Dramatic Winter Paintings with Watercolors

1. Welcome to My Class: Welcome to my third Skillshare class. Winter landscapes are one of the most interesting and delicate subjects in watercolors. Winter is the time to have a walk in the snow or stay indoors with a hot cup of coffee, but I always find it the best time to sit and paint. But if it's snowing, I jump up enjoy, and run outside to play in the snow. I would like to share the joy of painting these wonderful winter landscapes with you all and hope you will enjoy painting them as much as I did. Hi friends. I'm Githu an artist and illustrator from Kochi in India, and I live in the UK with my husband. I will be teaching you different ways to paint winter trees. I have also included a bonus lesson on how to use a rigger brush. Then we will go through different watercolor techniques used in this class projects such as wet on wet, wet on dry, plain wash, graded wash, and some fun techniques such as flattering. Through the first winter sunset technique, we will learn to paint a dramatic sky with a right of colors, and then apply the techniques learned to paint the trees and branches. This will breed life into our paintings. You will also learn how to apply different color contrast to give the texture on the snow. In the second landscape we will learn to apply different color combinations and how to make gorgeous effects on the snow. I have also included a list of color combinations in the resources section. Without any further ado, let's jump into the next lesson that I'll tell you about the materials you would need for this class. 2. Materials You Need: Watercolor paper. I will be using Arches, 300 GSM cold press paper. This is 100% cotton paper, and I would recommend using 100% cotton paper for this class. But if you do not have 100% cotton paper, don't be worried. You can join me with any other watercolor paper that you may have. Be it student grade or artist grade paper. Watercolor brushes. I will be using a Size 12, Size 8, Size 4, brushes from silver black velvet. I will also be using this rigger brush from Brustro. These four brushes are what I will be using for my class. This one, this rigger brush from Brustro, will only be used for the techniques lesson where I will show you what is the use of this rigger brush. Watercolor paints. I will be using watercolor tubes from Mijello Mission Gold watercolor paints. It comes in this palette. These are the watercolors from Mijello Mission Gold palette. The individual colors that I'll be using I'll show you in a different lesson. Also I will not be using this palette from Mijello Mission, this came with the set, but I will not be using this for my class. But instead, I'll be using a small ceramic plate, because this one is so comfortable for me and I can easily mix the paints and show them in the class. A pencil to make the rough sketches and eraser to rub it off in case you make any mistakes. Some tissues to wipe off excess water, as well as paints from your brushes. Two jars of water, one for taking fresh new paints and also clear water to apply on your paper, and the other to wash off your paints from the brushes. So we always use two jars of water because one will turn muddy when you wash off all the paints and different colors mixed together, so one of them will turn muddy. We need another jar where it's got fresh clear water so that when you take fresh paints, it does not mix up with the muddy water and form a different color. That is why it is always ideal to use two different jars when you're using watercolors. Lastly, masking tape to tape down your paper on all the four sides. I'm using this Arches paper block and my paper is glued on the top for now. I will be using this masking tape to get nice border for my paper. But if you're using a single sheet of paper, you might want this masking tape to tape it down onto your surface. 3. Watercolor Techniques: The first three techniques that we will be using in our class are going to be wet on wet, plain wash, and graded wash. Here, I'm using my silver black velvet Size 8 brush. For the wet on wet technique, I'm going to apply an even coat of water on the paper. This method is called wet on wet because both the surface and the paints I use are wet. The first word refers to the paint on the brush, and the second word refers to the surface which is the paper here. I'm applying the water evenly inside the borders making sure that there is no excess water at any place. As I finished wetting my paper, I'm going to take my wet paint, cobalt blue here. My brush is wet, so when I take the paint on it, it will be wet paints, that is why this is called as the wet on wet. I'm going to put some random strokes using the tip of the brush, also some simple strokes. You can see how the paint spreads as soon as I put my strokes onto the paper. You can test this by applying both smaller and bigger strokes. You can see how the paint spreads as soon as you touch your brush onto the paper, and this is why this technique is called wet on wet. This technique is what we will be using to paint the sky in our paintings. The next technique is plain wash. This technique can be done using both wet on wet or wet on dry. Wet on dry would mean the dry surface and with wet paints on it. I will apply an even coat of water to the second rectangle now. I'm using cobalt blue again. I'm just going to apply the paint from the top all the way to the bottom. Here, I'll make sure that the paint is even and the same value from the top to the bottom. For the graded wash, it means that the paints are going to be graded. We are going to create a nice gradient, so that is why this is called as graded wash. I will apply water at first just like we did for the plane wash. Then taking cobalt blue, I'm going to tilt my paper or surface because that is how we will create the gradient because we want to let the paint to flow down. I'm going to apply the paint using the exact same method just like in the plain wash, but here I'm using gravity to allow the paint to flow down in the water. This will create a nice gradient. You can see at the bottom part I'm not even using much paints, I'm only just blending it towards the bottom so that the paint will flow down nicely. I will apply more paints only to the top part because I want the tonal value at the top to be more. I'm just going to take more paint, more cobalt blue and apply it at the top. Just see there, as soon as I touch my brush onto the paper, it's slowing down. I'm just going to blend it evenly towards the base first layer that we applied so that it's not uneven. But you can just see how we have obtained a very nice gradient. That is what is known as a graded wash because we have obtained a nice gradient from the top to the bottom. Once the paper has dried, you can see how nice gradient we have obtained and you can also see the difference between the plain wash and the graded wash and how beautiful it looks. For the wet on wet technique, you can see how nice and really organic shapes these strokes have given us. These are formed with the natural flow of water and the paint on it's own. This is in a more uncontrolled manner. This technique is what we're going to be using for our skies. On top of the plane wash, I'm going to show you the next technique which is wet on dry. That means our surface is going to be dry and we're going to use wet paints on top of it. Using my Size 4 silver black velvet brush and taking a bit of rose matter. I'm just going to apply on the dry surface using my wet paints, which is why this is called as wet on dry. Just going to make the shape of a tree right now, but what I want to show you is really how it looks with wet on dry on the paper. You can see that the paints would not flow as we did in the wet on wet technique. Wet on dry can be on a dry surface or even on top of dried up paints like here. The next technique I'll show you is called as the splattering technique. I will be showing you how we can do the splattering on a control surface that is within the boundaries of this rectangle. For that, I'm going to use some tissues to cover up the other areas where I do not want to splatter the paint. A tissue to the left side and some tissues to the right side side that I'm only exposing this rectangle over here. I'm going to use my Size 4 smaller brush and going to take up that nice little paint. Want to keep a tissue in hand just in case. I'm going to load up my brush with a lot of paints. I'm going to hold my brush like this using my two fingers and then I'm going to tap it. You can see that as I'm tapping it, I get these platters on the paper. Tap. This is usually how I do it, but I will also show you different ways that you can use these splattering techniques. Hold your brush in one hand and use another brush or a pen to tap on the top. As you are tapping it, you can see how you get these nice splatters on the paper. [NOISE] See the nice platters. You can tap it like this using the two-finger method and just really one hand or you can use another pen. That pen could be on the top or at the bottom, so it depends what suits you the most. I'm removing the tissues and see now how we've got this splatters within the borders of the rectangle and it has not spread to other surfaces 4. Trees and Branches: I will now show you how we can make our trees. I'm just going to make a very rough sketch with my pencil, of how I should place my tree branches. Then I will be showing you using my three main brushes how to draw the tree. The size 4, size 8, and size 12. First I'll show you with my size 12 brush. We'll be using that tip of the brush. I'm going to take a mix of Van **** brown and burnt umber, and we have to load the paint onto the brush very carefully. Since we are going to be using the tip, we have to make sure that there is enough paint on the tip and you have to use it using the tip. As you can see here, I'm using the tip of the brush to draw the lines of the trees. We have to remember that the trees are thicker at the bottom and as they go up, they taper and become thinner. If you look here, this branch is joining the tree, so where the branch joins, that would be thicker and as it spreads out, it would become thinner and thinner. Whatever direction you are painting in, you have to be careful that you use the pointed tip of the brush. Regarding the shape of the branches, it doesn't have any specific rule, so just keep bending and making your branches, and they can overlap themselves it's alright because as you know, branches spread out and form different shapes. You don't have to be stressed out when you're drawing these branches, just try to use the tip of your brush and you can make your tree as beautiful as it can be. All the tree branches may not be spread out to the top, but rather they may be facing downwards due to gravity. I'm almost done with this tree. For the next tree, I will be using the next smaller size brush, the medium-sized one, this is the size eight brush, and the other one was size 12. Now we will use the medium-sized one and we will see what the difference is between the two. I load the paints again, a mix of Van **** brown and burnt umber, and I'm going to do it on this side, just right next to the other one. I'm using the tip of the brush, and I'm going to do the branches and the tree trunks again. I will make these different lines just like we did with the previous tree. As I said, the tree trunk has to be thicker and the branches, as it goes outwards, gets thinner and thinner. Keep spreading out the branches and try to make them in different directions different angle. I'm making these small small branches, but see here, I have made a mistake and that has turned out to be a bit thicker, but I will show you how we can adjust that. Just keep adding thickness to it all the way to the bottom where it joins the tree. That would make it appear as if that branch is a thicker one coming out of the main trunk of the tree. This is how we can rectify a mistake in case we make one. You see, I've just joined that brunch on to the main trunk of the tree, and now it just appears as if that branch is the main branch extending out of the tree. As I said, what we have to be careful is that the branches, as you go extending outwards, it has to go thinner and thinner. I'm going to just add more brown just my tree. Another thing to note is that our tree has not to be exactly flat or the tree branches or the tree trunk itself, it doesn't have to be in a straight line. If you see that small bend the Dev added there. The tree shapes can be in any form that you want. This tree is done. The next I will try is with my size 4, small brush from silver black velvet brush. It has a really nice pointed and it is the smaller size of the tree that I have. Again, I will use a mix of burnt umber and Van **** brown, and I will load the tip of the brush nicely, and I will start drawing the tree again with my brush. You can clearly see the difference between these three brushes and their strokes. You can see that this is evidently thinner, and for me to make the tree trunk thicker, I'm having to add multiple strokes on it. This brush has a really nice pointed tip, and using the tip of the brush, I'm making these branches just like we did for the other two. You can see how really thin and nice branches I'm getting with this one. As I said earlier, the main thing to remember is that as you go outwards, spreading away from the tree, your branches get thinner and thinner. I'm going to add the new branch at the bottom here. This brush is really perfect for the branches. Even though the other brush has a really nice pointed tip, I would prefer painting the branches with this one because it gives more control, and accidentally I wouldn't be making larger or thicker trees which is why my go-to brush for making branches would always be this size 4 brush. Observe closely how I'm holding the brush when I make each of those three branches. I'm done with this tree. Now you can see the difference between all the three different trees, how they get thinner and thinner with the different sizes of brushes that you use. 5. Bonus Lesson - Trees and Branches: In this lesson, I will show you a rigger brush. There are some artists that prefer to have a loose stroke for their branches. If you do not want to focus on the lines much, then you can use a rigger brush. This is a brushstroke 2/0 rigger brush. You can see the shape of the rigger brush having this long pointed hairs. This is because the name of the rigger brush came from its use. In the olden days, it was mostly used for painting the rigger lines of the shade. Let's see how you can make your loose strokes. Because it's got longer hairs you have to make sure you take paints nicely onto it. These kinds of brushes don't hold a lot of paint, so you've got to use a lot of water and mix your paints. Load all the brush with the paints, and then you can just create branches really nice and loose. The advantage of this brush is that you don't have to be careful to use the tip of the brush like with the other ones. This has got longer hairs and is really thin, so you don't have to worry that your tree branches might get thicker. This brush is so much different from the size 4 brush that I used earlier. Even though it's small, this brush would still create a shape and the form of a leaf if we use the full hairs of the brush, I'll show you. Let me load some paints. If we use the tip you would get thinner lines like this, but using this same brush you can make the leaves by using the whole of the brush instead of only the tip. Starting from the tip if I press down my brush, I get these leaves and this shows the thickest of the lines that I can get to that brush. Whereas if you're using a rigger brush, the thicker you can make is as thick the brushes are. See here. That's the thickest line I can obtain. That's why rigger brush is the easiest for branches, even though I prefer the size for one. It's all personal preferences, so you have to choose the one that you like the most. That is the reason why rigger brushes are mostly used for painting trees. Whoops, see I made the same mistake again but as I said earlier it can be rectified. Using your rigger brush just try to make them different branches over there and try to make your branches thinner at the end, and then thicker as you go towards the trunk of the tree. You see here I've just rectified the mistake I've made, and that is why you don't have to be so tensed when you're trying to make the tree branches. My whole point is don't have to be tensed about anything when you're drawing the tree branches. My paints have dried up over here because this is a rough sketch. I'm not so much bothered. Just adding one more branch but see it's so easy to paint the trees with the rigger brush. See the thinness of the lines that they can obtain with this brush. 6. Winter Sunset - Part I: I will first make the rough sketch of my painting starting with the horizon line. Then I will just roughly draw the branches where I want it to be. These branches are in the foreground. Then using my size 12 silver black velvet brush, I'm going to apply an even coat of water on my paper. It has to be applied evenly without forming any large pools of blobs, which is why I'm using this with left and right movements, so that isn't applied evenly on my paper. I'm going to start with permanent yellow light and I'm going to mix it with a bit of permanent yellow deep so that I get this really nice, dark yellow. I'm going to apply it right above the horizon line. You can see I'm making this straight stroke right about the horizon line and I'm going to blend it towards the top. Remember that my paper is still wet. Then I'm going to take a bit of yellow, orange, and I'm going to apply some strokes just using the tip of my brush. I'm going to separate every stroke and leave some gaps in between. I'm going to just make these smaller shapes or using the tip of my brush, just going to put some dots. I'm going to make some on the yellow paints as well. We will make these small shapes for the clouds. This is going to be a really dramatic sky. That's what we want to achieve. The first color for the sky is this orange that we just applied. Then we dry off our brushes. We're going to mix a bit of indigo and bright clear violet. We get the colors similar to a bit gray and we apply it on the spaces between the orange. You can also use a very lighter tone of Payne's gray for this. We will mostly use the tip of the brush to apply the paints. Because my paper is wet, you can see how my paints spreads nicely and gives me this beautiful sky texture. I'm also leaving some white spaces in between so that it allows for my paint to spread to that area and give a lighter tone by itself. As you can see, I'm making tiny smaller strokes towards the bottom. As you can see, I'm applying in all the whitespaces between the orange paint so that my sky looks like a blend of this orange and the gray. The next color I'm going to be taking is rose madder. I'm going to make these small clouds. We will apply the rose madder of paint on top of the orange. Remember that my paper is still wet and we're using the wet on wet technique, which is why as soon as I put the rose madder onto my paper, it spreads and forms these beautiful shapes. We have to remember to use the tip of the brush. I'm putting down these smaller, tiny shapes using my tip of the brush. One thing we should remember is that our brush should not be loaded with a lot of water, else we will form blooms on the paper. Now, we will give a darker tone to our colors that we used earlier. Using a darker tone of orange, and then again using the indigo and violet mix. Then we will take the mix of the permanent yellow deep and permanent yellow light and apply in the whitespaces that remain so that we just cover it up. But we do really want to leave a bit of those whitespaces, so we're not going to apply all the basis. Then we'll mark the darker clouds. We take rose madder again and we will make these tiny clouds near to the horizon. Since my colors have now blended into the paper, I'm going to give a bit of darker tone to my clouds. I'm taking rose madder again and applying it on top of the rose madder that I applied earlier so that I give it a bit of darker tone 7. Winter Sunset - Part II: Once the sky is done, now we can move on to the next part, that is, painting the ground. I'm using my Size 12 silver black velvet brush again to apply an even coat of water. I will take a bit of a mix of the bright clear violet and indigo. It should be around 70% violet and 30% indigo, and I'm going to be using the graded wash here, a mix of the graded and the plain wash. I'm applying the paints evenly, making an even blend. But I want a bit of the darker color on the top, which is why I said that this is going to be a gradient. I'm just going to let the paint flow down. But I'm not using gravity here to let the paint flow down, just using my brush to apply darker color at the top and then just blending evenly. Since I feel that there is too much color at the bottom part, I'm wiping it off with my brush and then dabbing it onto a tissue. You can use this method if you want to get a nice gradient and you feel that there's too much color at the bottom part. Once that has dried, or even before that, you can apply the next layer of water on top of it again, because I want to give it a bit of shadow of the orange and the yellow mix onto my ground because this is mainly going to be the ice that melted, and this is the reflection on that melted ice. It's the reflection in water. The rest of the areas does not have reflection because it's hard ice. Only reflection will be formed in those areas where the snow or the ice has melted. It's melted in the shape of a river. Once this layer is completely dry, I will use my Size 4 detailing brush to draw some details onto the ice. I'm loading up indigo paint onto my brush and will dab off the excess water on a tissue. I'm going to make these small detailing lines on the ice. These will form small texture on the ice and give it a nice effect. There is no rule as to how the texture should be, so we make these small lines, small dots, however you want it, but randomly. Also, make sure that these lines are towards the bottom part of the paper that is away from the horizon because towards the horizon these details would not be visible to the ice. Next, we will paint the small hills at the horizon. I'm using my ivory black color from Mijello Mission. I will paint along the horizon line, and then I will paint these small hills at the horizon. First, I'll just mark the outlines of the hills, and then later on, I'll paint inside it. We will carefully paint the hills at the horizon line. Now, we're applying paint on top of the already painted yellow sky. The sky has fully dried and only then we are painting. Because this is on a dry surface, we're using wet paints. This technique is called as wet-on-dry technique. I'm just painting inside the outline of the hills that I just made. Usually, I do not use black in my paintings. Traditional artists prefer not to use black, but rather they mix different shades to obtain what is closer to black. In my case, I prefer to use Payne's gray rather than black. But somehow for this painting, I decided to go with ivory black from Mijello Mission Gold Watercolors. Once this is done, we can move on to painting the tree branches 8. Winter Sunset - Part III: For the trees in the foreground, that is the tree branches, I'm going to use a mix of burnt umber and I get brown and sepia. I'm just going to make these foreground tree branches, just like we learned how to make the trees. The tree branches are just going to be random and the main trunk is going to be thicker than the rest. As you can see, I'm making it more thicker at the bottom. This is because the tree branch is extending from the foreground away from the painter or the viewer. As it goes away from the painter, it's going to be thinner, which is why it's really thin at the top. Then we will make these small branches. As I said before, these branches are going to be thinner as it spreads out from the tree. Then we will make similarly the next tree. Mark the branches. We will have overlapping branches as well. I mixed all the three browns because the sepia would give it a nice darker color. Here, I'm extending and making it thicker at the bottom because as I said, it is closer to the viewer and we see it more thicker and it goes thinner towards the top. Always, if we mark the outline of what we want to do, even if it is a thicker tree branch or a thinner one, it would help us in giving the shape to our tree, which is why I made the outline first and then I filled it up with paint. Then we will have a small branch at the bottom here, and some maybe small tweaks extending out of the tree. As you can see, this is just all random and I'm just placing it at places where I want it to be. I will add another at the bottom here because if I didn't add another at the bottom there, it would have felt empty, and I didn't want that space to be empty, which is why I'm adding the branches there. Now I have to give it a bit of thickness for the main trunk. We'll add more branches. Just sit, relax, and enjoy the painting process. Remember, you have to use the tip of the brush if you want your branches to be really thin. Else, as I showed in the techniques lesson, you can go with the rigger brush. Next, we will paint the snow on the tree branches. For that, I'm going to take Chinese white from Mijello Mission. I will use my size four small detailing brush. I loaded up the white paint onto it and I'm just going to make these small lines on the tree. I'm not using gouache paint here. This is because if I use gouache paint, the white color is going to be dominant and clearly visible, whereas in this case, I want to show it as somehow muted and not really dominant, just to show that it's not really snow-covered, but just traces of snow that has appeared on the trees. As I apply this white color, it is going to get blended into the brown mix and form a really dark color, which is exactly what I want. If I had used white gouache paint, that would become clearly visible and it would appear as thick white snow on top of it. Also, another reason for not using white gouache paint is because this is a sunset scene. I wanted my white color, that is the snow on the trees to be muted and mixed with the brown so that it would look as if the sunset shadows are on top of it. As you know, we painted the ice on the ground using a mix of the indigo and the violet. But if we use the same mix on top of our trees, it would not be visible which is why I went with Chinese white on top of the tree, so that this Chinese white would mix with the brown mix, but will not give us a very bright white but rather a muted white, and would clearly depict the snow during the sunset time. Once you finish adding the snow on the trees, your painting is complete 9. Winter Scene - Part I: For the next project, I'm going to use the other half of the paper. I will mark my horizon line and a few lines. Then onto this using my size 12 brush, I'm going to apply an even coat of water. Unlike the other painting, I'm going to apply water evenly on the whole of the surface because I do not want it to have a separation between the horizon line. Then, again, using a mix of the permanent yellow deep and permanent yellow light. I'm going to paint from the top and make the small downward strokes using my size 12 brush. I'm going to cover up the whole of the upper part of the paper with this yellow mix. Then I'm going to take orange, and I will mark and paint right where the yellow joints. Some places I will overlap the orange on top of the yellow, and I will paint along the line of the sketch that I made earlier. This is just how the horizon is extending downwards. But that is not actually the horizon, is just the shape of the river that is going to flow down. Then next, I will take red violet and apply it on the right side on top of the yellow and the orange. Using red violet, I'm going to make some upward strokes to mark some background trees and then some color on top of the orange. Then using my size 8 brush, I'm going to take a mix of the orange and the red violet and mark the boundary of the area, that orange I did earlier. Then using the tip of my brush, make these small strokes just to give it a bit of texture on that area on the snow or the ice. Then I will take yellow orange and mark the river area on the slope. Again, this is going to be in a one-point perspective where the river will go thinner towards the horizon and thicker towards the bottom. As you can see, I've made it tapering downwards, it gets thicker. Then for the ice or the snow, I'm going to paint it with cobalt blue. The whole of this technique is going to be on wet on wet technique. The water that I applied earlier is still there and my paper is still wet. This is all because of the 100% cotton paper. I'm using my cobalt blue to apply this random strokes on the ice. This is just to mark the texture on the ice, so we will apply it on both sides of the river. Then I'm going to make these small lines on top of the river just to mark some snow or ice. It represents icy rocks on the river. Just make these dots as well. Then we'll give more texture towards the bottom part of the river and the painting with a bit of darker tone of cobalt blue. As you go towards the top it will be lighter. Just see how I'm giving it a bit of texture. Then I will use my indigo paint and mix it with a bit of violet so that we get a nice indigo color. I will also mix it a bit of Rose Madder so that I get a really nice mix of Payne's gray and rose Madder. I will mark the line, the boundary where the grass starts. Also make these small textures, small lines, dotted lines. That will give us a more texture towards that side. Blue parts represents the ice, and the orange and the red violet part actually represents the grass in the background. 10. Winter Scene - Part II: Let us now paint the trees in the foreground. Once the first layer has completely dried, I'm going to use a mix of burnt umber and Van **** brown. I'm making the tree branch starting from the left towards the right. As this tree is starting from the left, this means that the thicker side would be on the left side and the thinner side and all the branches tapering out would be on the right side. I've marked the outline of the thickness that I want for the tree, and then I will paint inside it. If you have joined me from the beginning of this class, then you will know how to draw the tree branches. The tree branches goes thinner towards the top side. Here, it's a tree that has fallen down and is lying on the surface, which is why the top side is depicted by the right side, and on the left it is thicker because that is the bottom side or the trunk part of the tree. Then we will have branches, tampering out. I will add more branches towards the left side. I will add another larger branch over here so that would be touching the water. We will add the reflection of this branch on the water later. We'll just stop it right right for now. Next we will add some more trees in the background. Observe the shapes I'm making and they are just very random and irregular. As I make those strokes there, it is not at all pre-planned and I'm just making as in how the brush takes me. You just keep adding more trees. You can add as many tree branches or as many trees as you want. Whatever I feel that it's a bit empty, I add more tree branches or trees. You can see I felt that it is a bit empty over here, so I added another branch over there. Next, we will add more branches again. Now we will add some texture to the ground and some twigs on the ice. For that, I'm going to add a bit of mud and then I am going to use a mix of yellow ocher and raw umber. I'm going to make the small twigs for small grass on the ice. Using the tip of my small brush, I'm just making these small lines. The grass may be bent downwards so I take my upward stroke and then as I reach the top, I bend it downwards a little to get that stroke. I will do the same at other places just to mark some grass. You can see upward stroke and then as you reach the top, downward. They may not all have the downward stroke some can be just simple grass. I will take some brown and apply it at the bottom part of the grass, but I won't leave it like that. I want it to spread out and join the ice so which is why I'll take some water on my brush and spread it out using my brush. You can see I've blended it nicely onto the layer underneath. Now we will paint the reflections so for that, we will take the mix of brown and a bit of raw umber and the yellow ocher mix and just make these small lines extending downwards onto the river, so that would seem as the reflection of that branch on the river. Use water and blend it downwards onto the river and you can see how you get a really nice reflection. 11. Winter Scene - Part III: For the snow on the trees, here I will be using whitewash. This is a whitewash from Memory Professional. I will load up my brush with the white paint and I'm going to apply it on the trees. As you know, the snow falls from the top and it will fall on the trees, on the top areas, and stick onto it, which is why I will apply the white paint on the top of the fallen tree horizontally. I will leave some gaps of the tree trunk at the bottom part. You can see that brown still there. On the top, I will apply the snow. We don't have to be doing it in a straight line but make small strokes very randomly because we want it to be seen as the snow that has fallen on top of the tree so some of the brown parts will be visible. Keep adding the snow onto the tree branches. I will not be adding it to all the branches, but only on those branches which are almost horizontal to the surface. This is because if there is a branch that is really vertical, the snow would fall on it, but then it would fall down due to gravity, which is why I will apply to the top areas of horizontal branches. Slanting branches will have lesser of the snow. Gouache paint is basically another set of colors which is water-based. It is known as opaque watercolors because it is very opaque as opposed to how watercolors are, but do not be worried if you do not have any white gouache paint. You can also use your watercolors for doing the snow. Just remember to use your watercolors in a very dark consistency. Load up your brush with a very nice creamy rich white paint and you can do the snow on the trees just like this. Also, I will add some snow onto the white grass as well. Using my white gouache paint, I'm going to draw some similar lines just to mark some snow on the grass. Draw these smaller lines. That would just mean some of the grass is covered in snow. Then let's just make these small random lines in the river. That could just be the rocks or the unmelted ice on the river. Next, I'm going to give it a bit more texture, so only on the bottom part of the river. For that, I'm going to cover my dark portion where the tree is with the tissue and then I'm going to mix up the cobalt blue nicely and do the splatters using the splattering method. This would give a nice texture to the ground and river. Then some splatters with the white paint as well. I'm using white gouache here, remember that. Splatters onto the ground. That will give a mix of the cobalt blue splatter and some white gouache. This will give us a really nice texture. When we remove the tissue, we can see how beautiful our painting has formed. 12. Thank You For Watching!: We will now peel off the masking tape from our paper. First, I'm removing the center masking tape. The main thing when we are removing masking tape is, we have to remember to pull it off at an angle away from the direction of the paper or the pins. This is because otherwise, we raise the chance of getting off part of the paper. Once you remove the tape from your paper, you can see how beautiful you are painting is and how nice borders you obtain when you tape down your paper on all the four sides. To see how the painting is. Since my paper is glued together, I'm now going to use a palette knife or something very sharp to remove the paper from these arch's block. I would like to thank each and every one of you who took out their time to watch my class. I hope that you enjoy this class as much as I do and would love to try out these paintings and if you do try it out and want to post it on social media, don't forget to tag me. My Instagram handle is colorful mystique. I will be more than happy to share them in my stories and provide any feedback. Once again, thank you all for watching my class.