Learn to Paint Scenic Winter Barn Landscape

1. Welcome to the Class: Practice is the key to perfection, be it craftwork art, or painting. But then, how do we know what to focus on while practicing? How do we know where we need to denote 100% of our attention? Don't worry. I will tell you. Hi, everyone. I am Geethu, an artist based in the United Kingdom, although I'm originally from India. I painted almost every single day for the past one year to improve my watercolor paintings and to paint like I do now. It does a never-ending learning curve. The more we keep doing something, the more you become a pro at it. But we all have this fear inside us to try out new stuff to experiment and to explore. We shun away from them as soon as we see it, thinking that it might be too soon to try it or that you're not capable to do it. No, it is not like that. Each of us have to let go that fear and try out all different kinds of work. Today, this class is going to be about breaking that barrier and crossing that line to open up your full potential and paint this beautiful winter barn landscape. This class involves sketching exercises, learning about composition, experimenting with colors to create your own sheets. Learning different watercolor techniques and find detailing paintings. Join me and paint along with me in this class, and let go all your fears and discover that inner order within you. This class will help you to discover the subject that confuses you the most, the areas where you need to practice more and more and the watercolor techniques that you need to focus on. I was too excited to paint this and was afraid whether I would accidentally make any mistakes. But then I realized, even if we make mistakes, that's the way we learn, and so friends, let's dive into this class. But before that, let us learn about the materials that we will need for this class. 2. Things You Will Need: Let us have a quick glance at all the art materials that you will need for this class. It is absolutely fine if you don't have the exact art supplies that I'm using. You can use any of your favorite alternative brand for all the supplies that I'm using here. Today, in my class, I will be using an Arches 140 lb or 300 GSM cold press paper. After a lot of experiments, I have observed that using the right watercolor paper will make a significant difference in your paintings, and that is when I started using 100 percent cotton paper. This paper will sustain multiple washes and it's ideal for watercolor paintings with a lot of water. For achieving the best results, go with any 100 percent cotton artist-grade papers. But if you do not have 100 percent cotton paper, it is all right, because I will tell you a trick to make your paper stay moist or wet for a long time in the next lesson. Watercolor paints. I will be using paints from my custom-made palette. This is a metal tin I had, in which I glued some of my most used and favorite colors. The full bands are from St. Petersburg, White Nights, and all the half pan are from Art Philosophy Co primer marketing palettes. I've been also be using whitewash paint from Memory Professionals. This is one of the first quash paint that I had bought. Watercolor brushes. You will need a larger size brush, a medium-sized brush, and a small size brush for the detailing. I'm using my favorite brushes from Silver Black Velvet Series. The hairs of this brush holds a lot of water and it's perfect for different watercolor techniques that needs a lot of water. The large one is a size 12, the medium one is a size 8, and the small one is size 4. Watercolor palette to mix your colors. I always prefer ceramic palettes over plastic ones because they do not stain and it is easy to clean them, and the colors mix flawlessly on it. You will need a board to fix your paper. I am using this plywood board. You can use any kind of board you have, like cardboard or even a magazine to fix your paper. For this class, we cannot fix the paper onto the table because we will have to tilt the board and also give a slight angle to the board while working, so I will be keeping something underneath the board to give it an angle. Two jars of water; one for taking fresh clear water and fresh paint onto our brushes, and the other for washing our brushes clean, which will eventually make this jar turn into a muddy color like here. This is why we need another fresh clear water otherwise, we will be mixing the muddy water with our new paints. We will need some tissues to clean our brushes and also wipe off any paints, a pencil, and eraser to do the rough sketch or the sketching of the painting onto our paper, and lastly, masking tape to tape your paper onto whichever board that you will be using. 3. Skills, Traits, Techniques and More: I have taped paper onto the surface here, and I have divided it into two separate areas just to show the different techniques. In this lesson, I will teach you the different techniques that we will be using in our paintings. But first of all, I want to show you a simple trick on how to keep your paper wet or moist for a longer duration of time. This will be extremely useful if you are using a paper that is not 100 percent cotton paper. Like for this paper, this is not 100 percent cotton paper. If you want to get a feel of this 100 percent cotton paper, then this trick will be useful for you. I am going to show you on this smaller square here how this can be achieved. First, we will apply water on the surface of the paper evenly [NOISE] You can see from this angle how much water I'm applying. The trick is very simple. We will have to wait for a few seconds for the water to sink into the paper. You can see how the water is getting absorbed by the paper. It is actually going into the pores and fibers of the paper. Now, you can see here it's almost right but not completely dry. After a few seconds has gone by, I'm going to apply water on the paper again. But because this is the second coat of water, it will take longer to dry. This is because the pores and fibers of the paper inside is already wet from the previous wash and now the extra water will need longer time to sink into the paper because there is no space for it to be absorbed by the paper yet. The trick is very simple. Obviously, you can imagine how long we can keep 100 percent cotton paper moist using this method. Now, on the same paper, I will show you wet-on-wet technique. We say wet-on-wet technique, the first word refers to the paints and the second word refers to the paper. Here, my paper is wet and I will be taking wet paints with my brush. My brush is wet, so when I take pains on it, it will become wet paints and I will apply it onto the paper. Hence this is called as the wet-on-wet technique. I'm going to load up my brush with a little of violet. As soon as I apply the paint, the paint will spread in the water and give us a nice watercolor effect. See how it spreads. This area is already wet. I can apply on top of it again using my paints. This technique is basically called as wet-on-wet. The next technique that I will show you is wet-on-wet blending or mixing. I'll take some water and I'm going to wet this area. I'm going to be working fast. I'm not going to use the trick to keep the paper wet for a longer time. I'm just going to apply. I'm going to take, let's say some sap green. I'm just going to apply it randomly. There's no definite rule as to how I'm applying this. Now, I'm going to blend a different color into this one. I'm going to take a bit of my Indian yellow. See, See just blended it nicely together. This happened because the water consistency in both the paints is the same. If it wasn't, it would spread and form blooms. I'm going to take some yellow again and I'm going to mix it here. See how I have mixed it. I will show you what it is to form blooms. If I was to have more water on my brush, there's more water on my brush right now. If I touch it, see it spread. This would have been the case if there was more water when I took the yellow paint, which is why we have to be careful that when you're blending two different colors, make sure that the water on your brush is the same throughout. This would make it blend evenly without forming any extra lines or dark edges or even these blooms. The third technique that I will show is wet-on-dry, and as the name suggest, it is wet paints on dry paper. With my wet brush, I'm going to take some wet paint and I'm going to apply here. You can see the paint does not spread like it did here. This is because the paper is dry. This is the wet-on-dry. Wet-on-dry can also be applied on a surface which already has some paint, but has dried. This surface has dried. It's not wet anymore, but there's paint on it and it's dried up. But I can do wet-on-dry on top of this. Let's see. See. You can do multiple layers on this. Thus this technique is called wet-on-dry. You have more control over the wet-on-dry technique like here because you can draw whatever shapes and strokes you want with your brush. Whereas for the wet-on-wet technique, the first one that I showed, the water will do the job. It is uncontrollable and moves the paint wherever there is water, but that is the beauty of it. 4. Having Fun With Splatters: I will show you this splattering technique. For this, we will need all the three brushes. [NOISE] First, I'll take my largest brush and do some splatters here. I will be doing the splatters in this small square. I have to be careful that it does not go outside into the other squares. For this, I'm going to use a tissue to cover it up. Now I have covered all the four corners and only this part of the paper is exposed. I will take my largest brush for the first splatter. I'm going to mix up some paint. I'll do violet again. I'm going to load my brush with water and then mix the paint on the pallet. We will need a good consistency of the paint for the splatters. There are different ways to do the splatters. You can use with your hand in this position, holding it with your other fingers and using your index finger to do the splatters. See. Or you can use another brush. Do this or on the top. You see now we have put the splatters on the square. [NOISE] Now, I'll take my medium-sized brush for the second square. [NOISE] Load up the paints nicely. I'm going to do with the splattering again. It's all right I just accidentally hit the brush on the paper, but is all right. We're done with the second splatter. Now, I will do the same with the smaller brush, the Size 41. Going to load up the paint on my brush. You can see that there is a slight difference in the size of the splatters. The size of the brush actually matters when you're doing this splatters. I decided to do this exercise and show you because I have been getting a lot of questions whether the size of the brush actually matters while doing the splatters. Whether you need a larger brush for a bigger splatter or you need a smaller one for platters? Slightly, yes, the most important thing that matters is how much water there is on your brush. With a larger brush, it would hold more water and hence the splatters would be a bit larger. Also another advantage of using a larger brush is that it will hold more water and paint. This will give you more splatters before the brush needs to be loaded with the paint again. Whereas in the case of a smaller brush, obviously it holds lesser water and less paint. You'd have to load your brush with water and paint repeatedly, if you want to cover a large area. [NOISE] 5. Creating Colour Values: Now we will look at the tonal value of a color. I'm going to do this with sepia. I'm going to take sepia, ignore my dirty palette, but here's sepia. I'm going to take the darkest value of sepia. So I have the darkest value of sepia straight out of the pan. You can use it straight out of your tube also but with a layer of water. See here, this is that darker tone of sepia. Now I'm going to apply a bit more water into it. I've added a slight water and I'll make the next swatch. You can see that this is a bit lighter than the first. Now I'll add more water. Here you can see it's getting lighter and lighter as I add water onto my sepia. You can even get a lighter tone than this. Each time, when we add water to the color, we will make it lighter and lighter. This is called tonal swatch of color. This exercise is important because, in watercolor paintings, the background will have the lightest tones, somewhere from here to here. The foreground details will have the darkest tones. For example, let me show you this monochromatic painting. This painting has been done with only Payne's gray. You can see how the backgrounds and the things that are far away from the viewer in the painting. I have used lighter tones, for example, these mountains and the sky, I have used a lighter tone of Payne's gray for that. As you go near to the viewer and all the details in the painting, I have used a darker tone. So this is how you can use a single color to depict your painting by using the lighter and darker shades of a single color. 6. Let Us Make the Browns: In this class, I will show you about color mixing. Color mixing is an important topic in watercolors. It's one which has a lot of theories, but it can only be learned with experimentation. You have to experiment it yourself. In reality, you only need the three primary colors, which are red, yellow, and blue for color mixing for different shades that you can make with them. When you use different shades of these three primary colors, you can get all the wide variety of colors that you need. But in this class, I am not going to focus on the primary colors because I'm going to be using a wide variety of browns in my paintings. I will be using white knights browns and also art philosophical browns from various palettes, such as this burnt umber, sepia, achy, cavern, brown, red wood, etc. I will show you how we can mix all these browns. This is my Camlin artist grade watercolors, which I have put onto this plastic palette. It only has the basic brown's colors. I will be using these to show how we can create these colors. First of all, let us see what these colors actually are. This is sepia. Then there's stiki. Yellow ocher. Yellow ocher is there in most palettes, but I just wanted to add it here; cavern, brown, and red wood. This is the color chart for Camlin artist grade watercolors. You can see that already raw sienna, raw umber, burnt sienna is included. Also burnt umber is included in the basic palette. But I will show you how we can mix these other colors. Let's see how we can make sepia. For that, I'm going to use burnt umber, and we will make some ivory black onto it. Let's see if it's close. You can see that it's almost close to this. We can use burnt umber and ivory black to get nice sepia color. Almost same. The next color we want to get is the stiki. Let's take some raw umber. I'm going to mix this with the sepia that I got. That would be raw umber, burnt umber, and ivory black. Quite close. If we want to make yellow ocher, just in case we don't have yellow ocher in our pallets, you can use yellow. I'm going to add yellow to this mixture. Add more yellow. Doesn't make it really close, but that's the closest you can obtain. I think if you add a bit more of this raw umber, we can get a closer value. We needed a bit more raw umber into that. I added a bit of raw umber and I got the yellow ocher. Next is cavern. For that, I'm going to use the raw umber. But I think that the raw umber color is almost similar to the cavern color in art philosophical. They just have named it differently. Yes, you can see cavern is actually the raw umber. Next is making this brown. But I think we already did that when we mixed with the raw umber to make the yellow ocher. That would be adding the yellow to this mixture. Remember, I think we needed to make it dark. What did we use? We used this. We used burnt umber color. This has discolored the brown from art philosophical palette. I put all my browns together in my palette because it's easy for me to use them when I'm traveling. I actually don't remember which brown comes in each of the palettes. They've got different palettes in the name tropical classics or DC, etc. First is red wood. For that, I'm guessing maybe you might have guessed it already, so raw umber. Of course, if we can mix it with red, that's the closest we can get. That's how we can get different browns. You see the exercise. The best way to do color mixing is to do this exercise yourself, learn it yourself, and see how we can mix different colors. What happens when you mix a brown and a yellow or brown and a red, brown and black, and see for yourself all the colors that you can obtain. You will see that you will get a different variety of shades of brown. In this exercise, we learned how to make different browns using raw umber, ivory black, yellow, red, and burnt umber. Just using these four colors, we got different shades of brown. I hope you liked this exercise. 7. Composing our Painting: Let us first fix the composition of our painting. We will be doing our paintings in the landscape mode. We will be deciding how we want the elements in our painting needs to be. It's going to be a winter barn painting, and the barn is going to be the main element in the painting. We will sketch the barn. The tip of the barn is going to be outside the paper. It's going to be a simple barn painting. The barn is going to be in the form of a simple shape like this. Then we will have a porch in front of the house. In order to make it look real, we have to give it a three-dimensional look. You can see the bend towards the inside part of the porch. It's basically using the principle of one-point perspective. The pillars on the porch will be smaller as we go further away. That's why it's getting smaller towards the inner side of the porch. Then we can have something on the porch, maybe a haystack, and it's going to cast a shadow on the right side. At the background, we will have the horizon for this painting. Then we can have a Lone Pine tree covered in snow here. All the bottom part of the painting is going to be covered in snow. We will add some trees and branches in the background. Here, we can add some trees. There will be a hill covered in snow at the back of the barn on the left side, and that's where the trees are going to be. Then we will add windows to the barn. We can have a longer window on the first floor and then another window at the bottom and curtain inside the window. Through the window, we will see the brightness inside the barn house. To make the whole painting interesting, we can have some branches extending outwards and then some grass and twigs in the background. That's it. This is how the composition of our painting is going to be 8. Let Us Sketch the Painting: This is the A5 Arches paper that I will be using for today's painting. Let us now tape down the paper onto the board. I will use the masking tape to tape down the paper on the wooden board, on all the four sides. Taping down the paper will prevent the paper from bending due to the multiple layers of watercolors that we will apply on the paper. Also, it will give our painting a nice white border and future proof it in case we want to frame our paintings. After taping, we have to make sure that all the four corners where the masking tape overlaps another tape is tightly pressed down and secure because we do not want our pains to be bleeding onto the paper through any air gaps in the tape. On the composition sketch that we did earlier, let us now put the sketch onto the paper. We will have our bond right here. We will start the slanting off the roof by leaving a slight gap from the left. We will draw two lines for the slanting roof of the barn house. Because the roof of the house is going to be outside of the frame and you want to know how much gap we should leave for the slanting roof, then you can extend the line outwards to get the exact geometry of the shape of the roof. When you do this, you can see how the geometry is automatically formed. Everything is based on equal proportions so you can see where you started the roof on the left side and extend the other half to the same horizontal line. For the bottom parts of the barn house, we can use a ruler. We will draw two straight lines for the walls of the barn. We will leave some roof space extending outwards. I will not draw a straight line at the bottom because the ground is going to be covered in snow and it is going to be uneven. We will then join the end of the roof to the walls. Then roughly at three quarters position, on the right is where the porch will start. We will draw it slanting downwards to show the slanting roof of the porch. Then, as I explained in the composition video, we will draw the inside part of the porch using the perspective method. We will draw the pillars of the front porch one-by-one. After that as I said, it will be smaller inside and get bigger towards the outside, that is towards the viewer. Then the small haystack. Next, the base of the barn is partly covered in snow and for the Window on the top, it has to be in the center so will be then mark the center point using the top point of the roof and the left point. Here's the center. Using the center point, we will draw the windows. The long window is going to extend downwards just under the top part of the porch roof so that's the horizontal line that the window has to end. Draw a rectangle for the window. This is how you can do the sketch. When you look at the painting and want to draw something, try to compare it with other elements in the picture. Like here, we want to draw the window in the center so we measured it with the top point and the left point and mark the center and we know that it has to extend till here because the point where the porch joins, this becomes the ground floor and the top becomes the first floor, which is by the window is finishing right above the line where the first flow starts. Sketching a building or subject becomes much easier when we compare it with other elements in the picture. We can compare with the angle the directions is facing, if it is perpendicular or not, etc. I have added borders for the windows. For the window on the ground floor, I'm going to measure and mark the horizontal line. Then I will draw the window by drawing a small rectangle. Don't worry about making a sketch perfect, because this is a house made of wood not brick so it's all right not to have exactly straight lines. I'm adding the borders to this window as well and adding some details onto the windows. Next, the background horizon line is going to be starting from behind the porch. Draw very lightly, do not press your pencil when doing the sketch. From here, we will have our pine trees. The pine tree is going to be in the background and really far away, which is why it is smaller in height than the barn. We will roughly draw the branches and leaves off the tree. I teach how to draw snow-covered pine trees in a different skill share class, you can refer to that if you want to learn it in detail. The snow in the ground is going to extend to the left like this. We will have a part of a wall or brick here on the left side and then we will draw the snow hills starting from the back of the barn. Then we will draw the trees in the background. Just simple lines and branches for the trees. This is how our final sketch is going to be. Don't be tensed, just follow the steps and I've made it really easy to follow through so join me and let's make this beautiful winter barn colorful. 9. Painting the Background: You will first paint the background part, that is the part behind the barn. We have to apply water all over that place. But remember to not to touch the pine trees. Let us start applying water evenly on the paper. Since there is a separation between the skies, we can work on them separately and we don't need to apply water on both sides simultaneously. This is because the barn is separating that part. We have to be careful around the roof of the barn. We don't want it to be spreading onto the roof. Very carefully we will apply the water. For the snow on the pine trees, you can use masking fluid if you want, but I will not be using it I'm going to leave it just like that. I have switched to a smaller brush to apply the water at delicate areas. We will carefully apply the water around the pine trees and in the background areas such that there is no excess water. We have to make sure that any large blobs of water are not formed in a particular area. Using size 8 brush, I'm going to take ultramarine blue and mix it onto my palette. I'm going to apply the paint onto the night sky part, where I applied the water. You have to be careful along the edges of the barn move. Since we are applying on that paper, this is wet on wet technique. We will paint very carefully such that we don't bleed into any areas of the barn. When you reach here, don't paint all the way to the bottom. We're going to leave it white for now. We will paint around the pine trees carefully and taking care to leave it white. You can switch to a smaller brush if you want so that you don't accidentally paint over the pine tree. Next, we're going to make it a bit more darker at the top because it's going to be a night scene. For that, I'm going to mix indigo, which is a darker shade. I'm going to apply indigo at the top, on top of the ultramarine blue. We will apply it in downward strokes in all the places at the top. Now, I'm going to lift my board and give it an angle so that gravity, we lift the paint flow down and mix with ultramarine blue on its own. This is the advantage of taping the paper because then we will use the full potential of watercolors by making it flow down. Next, we will apply water on the left side of the sky. Here, my brush still has a blue pigment in it from the blue and indigo from before. But it is all right in this case because we are going to paint with the same color. If it wasn't the case, we would have to wash the brush thoroughly with a mild brush care soap to remove the staining pigments from it. Because imagine painting a yellow shade with this blue pigment in the brush. I'm going to mix ultramarine blue again. I will apply it in the same manner that I applied on the other side. Don't worry about the tree because we will paint it in the end. Keep applying the darkest tone of ultramarine blue to get the night sky in our painting. We're going to stop right here. When we reach the window, don't go any further down. Before I take the indigo, I'm going to give another shade to the background. But first I'm just making the ultramarine blue dark. Then for the really nice background, I'm going to take raw umber and apply it at the bottom part to give a nice background depicting the bottom part of the trees. We're going to stop right here and leave the bottom part white for now, for the snow on the ground. Then we will apply the indigo over the blue to keep the darker night sky at the top. Note, my blue is still wet, so I'm still using the wet-on-wet method. We want the indigo to be only at the top because we let the ultramarine blue to be seen in the middle. Then I'll tilt the board like before because I want the beams to flow down and do their magic. Keep giving gravity in different directions so that they mix naturally. Now, because I feel that the indigo on the left side is not in the same level as on the right, and won't apply a bit more downwards. Then I let it flow down and mix again. There's this gap of night sky that I want to paint. Let us do that. I'm going to use my small brush to apply the water because it's a really small area and we have to be cautious around the haystack and carefully apply the water. Then we will add the ultramarine blue, but not all the way to the bottom. We will leave a tiny space for the snow effect. Then there is the space between the pillars. We will apply water and paint that area again. If you accidentally apply more water or the water goes onto the pillars, you can wipe it off with a tissue. Lastly, use the ultramarine blue for the sky part again. Here we have the night sky almost read. 10. Snow on the Ground: We will now be in the ground which is in the foreground. First, we will apply water for the wet on wet technique. It is all right to cross over to the boundary here because we do not want a distinctive visible line there. Be careful when you apply next to the house. After applying water, I'm going to use indigo for painting the shadows on the ground. I'm using indigo, which is a darker shade because this is a night scene and thus the snow will have darker shadows from the night sky. I'm applying indigo at random places and that's important. Totally random, just putting my strokes at the places I feel I should add deformation in the snow. Once that is done, I'm going to give a darker tone to the bottom to give the foreground a shadow effect. We will keep adding darker tones to the indigo so that there's more shadow on the snow, and also some towards the bottom of the pine tree. We have to be really careful around the edges of the barn. There's a window facing this direction and we will have a yellow tint inside so that yellow is going to cast a shadow on the ground, which would be a slightly yellowish tint. We will paint with Indian yellow and apply it right below where the window is facing. We have to be careful that we do not touch the indigo otherwise it would turn green. Then we will blend it with our brush on the ground. At the center point of the shadow of the light, I want it to be a bit more darker shade so that I will take Indian gold and apply it on the top and also add random basis. With this, we can see that the background here is done. 11. Our Beautiful Barn House: Painting the barn, we will first apply water on the full area of this side of the barn. Metal met is the best technique to get that flawless effect on the paper which is why it is always my go-to method for any paintings. Once you finished applying the water, we will paint the light inside the windows using the medium sized 8 brush. Always paint the lighter sheets first, which is why we will paint with Indian gold on the windows before any other shade. We will paint both windows with Indian gold and do not worry about it spreading outside because we will paint over it and it won't be seen. Don't be afraid. Let it flow. Enjoy the process. Then I'm going to paint the barn using burnt umber. I'll be using different shades of brown to get a nice contrast and to give it the wooden effect to the barn house. I'm using brown from Art Philosophical and burnt umber from White Nights to give a mix of both on the paper. I'm doing it really carefully because I do not want the shades to bleed out onto the sky region. Enjoy this process and do it really slow. Test your limits and see what it is that you can achieve. Don't be afraid to try anything like this. I'm just using both the browns and applying all over the barn. Leave the gap of the windows and paint around it. We will carefully apply both the colors all over the barn. The technique I'm using is wet on wet, which is why you can see the colors flawlessly mixing on the paper. I'm using both burnt umber and brown from Art Philosophical. They mix together well because there is water on the paper. Try to use the brush strokes in one particular direction. Here I'm using the direction from top to bottom. Because of the angle here, the gravity will act and the paint will flow down and give us a nice effect. Next, we will use sepia and apply it under the roof area for the shadows. Because it's wet on wet, it's going to flow down and mix well with the burnt umber giving nice shadows. This is the shadow under the roof area where the root extends out of the house. We will add the shadows at both sides. Next, we will add texture to the wood. We will paint some lines on it with a single color, burnt umber. Draw straight lines on the same bed surface and they will not be even at the same distance. For painting the roof, I'm going to mix brown coconut and sepia together. I will carefully paint the roof with this mix. Paint both sides of the roof with this burnt amber. Observe how carefully I'm doing this and just relax enjoying the process. You can take your own time to do this and believe me at the end, you're going to be happy because you would realize what are the things that you need working on. Whether it is the sketching, whether it is the wet-on-wet technique or whatever different techniques that we learned. After that, I'll take burnt Sienna and apply it here at the roof ends pane to give contrast. We will use burnt umber again for the roof of the porch. Cover the whole of the roof with this burnt umber. For the floor of the porch, we will use the mix of coconut and brown from Art Philosophical. We have to be careful and not paint on the haystack on the floor. I'm going to give the shadow of the haystack on the floor with a bit of dark brown or Dickey from Art Philosophical. I will paint the pillars with yellow ocher and brown mix. The pillars are going to be just thin lines. I will use the same color for the haystack. To the same color I will mix sepia for a slight darker shade and apply it here on the foundation area under the porch. Then I'll apply a darker shadow with the sepia, it would be just a simple line. Next, I'm going to use cavern color from Art Philosophical for painting the foundation part of the barn. Remember, you can create this color using the color mixing techniques that I showed so don't worry if you don't have this colors. Now, we can move on to the next lesson. 12. Winter Trees in the Background: We will first paint the pine tree. I'm going to mix a really dark shade of green for the pine tree because this is a night scene. I will mix dark green indigo and Payne's gray together to create that dark color. Then I will start from the top and paint the tree. The pine tree will have snow on it so I will leave gaps. That is some white spaces for the snow. Then I'll make these small branches and pine leaves using a small brush all the way to the bottom. I'm fast-forwarding this video here because the steps for pine tree are the same throughout. Just making the small leaves and leaving some white spaces for the snow. For the trees in the background, we will use sepia. We will be starting from the bottom. We will make winter tree branches like these. Remember, the trunks and branches of the trees do not have to be straight because trees are exactly not like that. They have bends and bulges. We will add small branches to the trees. For some of the trees, we will use a lighter tone of sepia because we want it to be in the background, so it will have a lighter tone, as I explained earlier. Now, we can move on to the next lesson. 13. Its All In The Details: The barn house has fully dried, so let us paint all the details on it. I'm going to take burnt umber and mix it with tiki to get a nice dark brown shade. We will make straight lines on the vote and we'll use the tip of the brush. If you want, you can use a smaller brush or detailing brush or even a bigger brush like this one from rostral. For me, the pointed tip of this one works. Make straight lines for the texture on the wood. The lines don't necessarily have to meet at all points. You can have gaps in-between. We will make these lines for the wooden texture on the barn. Before we proceed upwards in pattern, let's do the windows. I really use a mix of dickey and brown for painting the details on the windows. We will add the window bars, and the window seal. We're just using the tip of the brush to make horizontal and vertical lines, which would effectively form the shape of the windows. This exercise would give us really nice control with the tip of the brush and details how to make straight lines. Now, let us continue painting the wooden texture. I'll fast-forward the video here because it's really doing the same process throughout. Just making straight lines. I'm not using it very much darker tone, but just a slightly darker tone a mix of dickey and brown. Next, using burnt umber I'll add the details to the roof. Again, just straight line using the tip of my brush. I'm basically painting the edge of the roof with burnt umber. This area of the roof is going to be darker then it's bend inwards into the barn. It's darker because, it does not have any light falling on it. Then we will add details to the roof of the porch. Just simple lines. The lines will be outwards from the left side, to give a perspective. For the pillars, we will add shadows. I'm just going to draw a line with burnt umber. I'm adding a ball or part of a large brick here to represent some originality to the painting. Then the details on the foundation of the barn house. We will simply paint it in the form of different shapes for the bricks. At this part of the house, it is not wooden, it has bricks, which is why we have to give it some shape. Lastly, the curtains inside the Windows. We will use Indian red for this. You can paint the curtains with whatever color you prefer, maybe blue or green, depending on what you want the color of the curtains to be. Now, we will move on to the final detailing and adding more snow onto our painting. 14. The Last Layer: Now we will add the snow and it's shadows to the pine tree in the right. For that, first I will add water to the white surfaces. That is the snowy areas that I left white earlier. I want to get a nice shadow effect, which is why I'm doing this. Just applying water on all the white areas, then I will use Payne's gray and add it to the bottom part of all those white areas, so that it spreads upwards naturally and gives us a shadow effect on the pine tree. I will also use a mix of cobalt blue and Payne's gray for painting this part of the snow. Alternate between the cobalt blue and Payne's gray mix and Payne's gray so that you have a nice contrast between the two. We will make this painting more interesting by adding some foreground tree branches. Remember where I told at the details and the things in the foreground will be using the darkest tone, and thus, we are using the darkest value of sepia here to paint the tree branches in the foreground. I'm using my size four small brush and using the tip to make the branches. The size of the branches should be small as you move upwards away from the main branch. Then we will add some final details onto the ground. You can use different shades of brown for this. This will be some twigs and grass at random places on the snow, so wherever you think that, the grass is protruding out of the snow, so just make it at random places. For adding the snow, I'm going to squeeze out some fresh gouache paint, and I'm going to load my brush with the gouache and then paint on top of the horizontal branches to imitate the snow sticking to it. If you do not have gouache, you can use a thick consistency of white watercolors as well. Just remember to apply it on the top surface because that's where the snow which has fallen would stick to, and mostly on horizontal surfaces. Now, I'm going to add snow on the roof of the porch. Add the gouache on the top part unevenly because the snow will not be flat. Then use these downward strokes to depict some snow that's dripping down from the top and on the side as well. This part is basically just about adding snow to all the horizontal surfaces. Let us know, will stick to, and thus now the roof area of the barn house. Paint on both sides of the roof. When the snow is falling down, it will stick to the bottom part of the barn. Then the bottom part, wherever there is a flat surface, which is why it would stick onto the roof. Then we will add some drippings here as well. The windowsill is a flat horizontal surface, so there will be snow sticking onto it. We would have to imagine there are the surfaces that the snow is likely to fall and stay on, which is almost all the horizontal areas. I'm adding drippings here as well. Some snow to the trees in the background, as well. As you can see for the vertical lines, I'm only adding snow at some places, just few dots. Lastly, we will paint the surface here with some light ultramarine blue. I'm applying water first, and then paint. We're going to use a very light tone of ultramarine blue because I do not want the whole thing to be like the night sky, darker, ultramarine blue. 15. Let it Snow: This is the most fun part in any painting for me, doing the splatters. I'm going to load up my brush with nice creamy white gouache paint. If you do not have gouache paint, you can use thick white watercolors as well, but just remember to use it in a very thick consistency. Then I'm just going to do these splatters. I'm going to use this finger to do the splatters instead of the second brush or the pen, or I can just do it with one hand. Do it in whichever way that suits you the most. Add as many snowflakes as you want, because this is basically the most fun part. If you wanted to cover your entire painting with snowflakes, that's also fine. There it's done 16. Practice to Perfection: Let us now peel off the masking tape and all you have to be careful is that you'll tear it off at an angle away from the paper, and very carefully. I know that this painting looks like a very tough subject to paint, but trust me, you have to try this because if we're going to stay and sit behind thinking that this is really tough for me, then we're never going to learn. We're never going to experiment with ourselves and see what are our capabilities, and that is why I brought forward this class. I wanted all of you to test your limits and see what it is that you are capable of so that you can see where you are lacking and put more practice into it. But don't worry about the end result and don't be comparing yourself with any others. This is only an exercise for your own purpose so don't judge yourself with other people's work or even my work. This is not at all about that. This is just about having fun in the process and seeing where you need to put more practice. As you can see here, I have done a lot of practice for winter paintings, which is how you get more exposure towards one one topic and you will become a pro at it. So you need to keep on trying. Don't be discouraged and be afraid to try out new topics. You can contact me anytime through Instagram. My Instagram handle is colorful mystique. I hope that you enjoyed this class and would join me in my next one. Till then, goodbye.