more precisely later on. So this is just some sort of from make an X jar detail. And yeah, I remember that this is not the final told. They're going to use Teoh to create snowflakes, So don't worry if, um you if they will not come through the watercolor or not, will be there visible. It's totally fine. This is just a sort of preparation, actually. All right, I think that's enough, then, um, here for the sky for the night. I would like to use a bigger brush. So before I showed you my sable and actually I think for me in this case will be better if I used this one. It's 18 size number number 18. So it's pretty big, and it's 1/2 natural half synthetic, so it helps to absorb a lot of water and also release a lot of water. Britain icing. So that's my AVO. Use it today, but just for the background, because it's quite big space and it's easier to work with bigger brush. So first I will apply just clean water, just water, and I go all the way down to the snow but not, uh, cover in the snow. Now, um, it would be nicer if you would prepare the color for the sky, but but define so the color for four disc I will be ultramarine blue, but I want to add a little bit of indigo in my, um, palate to make a slightly darker in colder. If you have a cold colored in your palate, feel free to use it. So, in my case is indeed eagle and I will just start applying it. Also, um, I would like you to pay attention to the density off the color, so you want to have a nice, transparent layer, but at the same time, um, the density of it. So the thickness of it should be pretty high to create this feeding off a dark, deep night. Eso make sure you don't touch the fox and you kind of paint around it, so you only touch their pencil sketch. Is this is that close your coming to the animal, but you do not cover anything inside. That's why this pointy end off the brush comes handy Now. In some places, I would like to add deeper tones. Irene's Water. I don't want to have too much water in my wash because it dilutes the layer, and I'm agent a little bit of a purple in my mix or violet and trying to make my my night a bit darker. Since it's a cotton paper, it absorbs the pigment really well. And that's why, first of all, I can move it a lot while it's still wet, and it stays with for a really long time. You see that the white pencil marks that I've done earlier are coming through now, and it gives this nice feeling off. Um, the snowflakes and kind of winter feel. So I will rains my brush right now who actually use a piece of paper for that. So this, uh, this brush caps old the best, Kept all the best qualities off synthetic brush and nature brush at the same time. Okay, So another thing I want us to do is to take, um, a piece of paper like tissue and lift the pigment in different places, but randomly. So I want you to press it, but very randomly. Not not like, same way everywhere. But you want to move it. You want to move your wrist to have different patterns that big? The paper there. Sorry. Picked ends at the pigments from the paper, and the final touch will be to use. I am a bit of salt. So while they layer is to let you want to drop some salt. Also in random places. I would not recommend you to to drop it absolutely everywhere, because it would look weird. Salt gives this nice, um Barton as well. So I applied's in a random places, not just everywhere. And while we are, um, in the same kind of blue pallets plus him, I would like us to continue painting all the way down to the snow. So here, first of all, I would like to make the edges more smooth. So with the wet brush clean, wet brush, I want to kind of wash out the edge. And since is a cotton paper. It's much easier to do it because the layers get drive for real on time. Takes a wire for paper to get Dr So I still can move the pigment. I do it to make my, um, kind of whore ism line the snow. He'll more soft and the transition between the sky and the snow in a more in a softer matter. Also remember our grade that we created earlier. We can drop it here and there on the snow, but not too much, because the snow still reflects a lot of blue colored. That's um, taken from the sky. So mostly here we will work with, um wets layers and very, very light and transparent layers. As you can see, the density off my color over here that I'm working on right now is very light. It's almost transparent, almost invisible. I need that too. Keep the the feeling that the snow is white and this is just a shadow on the snow. Now, the more we go down, the more we come closer to this shadow that the action that the animal actually creates. So here, below, right under the animal, there is a shadow. The folks kind of made a cozy bad. And for herself or himself, I don't know. So a mixing darker tone. And I also add the slightly bit off purple just to keep nice purple colors throughout the whole painting. And I will apply it only in the places that has the most shadow right under the folksy Here , in between the feet and here since my agreement licked a bit, I'm gonna lifting it with my dry brush. So I revisit risk of water and lift pigment as much as I can. Nice. All right. Could have also make this part bit more smooth. And I would like to makes gray just to have it next to me. So reminding you, it's some primary colors blue, red and yellow and Advil rains the excessive amount of water right now on the tissue like this. And that's some gray here in the place where we have the most shadow. Okay, you want to have all your strokes very soft. So in case you make it sharp, just diluted with water. And here we go paint in the bottom. It is the same blue makes that I created earlier. But I would like to have more ultra marine in it rather than indigo because Inter Marine is more warm collar but also a little bit of gray. And also I'm not going with this color old away up to ah to the end of the hill where the foxy is sitting on. So I'm not touching the fox. I keep the white blank paper in between run here because still, I need to keep this feeling off snow being just pure white. So we still need a lot off white in our painting, even though we show the volume by paint in the shadows. We need to have this feeling off pure white snow as well. - Again , this sharp line, the richest painted I will just wash it out with Sami wet brush to make it smooth. Oh, yeah, And over here my sky can elect into, um into the hill. So I've left it with a clean T shirt, and also it's It helps to add some water to be able to lift the collar or here. Okay, so I want to have a very smooth transition between the sky and, ah, they're snow. And that's why abortion out this line make it very soft and smooth, and also with some in Dicle. I will kind of mark the direction off the heel of the Snow Hill because it's kind of goes like down. It's not exactly straight. Another way to show this different layers of the snow is to lift the collar, spread the here I will lift it to lift the color with just a clean brush. It will create kind of white line because we would lift the pigment, but make sure that you don't have too much water on your brush. Otherwise she will just dilute everything on your paper. You want to have ah, semi wet brush to be able to carefully lift Ah, the tone. And here want to make it to bits booth more smooth. All right. Okay. I think that's, um, over here. I need to fix this line. So sometimes when you use paper from block, like in my case, I used arch paper that produced in blocks. So it's not like an album. It's in one block, and I need to cut it off the book. Sometimes it can damage the paper. Ah, so yeah, blocks are not the most useful, comfortable way to transport the paper. I mean, it's comfortable to transport, but it's uncomfortable to you actually use it. Sometimes you can have this manufacturer kind off. Um, marks. So this straight line is from manufacturer or any way we can live with that just ah, good to know where this is coming from. Stuff in it or not. Our mistake. And now, um, I would need to wait until all this gets try, and then we can move to painting. Ah, five feet fucks 5. Mastering layering technique: I used hair dryer too fast in the process to make the picture dry much faster because cotton paper takes really long time to get dry by itself. On also, I used the moment to clean the water because, uh oh, when you paint for a while, you will end up bringing the dirty water into your clean space surface. So that's why you want to make sure that your baby, it's always clean. I also took away the salt, and now you can see this lovely patterns off like a snowy sky. I really like how it turned out. Uh, if you feel like you want to change something, you can always so use a wet brush and move the layers that you want to change. Like, for example, if I would like Teoh adjust, Um, some stuff I would just like move it with the wet brush and probably lifted with the tissue something like this. So feel free to adjust whatever you feel like. But to me, when the water and sold and pigment do their job, I think is the best Theo best way it could be, so I don't really change much. The only thing that I think could be done. That is the bottom part. And Arvo add a little bit off indigo mixed with ultra Marine. Now we're using layering as a technique to paint. Before, the whole painting was kind of made in one attempt, um, kind of alla prima style. So we just I used one layer to paint the whole picture. And since this is a he'll off snow, I don't want to have rough edges anywhere on the snow. So here, with just with the clean brush and semi what clean brush I dilute this edges that I'd like to make the snow nice and smooth. Okay, so now it's time to paint our cute little foxy First, I would like to mix the color off the for. So I have read okra over here, but it's very, very bright colors, so I will, at some are sprout on. This will be the tone for the shadow off the of the for and for the lightest parts off the for I will use your sienna. So if I would make colors, him would look something like this. This is for the lightest part of the for then this is the middle color. Oops. And this is for the shadow off the for. So these are main colors I will use to paint the body off our cute animal. So in about a car, you want to start from the lightest colored and move to the darkest I will start. Ah, with your sienna very light and transparent. Also, I'm not covered in it. In the area where I said the snow and here on the top, I keep it kind off blank paper. It's white book paper. I don't want my Rossi. And not to be super bright like orangy color. So I diluted with water. So it's nice and soft, transparent. Oh, from Mm. And here you see that this is the area where the snow is, and we're gonna play with it later, but you can leave it blank. Now I want to work on, um for that's here on the front. So I want to mix blue with okra to have kind of grayish tone, but with a little bit of, um, um brownish color into it. - So here you can see it from mixing blue with ultra. No, here will be the leg. Here comes a little bit of a great tone that the mixed earlier and again I don't want it to be super bright, so I keep it very light and transparent. And we need to make sure that this line is straight because this is the line off the snow where the foxes city on so it should be straight, not shaky, and also this area off the snow on the bag. I will market a little bit with bluish tone just here and also lifted with my dish in. And now it's time for my red okra that's a bit more colorful and bright. Then hopes, um, then then my previous raw sienna. I'm just marking the areas that has a bit brighter color off the for. Also, since my layers air pretty what? Ah, it allows the colors to bleed. - So whenever I placed the scullery kind of blends with my previous slayer, it's just great. And I would take a bit of indigo and makes my indigo with Mars brown the darkest brown that I'm using today to work on the feet over here, Lex and some shadow and defer that we see I'm using some blue slash brown tone for the ears and now in the area where the snow dropped on the head and on the back. So in these areas, I want to kind of locate the shadow because the snow, it's not perfectly white again, it's it's reflecting other objects around bus you didn't cover the third off the fox completely show the skeet. The color off the third is still kind of coming through. That's why the snow is that perfectly white. It has a little bit off orangey tones and blue tones, but all of them should be very light, very transparent. So now we're kind of working on placing the shadows, tones and shadows of the animal, you know, and after it got dry, we can move to pointing out the details. So now I need to wait until this gets try. And after that I can add more details to um, specify the phase years and other small dedicate elements off the painting to make it look more realistic. 6. Painting snowflakes on the fox, detailing the fox: All right, So now my painting is dry and tweak and finalize the fox in other details on the sky on the background. So I'm taking a smaller brush, this honest eyes three and it's synthetic. So it allows me to make tiny, delicate details as I work. And first I would like to mark are the areas that are missing some depth. Shug and I'm picking up Amar's brown. That's a dark 100 brown that I have, and I mix it with indigo to make it even darker. And then, well, first of all, I will underline the nose, the dark part, and but I still leave the white kind of sparkle on it, and we will add even more detail a bit later with the Joe open no nos. - To make the chain more visible, I'm washing out the layer with the wet brush. Now, I don't want to make it look weird, so I would clean up the whole area around and come back to it a bit later. But this is a good example of how to manage your own miss days. Um, now I continue with the for. As you can see, I'm working with a pretty dry brush. That's why my strokes are much easier to control. - I am old line in the years, just a little bit. I think they turned out pretty well already. And in some depth. There's actually another year right behind. So I'm gonna edit right now. This year has ah drop of snow and took, but I will add it later. So what I'm doing right now is good layering and add a new layer on top, the top off the previous one. But since what? The color is transparent, it allows me to achieve those that feeling off farm. Um, when first layer is shining through the 2nd 1 Now , since my brush is pretty dry, um, I can make this, um, strokes that kind of demonstrate, um, direction off the for the way it grows here . I want to move the layer just a bit down because of the for over here. So it looks more balance that the Bailey is continuing over here, too. - Yeah , So here comes the I. That's pretty much a lot of shadow around the eyes. Well, so sent that visible. Some places turned out to dark, so I'm kind of become the big meant to make it later. Okay, so now it is the time to final part. The most funny part. Oh, but before I need to remember told you that this line should be straight. So I need to we'll make it straight. So just I'm moving the color up so it looks more nature rather than if I would just draw a line and dropped it. So make sure you do the same in the areas where two objects touch each other in our case, folks and snow, this area will be the darkest. That's why I'm and in more tone into that place. Okay, so now it's perfectly straight, and it looks like an actual hell And the, um, foxy sitting kind of fight behind it in a little hole. If that makes sdo and no, I'm gonna take the blush bright blush, or you can take home, Um, what color from the tube. Because if you use it from Penn, it will be quite difficult to get a really sick, um, pigment. And with it, I will just drop some spots and dots in the places. Where is the most snow on our cute little fluffy friends. I'm picking up straight from the tube because this is how I got to the thickest, uh, treatment. And I need my white to be really, really white. That's why I needed so thick be tendon hours. Oh, yeah. We forgot to finish the chain. I'm so sorry. Um, all right, so the chin, Yeah, I think the change would be best if we do it with them. Uh oh. Or, oh, Sienna. So very light brown color. But I want to erase the line between, um, the fox and the background. No. So over here is kind of visible. All right. You know, we haven't cool, so we can proceed with her paint in the snow. It's under some snow under those here. So you're dots should very small and very light. Like if, Like, if it's an actual snowflake dropping in on our foxy. Uh, otherwise, if you make the mark, there is steak or very big. It will not look natural because, you know, some flex that can be a really big the more dryer. Your brush with the white pigment, the more natural your snowflake look like. All right, so now we've got this I feel like the eye is not very noticeable. So I can add a little stroke in the place of the I. Those are just tiny details that make a painting even more natural. Some accents. Oh, so with our job and we Khanna can do the same and just mark even smaller dots. No, we're creature. So with the pen you can you can literally make super small tiny dot Okay, so no, all we're folks is full of snow and the final part And most fun part as for me, is to create the snowfall, so this can be very messy, So make sure that you don't have anything valuable around. So I've Atlantic, our bunny uh, wait. And now we will paint the final part of the snow. 7. Painting realistic snowfall: so to do the snow, I will have a pretty wet brush. Big size, take a lot of pigment, even dip it more into water. So it it it is like really dripping wet. And then you need to kick it. But on your finger like this, If you do it like this, all the big want will be on your shoulder. So make sure that you have your finger and you kick the like. You top with your brush just like this. They have a lot of what? Snowflakes. So everything it on me is now in pigment. I concluded me, so make sure that you protected the areas around. So if you feel like our creature got too much as well, just pick it and I think one more final time. All right? I think that would be enough. If you want, you can add some smaller, um snowflakes. Yeah, with the band. But if you do the tapping on your finger longer, then you will have enough snowflakes with the pen. Make sure that you don't make a line or a stroke, that it should be perfect dot to make it more realistic. And now we have perfectly cute little folksy in the snow in winter. Thank you for watching. I hope you painted with me. And if you did, please send you're artworks to me and I will be happy to answer questions. Help. You are Well, just support you on your way. Um and if you would like to see more of my work feel free to follow me on Instagram It's ah Yana Trouble Art Ah, the same name for Facebook. I'm very active on both social media platforms and you can send me a message over there as well. Or just follow my journey and see what I'm painting every day. Hope you had a great time and have a nice day.