Winter Landscape in Watercolour | Suzanne Abraham | Skillshare

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Winter Landscape in Watercolour

teacher avatar Suzanne Abraham, 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

7 Lessons (54m)
    • 1. Hi there!

    • 2. Suggested Materials

    • 3. Thumbnail Sketch

    • 4. Watercolour warmup

    • 5. Project: Sketching

    • 6. Winter landscape: painting

    • 7. Winter landscape: Finishing touches

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About This Class


Welcome to my course, Winter Landscape in watercolours. Today we will be painting a simple, beginner level landscape, using a limited palette and very simple techniques.  

I believe that watercolour is  the most relaxing medium, mainly because we use a lot of water in the process. To be able to watch the flow of paint and water on paper feels very therapeutic. That combined with some drawing techniques lets me create some of my favourite scenes I'd like to live in! 

Through this class, I hope to share my knowledge and passion of watercolours with you and guide you to paint something you will be very proud of!

What will you learn?

  • Create Thumbnail sketch of your idea
  • basic drawing tips

Basic techniques of watercolour ; 

  • wet in wet
  • wet on dry
  • lifting off
  • How much water to use
  • How much pigment to use

Class Project

Paint a simple winter landscape in watercolour. 

You need not paint all the elements in my example. please feel free to change the look of the landscape according to your personal preference. I can always guide you if you need any extra help.

Please share your final painting and progress shots with the class by uploading to the "Your Project" section. If you have any questions or need more tips, please let me know and I am happy to help!

Who is this class for?

This class is for beginners, who would like to learn the basic techniques of the medium as well as some basic tips of creating good art work.

The techniques you learn here can be applied to any watercolour paintings in the future.

Meet Your Teacher

Teacher Profile Image

Suzanne Abraham



Hello, I'm Suzanne. I am an artist and I love to inspire people to paint! My favourite medium is watercolour and ink and I have been painting with it ever since I can remember! I did my post graduation in Fine art and I have a degree in History of drawing and painting, that has given me a strong base. 

My life as a full time mother to 2 very young kids is challenging. However, I have considered it as a blessing in disguise; allowing me to spend some time painting while my children sleep/ rest. I also spend time painting with them and this has given me a lot of confidence to teach drawing and painting to children. I also conduct workshops for adults online and in my local area.

I Hope to inspire more people to paint and discover their hidden talents!


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1. Hi there!: Hello and welcome to my course, winter landscape in watercolors. Today we're going to paint this simple landscape using very simple beginner level of watercolor techniques. You will be guided through this project, through a step-by-step process. And anybody could enjoy this project, even if you are new to this medium. Before we start off with the project itself, I will walk you through all the materials that you require for this course, as well as we also get to do a little bit of practice session where we can walk on our brush strokes as well as some washes. If you do like this course, I am looking forward to seeing some of your work on air. Please feel free to contact me if you have any questions and you can comment in the comment section as well. I hope you will enjoy painting this project. Happy painting everyone. 2. Suggested Materials: Hello. In this video, I'm going to introduce you to some of the materials that you would require for this project. So I'm going to start off with watercolor paint. I have it in pans and tubes. And I place it in our large palette like this. So if you don't a palette like this, you can always use a large white plate or any white area to mix colors in. For the brushes. You definitely don't need all of these brushes is just a few suggestion of the brushes that you may require. And that along the way out, flat brush, if you have, I hope a very basic flat brush, I think, which is two inch wide for wetting the paper for large washes and covering large areas. I've also got a large round size 12 as well as size 10, and also a flat brush size 12. And you can cheapen, change and use any brush that you like in one of the sizes, which is a medium-size brush. And for finer details will need a smaller brush. So I have size six here and another angular brush, which has got a nice point. That's the only reason that I use this because I like the nice point that creates. So if you do have another type of brush, like a rigger brush, you can always use that well. And that's mainly for fine details. I also have two jars of water. So that's one for washing. My brush is clean and the other one for fresh clean water. And for watercolor paper, or it's got 300 GSM watercolor paper. And that's what we required today. And it is not paper or cold pressed paper. So it's got a slight texture to it, uh, but at the same time it's not really rough. And that's the type of watercolor paper I usually pay into it. I've also got the scrap piece of paper to mix colors and try them out. And also during different thumbnail sketches of the landscape that we're going to do today. And finally, I also need a pencil and an eraser just for my thumbnail sketch, as well as my initial sketches and also our masking tape to tape down my paper. So that's about all the materials that I need. And I'll see you in the next video with the thumbnail sketch. 3. Thumbnail Sketch: Before we start off, any painting is very important to determine how it would look once it's completely done. So I usually do thumbnail sketches just to get my idea out on paper. And there's usually helps me to avoid any confusion that I may have when I start doing this sketch or the painting. So here I had started off with drawing a frame in which I will put in all my ideas and I can determine how it could look when I start drawing on a large-scale paper. So I start off with the horizon line placed slightly been noted the middle of the paper. And any object that I place will be in relation to this horizon line. So I'm starting off with drawing their house. And I'm trying to place that on the horizon line. As you can see, it's a very small sketch and it's just basically to put your ideas down. So I have got a little hot here. And I can determine what part I need here. It can be very simple or if I want it more like a barn house, I can do that. It's again, our personal choice. And so at this stage, I'd like to encourage you to try out something that you really like. So it doesn't have to be a house just like mine. You can go on and do a little heart or abandoned house or a shed that you prefer instead of this house that I'm drawing or this shed that I'm drawing. So here I'm just fixing the base of the house. Just look a little bit of snow piled up at the base. And it's made like a little amount. So I'm making an uneven base here. So that's like a little hill where the houses sitting and and no further doors and the windows. So just a slight suggestion. And also there is a tree that is standing right in front of the house. So I'm just going to make that slight suggestion now. So I'm not going into any details here as if it is just a thumbnail sketch. So my tree is done. And now I'm going to add in a little interest in the foreground. So we'd like a little offense in the foreground, starting off with little stumps where I can add in the details of the fence and joining them way. Broke like lines. Again, I'm going to add in a base for it just to show that there is no It's not just flying in the air. We need a base for these fences and also some grass sticking out from that snow. So that foreground has a little bit of a hilly area. So I'm just going to shade that area where it is a slope and there might be a shadow falling there compared to the other areas. Now for the background, it is for history woodland scene in the background. So I'm just going to start off with the tree that is nearest to the house. That has a nice large pine tree. So I'm just adding, the layers are falling edge on that thick buy-in tree. A slight base. And there's not a lot of details here again, because we don't see a lot of details when it comes to landscapes. So we're going to try and keep the details to the minimum. I'm going to add another one here. So that's just behind the pine tree that we just painted, and it is in the background. So you can see I've actually shaded them a little bit darker with the pencil. Just, just such a set that's in the background. And it's going to be definitely in the shadow area. And the rest of the background, which is going to suggest with some wavy lines and some uneven lines forming the shape of a mountain behind. But in fact, that is him with a lot of pine trees, like a woodland area. So I'm just going to suggest that with some pencil shading. So a little bit darker, It's definitely going to have a single color. And just darkening the areas just behind their house and towards the bottom of that woodland scene. So the recent why I'm doing all this now, even though it's dumbed it some nails sketches because I liked to understand watched comes in the foreground and what has more details. What is in the shadow area. So that's why I've made all these details in here. So adding a little bit of shadow for that tree in the foreground as well. And I think we're nearly done with our thumbnail sketch. So this is the idea of the sketch or the painting that we're going to do. And now we can start off with the real one. 4. Watercolour warmup: Welcome to our practice session in watercolors. This session will be great for anybody who is a complete beginner to this medium. So I'm going to start off by wetting my brush and activating my paint. You do not need to use the same colors as I use in this session because this is purely a practice session. And it doesn't have to be the same type of brush as well. Here I'm using a medium sized, round pointed brush. You can use any brush that you like. So if wetted my brush and I'm activating my paint. So if I rub a wet brush or add a few drops of water onto a dry cake, then the pigment activates and you can get to pigments out of that. And you can see that I'm mixing it on large white area in my palette. And you can see here it is nice and saturated. If I want to dilute it and make it a little bit more loose, all I need to do is add a few more drops of water. Now let's try the mixture that we just made. So when I'm placing it onto the paper, you can see how much water there is. It is rather wet. If you can see. It doesn't have a lot of pigment. It is a light wash, but it's not very, very pale and the light, it's somewhere in the middle. So it's got a little bit of pigment, but it's still got a fair amount of water in there. So it's kind of a medium wash. Now, I've done this rock swatch and water I'm going to do is I'm going to make one side of it a little bit more smooth. So if you can see those hard edges on the side, I'm going to make that smooth. So for that I'm dipping my brush in water and I'm scraping off all the extra bits of water on the side of my char. And if I run that wet brush over on one side, just touching that wash. And you can see how the pigment has diluted. And it's spreading across on the paper. So you can see I've made the edges softer. And I can see a huge difference from going from dark to a lighter wash. And if I add a little bit more water to any of these areas, it's going to become a bit more lighter. The same way we could make an area a bit more darker. So I've just gone into my watercolor cakes trait without dipping it into water. I've just taken some pigment and just placed it over that wet area. And you can see the difference. It's gone a little bit darker. It's got more pigment and less water. So you can see the difference of how it is dark, medium and light wash. And oldest we did in wet and wet technique where we used paint onto a wet surface. And you can see how the darker area is spreading with fuzzy edges. It doesn't have any hard edges. That's only because we applied paint onto a wet surface. So that's just a basic wash which we will be doing quite a bit in our painting. Moving on, I'm going to show you a few brush strokes that we need for today's project. So I'm activating a bit more paint, so I don't run out of paint halfway through. So starting right at the top, using the tip of my brush and I'm going to start scribbling a little bit. And I'm going to create the shape of a pine tree. So we all know the shape of the pine tree that starts. It tapers off at the top, but it's wider as it comes down. So I'm just using very simple scribbles with the tip of my brush to create that effect. So I'm also going to just paint a block of color to the side. So just painting a block of color, there's nothing more to it, just simply painting it with it. You can use a whole body of the brush as well. And on top of that block of color, I'm just going to add a few more thin lines with the tip of my brush just to depict the tops of pine trees. So as you can see, I'm only just scribbling with the tip of my brush. And I get this very rough lines on top of that block of color we just did. And that is how we could create a forest of pine trees in a distance. So we're just seeing the silhouette of that woodland and you can see just the tops of the pine trees sticking out. Next, I'm going to change my brush to a thinner brush because we're going to try out a few thin lines and fine details. And for this we need a thinner brush. Here I'm using a size six round brush. You could use edit anything thinner if you'd like, or if you have that or any brush that you're comfortable with, as long as you get that fine line, it should be fine. So I'm using the same color, not changing the color because this is just a practice session. So I'm just going to try and draw a straight line that using the tip of my brush. One quick move, one quick movement with my arm without touching the paper. So I made a nice straight line and as you can see, my arm was not touching the paper or my hand was not touching the paper. It was just the tip of that brush on the paper. So if, if, if you'd like, you can try out a few of these straight lines with the tip of your brush. So it's just to meet the bottom or flatline a bit more thicker in a way that I can make it into a tree. So again, I'm not touching my arm or my fist on the paper. It's just the tip of the brush that is touching the paper. That way I can make very thin lines. If you're not comfortable with that, you can always hold the other fist down onto the paper and a rest your hand on the other cyst. That way your hand is resting and you get more control feast of these thin lines statute making. So you can see that only the tip of the brush, this touching the paper, and that way you get very thin lines. And I'm just creating the shape of a tree here. So a winter tree without any foliage. That's what we're going to try and achieve here. And you can continue to practice this and make sure that you're confident with your brushstrokes. It is very therapeutic just to paint these trees without any leaves because you're just using simple lines. And as I reached the top of that tree, making those lines a bit more Center, it is slightly harder to make it a bit more sienna. What I do is I usually scrape the end of that declines as you can see what I'm doing here. So I'm drawing a lion, am just using my fingers to just spread the paint. In a way I get these broken lines or spread, which will create the effect of thinner lines using the same brush. I'm also going to try and paint a few grass like structure sticking out. We will be using the same brush strokes for grass in winter landscape. So again, using only the tip of my brush and quick movement upwards with the tip of my brush. As you can see here, on my arm or my hand is not touching the paper, It's just the tip of my brush that is touching the paper. And if you're very quick with that brush stroke, you can get these very simple lines. I'm also going to try out a few stumps or bits of friends that we depict in our winter landscape today. So just drawing straight lines with the tip of my brush. Again. It's not really straight, straight as you can see. It. It doesn't matter if you can't get a straight line because it's harder with a brush and episodes. If you do lines that are slightly slanting or slightly irregular, it always adds character to your painting rather than having a clean straight line. So this is just drawing with the tip of your brush using your own brushstrokes, using your own hand movement. It doesn't have to look exactly like anybody else's as you have your own handwriting, you will also have your own style of brush strokes. So we're at the end of our practice session, and in the next session, we can jump straight into our project. 5. Project: Sketching: Welcome to our project of painting a simple winter landscape. We're going to start off with the sketching first. And I'm going to do this on to the paper that I'm going to paint on. As we've already made a thumbnail sketch, we already have an idea of what needs to be done. So it is going to be slightly more easier to place them on a larger sheet of paper. So here I've started of taping the paper down onto my board. This is hold the paper down. As we start off with the painting, we're going to deal with a lot of wetness and a lot of washes and region not want our paper to buckle and formed. So to avoid all that, I usually tape the paper down onto a board. The board that I'm using here is the back of a sketchbook. You can even use a mount board, black a virgin mount board, or a foam board to hold this in place. So now we have our thumbnail sketch here. We're going to record this thumbnail sketch. When we're sketching the main painting. The thumbnail sketch that we have here is like a mini version of what we're going to pinned. So we already know where to place the horizon line now. So if you want to double-check, you can always double-check the distance or the height at which the horizon line is sitting. And I'm just going to redraw water wordy we did for the thumbnail sketch, but in a slightly larger format for our painting. So starting off with the house, just marking the area where the house is going to go. So it's not right in the center again, It's slightly towards the left. So we usually do not place our main subjects right in the center. It is usually slightly towards the left or the right, angling towards one of the sides. Such a way that it adds more interests to our painting. So I'm just going to finish sketching the house now. Now for the window, I'm going to start off with rough rectangular shape. And I'm going to give a slight extra bit on the base. If you can see that I've given like. Extra line on the base. And we're going to try and leave that area white while we're painting the house. This is just to suggest the snow that has fallen on the window sill. Now for that tree in the background, I'm just going to draw a straight line that goes straight up. And you can see it, that tree, the size of that tree in connection with the house. The tree is slightly more toner. It goes above the roof, and it goes about halfway above the roof. So that is the ratio of the house and the tree. And now I'm just going to add in the little hailed at the house is sitting on just enhancing all those lines and that pine tree in the background. So it is very similar to what we drew in our thumbnail. We're just going to enlarge it slightly and draw the same thing here. Now for that tree in the background, I'm just going to suggest the shape of that tree in the background. I'm not going to do any shading. I'll make it darker because this is main painting and I'd like that to be collar Institute of pencil shading. So I'm just going to suggest the shape of that tree in the background, but not making it any more darker. And now, to finish off the background scene of the Woodland, I'm just drawing a nice hilly area just behind the house. At this stage, That's all I need because everything else will be done in paint. So I'm going to leave that like that and going into the foreground area where the little fence comes up. So I'm adding little stumps for the fins and adding in quick lines to connect to those terms. So it could be a wire fence or it could be just a rope tied up across that. It could suggest anything. But considering us, it's just going to be a line because that's, that's the amount of details that we need when it comes to a landscape painting. That is not the main focus of our painting. So we're not going to do a lot of details on that stamp. And just adding the foreground with the little slope that's beginning right in front of us and a suggestion of grass sticking out from this snow. And with this pencil sketch for a project is done. 6. Winter landscape: painting: In this video, we're going to start painting our landscape. So the first and foremost thing that I need to do is to prepare my paint. So before I started putting any paint onto the paper, I'm going to start off preparing the pain to which I need the most right now. So I'm using cobalt blue here for this guy in the background. So I'm just activating the paint. And I'm going to add in a few drops of water into my palette. So that's fresh, clean, clean water from my jar. And I'm going to add a few drops of pigment into that water, mix it all up, and just to see what the consistency of the paint I created, I don't want a very, very watery wash, but at the same time I'd like it to be light. So you can see here, there is enough amount of pigment, but at the same time, it's not very thick. So I'm just wetting my paper now with my brush. You can use a flat brush if you'd like to wet the paper. And if you can see here, I'm actually leaving up the house, but I'm including the tree in the background, the second tree in the background. Because it doesn't It is okay if color goes on that just wetting the whole of the background, leaving out the house, the foreground, and that one tree in the front. So once a wetted my paper, going to use my cobalt blue and quickly do a few squishy lines with my brush. I'm not filling in the whole area, but just adding a little bit of bold brushstrokes to the background. The key to it is to keep the brushstrokes quite bold without worrying just to add bold brushstrokes. So that's all that we need to do with the sky in the background. Now we're going to go into the woodland scene in the background. I've just added a little bit more pigment to that mixture. So the same cobalt blue to that mixture. And I'm just going to start off with the tip of my brush, just dabbing it into that woodland area and work along. I'm going to try and avoid the tree in the foreground. So I'm going to work around that tree in the foreground. And for the second tree, that's the tree just behind that tree. I don't mind the pigment going onto the tree, but at the same time it's okay even if it if you don't fill that area completely. So we're going to have a little bit of pigment going into that tree in settling the background. That's the second tree in the back. Round, but we're not overly worried about filling in this space. So we've all got the pencil line over there. So we know where to start and stop. So I'm just going to go along that helix shape. Now as I go along, I am going to add a little bit of green. Here. I have used hookers green, but you can also use sap green or any dark green that you have. So you can see that the cobalt blue has gone a little bit dull, but it's still blue. It's not completely green yet. It's only slightly down compared to the sky in the background. But as I go along, I'm just going to add in a little bit more green. And if you notice, I am trying to avoid the tree, the house in the foreground, going around the house and the foreground making sure that the color doesn't go onto their house, especially on the roof because they are going to stay white. So adding lines, adding more green as I go along. And as the painting, as I work towards the bottom of that background scene, I've added a little bit more green into that mixture. So you can see the bottom of that area is more green compared to the tops. So suggesting a few lines. Just to suggest a woodland. Just to such offset the tree standing tall. Adding more green. If you can notice here, I'm not adding any more water or touching my brush into the jar. This is mainly because I do not want to include any more water in this origin of watery wash. So I'm just going into my paint, adding in more paint into the mixture that we do have in the palette. And to finish off dabbing in a little bit more pigment here and there just to add some extra texture. And we're nearly done with the background. So just to finish off and to take up those hard edges at the edge of the woodland in the background. We're just going to wash my brush clean, take out extra water, and just run my wet brush across that hard edge. Suggesting a little bit of color flow into that area and getting rid of that hard edge really. Now I'm going to begin work on the foreground, starting off with the shadow of this snow. There isn't much that we need to do in the foreground, except for the tree in the foreground and the house at. We are going to add in some shadows for this snowy because the ground is to complete the full two, it's now the only thing that we need to add in the shadows. So for this, I'm going to prepare a little bit of ultramarine blue. I'm also going to add in a tiny bit of crimson red. That's only like a little drop of crimson red compared to the amount of ultramarine blue that we have taken. So this is just to make that blue add a little bit more deeper, more shadow like. So a slight amount of crimson red into that mixture. And we'll make it a deep blue. We're not going to the stage where it becomes palpable. Using this mixture. I'm going to start painting right at the bottom where we finished off the woodland scene in the background. Just adding in a little bit of shadow. Just over there and around their house. As you can see, I'm not filling in the whole area. I'm still leaving areas of white because this is just a shadow color. Going back into that green mixture briefly, for God, the underneath of that tree in just behind the house. So I'm going to add in a little bit of green. Or you could just use the mixture of cobalt blue, and green that we used for our forest background. And use the same color for the base of the tree. So just blocking in color, it's definitely in the shadows. So there's not a lot of details that we can see here. And now with ultramarine blue mixture that we've made, I'm going to create some shadows for the stumps in the front. Just some quick lines starting at the base of the stem and on the ground. And now that for ground, I have a little bit more shadowy area where there the slope. So suggesting that with gold brush marks. And if you notice, I do not have a lot of paint, all pigment on my brush. I'm just moving it across the paper. And you can see that the brush picks up the texture of the paper, leaving a nice texture with the paint. And this texture with that we've just created as a dry brush technique. It's suggesting a little bit more shadow, just adding a few lines. And the key to it is to be very free with adding these lines. So again, adding a little bit more dry brush technique. So as you saw, just now that I've just run my brush on my tissue paper. So to avoid any extra water on that surface and just gently run the brush across that surface and you can see it's created a nice texture on the paper. Now I'm going back into that shadow color. This time I'm making it a little bit more deeper. So little water, more pigment, but the same color. So a little bit of ultramarine blue and a tiny bit of crimson red. Just adding in a deeper color for areas that I think has a two plus shadow. Just a few suggestions. And just a long line to suggest the shadow of that tree that we are yet to paint that is in front of the house. 7. Winter landscape: Finishing touches: Moving on to the next element, that is the tree that is just behind the house. I'm going to start off with placing all the shadows on that tree. As it is a snowy, wintry theme, the tree has a lot of snow that's fallen on it. And see amongst to fit is going to be a little bit white. And we also going to have a little bit of green where we can see bits of tree that's showing through, the bits of the foliage that's showing through. So first of all, I'm going to place a few shadows for the snow. Are just a few shadows for the layers of that tree. Because it's a pine tree and it's got a lot of layers, lot of foliage. Just going to place a few shadows. And I'm using the same blue or the purplish blue, the deep blue that we've been using all this wild for the shadows. So gently placing enough fewer strokes, and that should be enough. Now for the green of the foliage, I'm using hookers green and a little bit of crimson red to make it a little bit deeper. And as you know, the foliage of pine trees are quite deep in color because they are evergreen trees. So I've used a mixture of Hooker's green and crimson. Red or white is written crimson. Now while I'm painting the foliage, I'm not going to cover in all the area with green. I'm going to leave a lot of whitespace to depict a little bit of snow that's been fallen on there. Next, I'm going to paint the tree that was just behind the industry that we're walking on it. So you can't hardly see the pencil sketch over here. But if you remember, if you are looking at your thumbnail sketch, there is another tree that's just hiding behind this tree. We're going to work on that now. So using the same green and a little bit of cobalt blue just to tone it down because it's in the background and we don't need deeper color for this particular tree. And I'm just going to start painting the tree in that it's just behind. There is a slight chance that the background wash may not be completely dry, which means when you start painting this tree, it could start to spread a little bit, which is completely fine. And you can completely let that happen in. It's just part of the pain, the paintings beauty and there is nothing wrong with the washes spreading. So we've finished painting the second tree, yes, well, with the same techniques and sweet did for the first tree, but this time not leaving a lot of whitespace in between because that tree is in the shadow, you can hardly see the snow that's fallen on there. All of that is not our main focal point, so we have decided to just paint that tree in pale green. You can also add other trees in the background. If you'd like to make like a cluster of trees that is totally up to you to include things like this. I'm just going to continue that line of trees, adding in one more tree. So starting off with the tree, and this time I have mixed a little bit more cobalt blue into the green mixture. So this cool blue off that tree would suggest that it is further behind. In the background. It's not sitting right behind the house. So it's kind of receding. You can choose to leave a takeout or if you think you'd like a little bit more thicker woodland area just behind the heart. You wanted to add a bit more details. You can go on and add a few more pine trees. And this time I'm reducing the amount of details that I do on the trees. So just doing the tops of those trees. And then I'm just going to do a block of color. So it doesn't look too worked up. So just filling in the rest of the area with a little bit more color. By now the wash behind should be completely dry. Or even if it's not dry, it might be slightly wet, which is completely okay. So just finishing off that line of trees and if you can see I have left a few areas unpainted as well in this particular layer. That is also an added coined when it comes to depicting a little bit of highlights in the woodland area. So finishing off the tops of that tree. And to finish off that woodland scene in the background, I'm going to take a little bit more deeper pigment as cobalt blue and the green. And just adding a few drops or few lines at the bottom of that wash. So if you've noticed, I have very little water in that mixture in my palette, and I have a lot of pigment, so which means it is going to be quite deep. And that deep mixture applied into that wet wash is going to spread out and give you a very nice effect without any hard edges. Starting my work on that heart now. So I'm going to start off with the simplest area which is the roof. So if you have drawn that little extension of that heart with a roof just behind the main roof. This is what I'm going to start working on. So I'm using the same shadow mixture that I used for the snow as well, which is the deep gloom. Going to add a little bit of shadow on that, Ruth, Not a lot. And ask for the top. I don't really need a lot of shadow. You can even choose to leave it white. Or if you think you need to add a few strokes, that's also fine. But we're going to leave the main part of it as white. Now for the heart itself, I'm going to use a deque Canada. So you can either use just Payne's gray or any neutral tint of you want to change it slightly. I've added a little bit of crimson, red and cobalt blue, which gives me partly side. So it's not completely grades. Got a slight purple tint to it. This is just my personal choice of color or if you wanted to use deep brown instead or a deep gray that is also fine. So I'm trying to stay to all the grace that I know for this particular painting because this is a winter scene and trying to limit my palette. So you can either use this color or if you prefer to use a little bit more natural color, like a deep brown for the wooden heart. Then that is also fine. Just adding in that color first in that block. Just making sure that the base is defined and it's not spreading onto the snow too much. I'm just giving a little shadow. And I'm going to do the same thing for the extension of that heart as well. Now while I'm painting around that little window, I'm going to try and leave a little streak or white. So I'm painting the window inside the window as well, but I'm still leaving a little streak of white area unpainted, just to depict that there's no swollen on the window sill. And if you can also notice that the pigment is quite lighter, it's got a little bit more water in there compared to the other side of the heart, which has darker wash. So this is just to show light falling on the hub and the lighter area on the heart. And now getting deeper pigment just straight from the pan. Just to add in details of little bits of shadow. I also darkening that DO DO ways that don't. I'm going to use the same gray mixture for the fence that is in front. We don't need a lot of work hard edge, so I'm just going to do a quick line. And I'm just making sure that I place it right above the shadows that I've painted before. So the shadow and the stumps are in line with each other. So we're nearly finished with this painting except for a few finishing touches. So I'm starting off with darkening the window on that heart and a little bit of the doorway as well. And also we shouldn't forget that tree that is right in front of the house. So I'm just going to mark that area with a little bit of a gray. I'm using the same color or I can just go and use some plain Payne's gray as well. I don't need to mix in any colors. Suggest adding in that line. The wash behind is still a little bit damp so you can see the top part of that line has slowly began to spread. So I'm just going to wait for a few more minutes before I finish that tree. So meanwhile, I'm going to work on the little bits of grass that's sticking out right in the foreground. So using a very thin brush for this purpose, I'm going to just pull out a few lines, quick movements with my brush. And I'm holding it away from the tips so I can move freely, move my brush. Finishing off with a few more grass shapes that's sticking out right in the foreground. Just to break the monotony, a row of grass just in the background, I'm going to add a few more grass like shapes. And to finish it off, I'm going to just finish off the tree trunk for the tree that is just behind the house. Adding any more finishing touches that you think is needed for your painting? Mainly like enhancing the hilly area on which the house is sitting. Oh, anything that you think needs a little bit more finishing touch. And with this painting is completed. I hope you enjoyed painting this when trade landscape, same width, be happy painting.