Mastering Snowy Landscapes in Watercolor

1. Introduction: Welcome to the vibrant world of watercolor painting. Now, whether you're a beginner or an experienced artist looking to enhance your skills, mastering loose yet precise watercolor techniques can be both thrilling and challenging. So where should you start and what techniques should you focus on? How can you bring your creative vision to life on paper? Snow scenes provide a dynamic range of subjects from the uniquely stark contrast and the snow covered trees, mountains, and buildings. In mastering snowy landscapes in watercolor, you'll discover the essential techniques and processes needed to transform any snow scene into a captivating and expressive painting. With my guidance, you'll learn to create masterpieces that not only capture the essence of the scene, but also reflect your unique artistic style. I'll guide you through my entire process in real time, from the initial drawing and scene composition to the delicate layering of light shadows, and finally, the intricate addition of details and highlights. Join me on this exciting journey into the world of watercolors. You will learn how to create stunning, snowy landscape paintings with confidence and precision. Whether you're an experienced artist or curious beginner, this class will equip you with the tools and techniques needed to unlock your full creative potential. I can't wait to get started. Let's unleash your inner artists together. 2. Materials Required: All right, so I want to talk a bit about the materials you're going to be using in this class or the materials you should try to get before you start. So paper is probably the most important one to sort of start with. Now, I'm using 100% cotton paper. If you have this where you're from, I really would suggest it because it just is superior for any kind of wet and wet effects which are used a lot in this class. So there's many different brands, and this one here is in cold press as well as rough. So if you've got some textured, you know, textured cotton watercolor paper, that's going to be great. Now, if you can't get that where you're from, you can always just use normal cellulose paper or other types of paper that's labeled as watercolor paper. The issue with those papers sometimes is that they can often be difficult to layer on top of. So they will kind of rub out and they will dry. So you have to be extra careful not to go into previous regions too many times over. But yeah, you can do this pretty often with cotton watercolor paper. And you can see, as well, there is a texture to the paper, which is really important. The texture is going to allow this nice kind of granulation effect, as well as allow a lot of this wet and wet work to be painted a lot more a lot more easily. It implies some details and textures that you would otherwise need to paint in. So that's those are my tips for paper. Now, in terms of colors, I have quite a few colors here, but you're not going to need all of these colors. Now, essentially, if you have yourself blue, so an ultramarine blue here, you've got yourself a red. I've got a permanent red or piral red, and also a yellow. This is a Hanze yellow. These three colors are going to be absolutely fine to get started with, okay? There's, of course, some brownie sort of colors. So earth and colors. I've got burnt sienna and also raw umber or burnt umber. Those are really good to create brown sort of tones, but you can sort of mix up one of those kind of grayish, a grayish, kind of reddish tone, so warm gray kind of tone by mixing all your three primaries together. Is just a little bit of a red and a yellow bias. Okay, it's not perfect, but that's still going to get you something at least slightly close to that kind of browny color. And there are a few different colors I have in here as well. So this other one here is cerulean blue, great for painting skies. But if you have ultramin blue, you can just dilute that down and then use that also to paint skies. It's going to give you a nice light blue color. But yeah, I do like cerulean blue. Personally, it's just one of my favorite sky blue colors. I've got a few different yellows here. This here is Indian yellow, and I've got yellow ochre. Yellow Ochre is great for a kind of subdued yellow. I've got a piral orange, and I've got a granulating orange here that I don't really use all that much. It's, it's basically a bonus color. And over here, I have a couple of colors that I don't use is turquoise and lilac. Okay, so you won't need those for this particular course. All along the side here, basically just some convenience colors. Apart from the burnt sienna and raw or burnt umber, I've got a green here. I got a couple of greens here just sort of leftover on the palette. The rest of these are basically purple, and in here should be neutral tint or pains gray, but I have run out. So I often use a lot of these purples and the gray to mix up a real dark value, as you see here on the base. But actually, you know, I've used mostly purple, blue, and a bit of brown mixed together to get these really nice dark areas at the base. But, yeah, pain's gray, neutral tint, any kind of pre mixed gray is just a convenience color. So you notice on the palettes as well, I've got pretty large mixing wells, two large mixing wells. It's just going to make it a lot easier to mix up large washes. So if I want to mix up, you know, an area for, like, these this sky, let me have a look here. Maybe all this color here. This is a ton of color that I had to use, okay? It just makes it easier to just mix a big section of it, so I don't have to continue remixing again and again and risk not being able to get the exact same quantity, the exact same mix, which is pretty much impossible in watercolors. You can get it close, but you can't get it 100%. So that makes it really easy. If you've got smaller wells, it's not a big deal, especially if you paint smaller, but that is something to definitely keep in mind if you're looking to buy yourself a palette. And here on the right, I have myself a few other little materials. So this is the board, a bit of plastic board that I sticky tape the paper onto. I use masking tape over here, and I just will masking tape the edges, okay? That just when I pull off the tape, it creates this really nice crisp crisp sort of border, which I like with watercolors. And also this towel I use to dry off the brush during painting. You're going to need some water, obviously. But yeah, the towel is good because it helps you control the amount of moisture on the brush, which is very important, especially if you're doing, you know, bit of wet and wet sort of work, okay? So let's have a look at some of the brushes that I have on here, and you're not going to need all of these. You're only going to need a few of them. I just got a few different sizes, essentially. So here, I've got a bunch of round brushes. These are synthetic round brushes, great for detailing. And yeah, I use those a lot in this particular scene. And we've got also, I'm just going to go through the important ones first. A couple of watercolor mop brushes. Now, these are really important brushes because they hold a lot of water. If you look at the belly of the brushes, they hold a ton of water, but they also have a sharp tip, and this sharp tip allows you to cut around different objects. So really important to have that. These are like, your quinsential kind of brushes, watercolor mop plus, maybe, you know, a couple of round brushes. You can get by on that. These are some new brushes that I got recently, and they're basically rigor brushes, but they have a larger paint reservoir around them. So you can have a look there. But basically, if you've got some kind of thinner rigor brush, that's going to do the trick, as well, okay? Here, yeah, well, basically, these are for little details. So things like, for example, this power line cables, tiny, tiny, little details. Let's see if I can find some other example trees you know, these tiny little, you know, trees like that. The rigor brush is so helpful. And these are some miscellaneous kind of brushes. I have some flat brushes. So three different sized flat brushes. These are really good when you're doing things like the mountains like here, and you get a nice sharp, crisp line where the mountains meet with the sky. The flat brush does a fantastic job with that and there's, you know, different sizes of them. I also use a flat brush at times, like a smaller flat brush to imply windows because they're kind of a squarish shape. I've got this brush here, which is a fill bit brush, and it's basically just a brush that you used to scrub at the paint to remove paint and then lift out with a piece of tissue paper. I use this technique a little bit in the end to bring back parts of the original wash, bring back a bit of light to the scene. This brush here is called a fan brush, and it's these sort of flayed tips like that, and it's really this one I need to actually get a new one. But basically, this is great because it allows you to get in things like, you know, small indications of grass. Let me see if I can find an example here in the foreground, you know, little you know, little sort of bits of grass and stuff like that. Especially if you've got lots of tufts of grass, you know, this just saves you a ton of time. Not necessarily. I mean, if you've got a small round brush, a small rigor brush, you know, you're going to be able to get by. With that, it's going to take a bit more time. 3. Aurora Drawing: Let's get started with the drawing. And really for this scene here, we want to make sure that we've got a bit of this snow down at the base. We've got a little house here as well. But I just want to get in this sort of area of snow down the bottom. This is going to be a little bit lighter than the sky. I look here? A little bit lighter. Yeah. And we will put in the house here. So we've got the sort of back end of the house, and it's like a triangular sort of roof coming out here, then running down here. Let's put in the length of the house now. There's also this sort of that comes down. And the house actually has a fair bit of sort of snow on top. I think I might take advantage of that and really exaggerate that amount of snow there that it's sort of similar to what's on the ground, perhaps. But yeah, we'll see. We might change it later. Who knows? That's a little chimney there on top. And you can't really see all that much going on in the house, especially on the left hand side there, but you certainly can see the details here on the right hand side, the front of the house, really. And you've got these bits of fence as well here out in the front, and looks like you may even have a couple of people there just managed to that looks like they were doing maybe a long exposure shot, and there's a couple of people, maybe someone hanging around here in the front of the scene. Who knows? But it's just a lot of light on the front of that building, which we would definitely want to get in. And underneath here, we've got, I think, a couple of snow sleds. Going to zoom in to get in the little details of them. It's not really much and at the end of the day, at the end of the day, they could be anything. They could be just general lumps of wood or what have you there. I'm not fussed about the details of them, so I'm just going to put that in like that. The one here in the right in the front is sort of similar sort of shape. Again, I'm not too fuss about the details. And, of course, we've got some trees. So these trees as well, we are going to simplify them down. I'm just going to make a layer of trees down at the back like this. Okay. And a layer of trees maybe run down the back there. And then also you've got these sort of branches, larger trees going upwards. You do have a few here as well, including this tree here. So we're going to get that in afterwards once everything's dried just over the top of the entire scene. But I think for now, that should be good for the drawing. 4. Aurora Painting Light: Alright, so for the start of this painting, what we're going to do is get in the whole aurora down at the back. I'm going to change the colors up a little bit. They do look sort of purplish, bluish, maybe, but I want to add in a little bit of green as well in there. So firstly, I've got a bit of purple already sort of mixed up on the on this here. So premixed purple. I'll just add in a lot of water. Now, what you really want to make sure is you just get in as light of a wash as possible. There's almost no yeah, there's almost no paint running through here and running it's just a lot of water. I'm going to carry this all the way throughout the back, okay? A bit of a purplish color. I might grab my blue out and just dilute this down. So I've got a little blue as well in some areas. Uh, yeah. Keep it really light. Keep it very light and look at how I'm sort of moving some of the color around as well, maybe adding a bit around to the right hand side. Okay, anywhere that you want to imply this tus sort of part of the aurora. You got a bit here behind the house, as well, which I'm going to get in and also emphasize the, I'm going to actually emphasize the coolness of the on top of the house, as well. Okay. All right. Now, there we have a bit of color. I think I will grab some green, so I've just got a bit of darker green here, but I'm going to mix it with some yellow, create myself a really vibrant, hopefully vibrant looking green because I want to drop some of that in maybe in areas like here, perhaps. Okay? So we've kind of got a bit of a mixture. It's not just um, the same old, there's a bit of different color running through as well. So it's kind of like a greenish and then a bit of purple color. Okay. And I've extended out over to the left hand side as well just to make it more visually appealing, more interesting. Okay, so here comes the fun part. We're going to mix up a lot of dark color. I've got some ultramarine blue here, mixing up. Lots of ultramarine blue, and I will also add in purple. I've got a little bit of purple left here on the palette, but I do have some more That was mixed up, just sort of left here as well. Just dried up a bit, but I want to mix this up and create a nice thick, sort of purplish color. Now, I'm going to drop this in Durora and I'm going to slant my my board upwards like that so that hopefully we can get this mixing nicely. Okay? Just get rid of, you know, all this white spots. And it works only really work with your using this sort of paper, this kind of really textured paper, cold press will work as well, okay? More blue, more purple. And the darker you make this around, the more prominent, it will look, okay? This aurora effect will look. The light will just really come out. So don't be afraid. Okay? Now here I'm just starting to add in a bit of color through the center of this part, okay? Like that again, it's just that same bluish value with purple mixed together to really create a sense of darkness running through the scene. So maybe mix in a bit of brown, why not? This is just a mop brush, okay? And look at that. Drop that in, and this is how you have to do it so that it just mixes and does its thing. Okay? I'm going to put a bit here as well. Now, if you get any spots that have dried off too quickly, use a little spray bottle like this, and you can just rewet some areas of the painting because it is a little bit tricky in some parts. Okay. Mot brush again. Let's drop this in here. And any time you feel maybe there's not enough. Color up the top or something, make sure you just add more of that darker value in because this is the only time you can do it. Once we add any other color in later, it's not going to work. I'm using a darker purple now to go over the top because I've realized that it needs to have a little bit more a little bit more contrast. Here. Underneath as well here, there we go, a bit moving around. The top section is a little tricky because it's already starting to dry off. But we've still got time. We've still got time. Just trying to get rid of some of these white specks running through. It's just paint that hasn't settled in quite well to the paper just yet. Okay. So at the moment, that looks quite okay. Tilt the paper a bit to encourage some of these colors to run upwards. Well, Again, you only get one shot at this. You got to be pretty pretty quick with it. Okay, moving some of this purple down now. Yep, moving this down a bit of purple and blue. And, down in the ground, I'm going to just start to grosly cut around this house. I still needs to be pretty dark. But the House itself. I'm thinking of actually just thinking of just making the top of it a bit lighter. Look like it's covered in snow. I still undecided exactly how I'm going to do this. I think I'll go through and put in some lighter wash afterwards. But we'll bring it down. And while I can, as well, I'm going to grab another brush, and we're going to just put in some warmer values. So I've just got some kind of reddish brown color. This is burnt sienna. Gonna drop that in here. Really light values, maybe some orange, yellowy color here as well. Okay? That's just gonna hopefully just seep through, blend nicely like this. Good. It's kind of like a warm some warm areas of the painting which are sorely needed. Okay. Now, just go to bring this all down to the base, this same wash all the way down after doing a bit of cutting around of the buildings. Okay, a bit like that. Do some purple here. Darken a bit more at the base. Good. It's just lots of purples, really. Uh, okay. We've got that sled there, which I'm probably just lost out. There's no chance of it, like, showing through now. I'll have to just paint it on afterwards. But, you know, for the time being, I think we've got a pretty good little indication, yeah, pretty good little indication of this house. Most importantly, we've got the aurora in there, that back area. Um, maybe I can drop in some more paint in some parts. Like I can ship some paint around, perhaps. I think this area of the sky could do with a little bit of darkening here. Other than that, I think the rest of it looks quite okay. Um, maybe up the top, I could darken a touch, as well. You know, there's always something that you can do and you've got to at some point, say to yourself, Hey, I'm just gonna kind of leave it. Move this down a little bit. Yeah. Okay. These darker purples really just help to bring it out. Better. Just a bit of it's kind of just a bit of layering over the top. And while the paper is still wet, you've really got the best opportunity to do this. Once it's dried, that's it. It's done. Some more darkness, maybe now down the front this to help increase that sense of depth through the back of the scene. Okay, good. I think I will actually Yeah, I think I'll actually dry this one off. Just feather this bit here. It just looks a bit funny. Yep, let's give it a quick little dry 5. Aurora Painting Darks: Okay, so we've got the aurora in now through the background. I will start putting on some of that bluish value for the rooftop. It just needs to be a little darker. Um, yeah, at this sort of consistency. And, I reckon I'll just go over that. Yeah. Oops. The bring this down to the edge of the roof below. Good. Kate. Great. I just want to rub out a bit of this color with lift off for touch. This should be brighter. Just using a little filbert brush. You can use any sort of brush to scrub away at the paint to do this. And yeah, it creates sort of a bit of softer areas. I want to see if I can get it a bit lighter. Yep. Good. Okay, let's put in some of these trees and bits and pieces here in the background. So I'm going to use a fan brush for this to make it easier for me. Gonna use purple and a bit of brown mixed together to create a really dark, really, really dark sort of value. We know that we kind of got to start off right here. Okay. There. I might actually just wet down this paper first because I want it to spread a little. It looks too. It just needs to spread a little bit. So that would be here. Just make it easier to paint, if it's a bit wet some little trees going behind. Sometimes if you have a small brush, small rigor brush, this will help as well to just indicate these details. I really like using rigger brushes for this reason. Subtly indicate some details back there. But, yeah, you only want some of it to be some of it to be soft and the rest of it to just be a bit sharper. So I'm trying to make sure I've got both elements in here. Me purple. It's kind of, like, purple and brown. It's really dark. A off in the distance. Here we go. Hopefully, that's also going to make the sky pop out more. You just have to go darker with these little areas. Yep. And you can see here, of course, leaves some trees going upwards. I'm using really dark paint. It's the same stuff, really, purple plus, purple plus, a brown These trees actually coming from here, further down the page there. Yep, let's just show where they're coming from first. And maybe here. I don't want to make them go too high. It just starts to disrupt the shape of the aurora. There is a tree here, like a larger tree. Just put that in. This one goes up a bit further, but, again, I don't want it to really take up too much real estate. Um, leave I want to leave the top as unencumbered as possible. There you go. Just like another tree there, another tree there, some smaller ones back here. Just some bird calls really going upwards. Like that. So trees. There's some more here. Look, just, you'll be just putting these up at same time. I reckon I'm gonna need to actually darken the foreground a little bit, as well. It's not dark enough. It needs to be a little bit more. And again, this sort of section to the left, I don't want it to go too far up and disrupt the detail up the top. Okay. Me brown and purple together. And I'm gonna get in the side of this house. If it mixes a bit, I'm not fast. Alight. Good. And yeah, like I said before, I think this bottom part does need to be darkened. A good amount. I'm going to grab some ultramarine blue. We'll actually give this a quick dry first. 6. Aurora Finishing: Flat brush and ultramarine blue. And I'm going to go across this base with this blue and maybe a bit of purple mixed in here to roughly get it to the same color as the sky, hopefully. Same value as the sky, I mean. Yep. I'm putting more saturated sort of blue values in here as well. Okay? Just enough to just get rid of some of that light. Okay, good. This sort of goes on to the building here now. I don't need to really do too much. I'm just going to start darkening behind a bit again. Realize this area behind the house really needs to I really think that just needs to pop more. I've not gotten much of that indication sort of area in dark enough, so this might help Okay. Kind of like a secondary layer, I guess. This sort of makes the roof the color of the roof pop out a little bit more. Um, yeah, this area on the right, it's pretty dark. I don't feel there's much else I need to do there. But yeah, just mixing more of this really dark paint cause I think this area here could do with an extra, you know, touch of color. Okay, good. And I reckon I can start putting in some small details of the fence here. Little indications of the fence. Cross like this. There's some details on like the doors. Like there's a door here that looks pretty dark. You color that part in. Okay, like that. You get bit of maybe shadow underneath the rooftop like this. It's just a bit of the white exposed in areas. I don't get rid of that. Normally, I wouldn't mind that, but it stands out so much in this scene. Um, here it's this whole what you may call it, this, sled below, but I'm just putting in some tiny details again on the house. Okay. I might go in with some guash for that one, but, yeah. Uh yep. It's we can maybe put in a person here. Why not? Just sort of standing the front of the house. And here is what you call it, this sled, which I will indicate in a very rough manner. There's this tree again that kind of got raised a bit before, so I can go back in, pop it back in there. There's a lot of paint, really sort of dark paint this whole area. That's another indication of that sled. Back there, you know, you probably got a few more, you know, verticals running through like that. Good top part. It What's this side? There's some little I don't know, little details I can just indicate there. Rooftop. I've forgotten to get in the chimney there. It doesn't matter. Might just add in a bit more darkness here on the left side of the house. I feel like its needs a bit more a little bit more darkness there. Scratch out a window or something. Some more branches coming through. Quick dry. Alright, a little bit of water, and I'm just going to use a little brush here to rub off and lift some areas to maybe bring back some small contrasts in the snow so that we've got, I guess, some lighter bits running through. Okay. I don't have to do this, but I think it's a good little finishing touch. Oh, let me just get this back area in. There's just some areas that are actually a little lighter, so it helps to use this lifting off technique, especially maybe here on the edges of the house. You know, you'll get a bit of snow build up perhaps there. Um, on the roof, can we sort of indicate something maybe a little bit Lighter bits throughout the bottom of the scene as well, to kind of balance it out there, now that we have some lighter bits up there, just a touchdown below can kind of help. All right. I'm going to put some of those little slate patterns, not slate patterns, but the little wood patterns wooden board patterns across here, let's see how we do. There we go. That looks a little bit better. Um, the left side of the house here probably could do with a bit more um, no, like a bit more contrast around the outer edges, just to bring it out more. Just going to outline that edge a bit like that. Hopefully, it just makes it come out a little bit more from the darkness back there. And same sort of deal, I might just pick up some paint, see if I can get in a few kind of marks just running through. That. Okay. I almost can't tell that there's a figure there just indicate a bit better like that. Legs. Maybe arms, the head as well. There. Right off. Right, so some finishing touches, we want to get some, I guess, of those stars in. And I'm gonna pick up a smaller brush and also some guash. So I've just got a little round brush, a bit of white guash here. Okay? I want to put enough water to activate it. Okay? And what we want to do is just kind of tap the brush like this. And this will create these sort of starry sort of effects. Okay. In parts of the painting. And I'm trying to just cover up parts of the bottom as well so that it doesn't move around too much, and also so that none of these sort of stars, the sort of starry like effect starts to start to affect anything further down below. Okay. Right. And we are finished. H. I'm just going to lift off a bit of paint here near the fence to hopefully maybe show the light maybe seeping through some areas here. Um, it's not a big deal, but just something something there. Okay. A little bit of white gouache again to just indicate some details on the house. These little frames of things here as well. C just see running through. Um you don't have to overdo it. Just a little bit. This just get the windows in. Fish. 7. Mountain Road Drawing: Right, so what we're going to do first is I want to just get in this kind of mountain coming in from the side of the scene, coming down here into the end, maybe the end of the road and then disappearing a little bit further to the right like that. Now, on top of the mountain, there are these sort of ridges kind of see just lots of these little interesting ridges, and they form, some of them almost look a bit blocky or squarish, but yeah, they curve down downwards like that. Okay. And, of course, here in the back, we also have we also have these snowy mountains. These are the interesting mountains that I really want to get in. So let's put these in, okay? I'm going to make it go up. There's not much of the sky here. I'm just really trying to get the main details of this mountain. And there's actually a fair bit of the mountain that's obscured on the right hand side here with these clouds, okay? And whether I'm going to put those clouds in or not, we will see for later. But we can put in a bit of the detail of the actual mountain itself. So here you can see kind of on the left, we've got these white spots here, and I'm going to just create a bit of a little kind of drawing on there for the white spots. Okay? This is, like, a bit of the snow. You want to get in as well. And here's the interesting part because as you move further down the mountain as well, it just starts to change to a kind of a warmer color. Okay, half the mountain, if you look at it, there are these striations running through the mountain and sort of halfway through almost like this. A lot of that will be getting in with yeah, a lot of that will be getting in with a second wash afterwards. Let's get this part in here to the right, bit of light there as well. A lot of this stuff I'm really going to just get in afterwards. I don't want to spend too much time. Yeah, I don't want to spend too much time drawing this in because it's actually so much detail in here. There's a ridge here and then kind of all this darkness there to the left. Some more ridges here. A lot of the snow capped areas are on top. Okay, so a little bit of a sketch like that. Now time to get in this road. I can see it sort of this winding road comes all the way through there, and then it just dips a bit and then just disappears off into the distance to the right a little bit. Okay? Let's do the same thing here. And then it sort of just juts off to the right like this. Probably more like that, actually. So we've got the road in. Now all we need to do is put in some of these outlines, I guess, for the trees, some of the trees here. There's so many of them varying in size as well, and shape, and sort of smaller ones out the back. Can paint a lot of this wet into wet. Okay. Okay. That should be it. So we can get started now on the painting. 8. Mountain Road Painting Light: Okay, so the first thing I want to do is get in these back mountains, and I'm going to use some Cerulian blue for this, just make sure I wet up a nice mixture of this cerulian blue. And I'm using maybe about 15% paint and the rest of it water. So let's go in there. Okay, looking good. Now, I have kind of outlined parts of it that I've left white, so just kind of make sure you cut around some of those white areas, but I'm mainly just looking at the reference, okay. And looking at where the areas that are not white, where they lie and essentially painting those bits in. Okay. Leaving a bit of white showing through. It does work a lot easily, a lot more easier if you use sort of rough textured paper. Yeah, leaving little bits of white here and there. You know, here's another sort of bit there as well. Let's have a look coming down here. There. Good running down the page. Okay. Just going to cut around this bit there, that little ridge. Moving this further down. Now, as we get further down around here, this is where the light actually starts turning a bit more warm because the rocks have that kind of warm quality to them. But there are still some bits of blue that I need to get in, for example, here, this ridge there, you know, there's a bit of shadow coming here. You know, this whole section actually is kind of bluish, so color this part in there. I want to do this fairly quickly so I can blend it down below as well. More blue in parts. And this whole section here is going to be also like this cerulean blue value Um, Yep, it's kind of the left hand side of the mountain. And then the right hand side here is just pretty much white, okay, with a bit of blue maybe coming through in some areas like that. Okay. Just having a very close look to see. Um, yeah, just really have a close look to see if there's any other points of shadow, obvious points of shadow that I want to put in up the top kind of ice capped area of the mountains. Um, it's looking quite. It's looking quite okay, actually. So what I will do now is let's just bring this further down. I'm going to mix up some yellow oca, maybe some brown. This is just a bit of burnt sienna. And I'll see if I can just drop in a little bit of this yellow oca burnt sienna mix further down, okay? And I'm just going to blend this on nicely with the um, with the blue up on top. All right. There you can see it. Just the whole section here is, you know, there's a more warmer tinge to everything, so we really want to make that clear that it just blends in nicely to that area, okay? Uh, Good. It doesn't look like much at the moment. Once we put in some more details and the striations running through there, it's gonna look better, maybe a bit of darker brown here as well. Um, Great, great. Let's have a look, sort of sit back and have a quick look at everything. Maybe some more here. It actually runs into the blue, a little bit more to the left like that. Yep, that left hand side anyway. And go. Bit there, a bit here, maybe. Yeah, just letting it kind of run a little bit through and mix with the blue. Alright? Okay, so let's move down into the rest of this scene, and I'm going to pick up some brownie kind of color again. This is, again, burnt sienna. But I might dull it down with a bit of blue just to yeah, sort of gray this whole. Section down a little bit. And strop that in. That's too light. I'm going to add some more water. Okay, good. It's just this kind of ridge up here, and it's actually darker than the sky. But it's, there's still a fair bit of light in there, so we don't want to eliminate all that light. I'm going to use some more yellow ochre in here. Maybe add in a bit of blue as well. Okay? Just the kind of ridge that runs up maybe around this mountain. I'm going to get it to kind of overlap a little bit, as well here. It's no big deal. I might have to re emphasize that afterwards, though. And this becomes darker, as well. So definitely keep in mind that you're mixing more water more paint into this mix. And I've got some other greens some darker greens that I'm going to be adding in as we move down the page here as well. Still in this part of the scene, there are, you know, a good amount of sort of bluish value. So I'm going to add in a little more cerulean through here, even. Even though it's like, you know, there's areas that are slightly warm. I think a little bit of cerulian in there just go to help to balance it more. And, of course, down the base, as well, we've got a lot of little, you know, warmer colors. We've got some Oops. I shouldn't be that sort of warm, but maybe a bit of color for these trees. Kate, really, I want to make that a lot darker, lighter, sorry, a lot lighter. So some orange maybe in there. Let's just continue on. Adding. Some of these, like, autumn colors. You get some here as well. And all this stuff, you really want to just imply a quick few little brush strokes, really, more yellow ochre. I don't want it to be too vibrant. The trap here is to really just go through and overdo it. But yeah, I don't want that at all. Here down the side, I'm grabbing some brown and a bit of green as well. Here, maybe a bit more green. There we go. And let's just blend that through like this. Now, what am I doing with this road? I'm just put in some more orange here. Some of this other stuff I'm gonna have to add more details in afterwards. Let's I've got a bit of stuff going into the sky. You can also dab off areas of paint that you feel have, maybe just added just spread up a bit too far, can do that with a bit of tissue paper. Great. Right. Now, more of this orange sort of stuff going on here, bits and pieces. But really, for the most part, we've actually got a lot of darker greens, but for the time being, I'm going to just get in a really light wash of darker green, but just diluted down because I think for the second wash, we really can get into details with that and the darkness. For this wash, I want to emphasize that light, strong light. Great. So now I'm going to put in a bit of the road, a bit of white guh. And just mixing it with the leftover remains on the palate. And this is going to create some kind of this grayish color. Let's put that through there, keeping it really light. Okay? It's difficult these roads because you don't want to make them stick out too much, but you still need to make them look like they exist, at least. Okay? Some of the paint will run down. That's no big deal. Alright? Bit of that road heading out the back there into the scene. I'll just lift off a little bit of paint, as well to make it really pop a bit more. Okay. And, you know, we can make it pop out also by adding some darkness in the front of the scene. So yeah, look, it's not a big deal. And over here, I'm going to start adding in some green, some darker green. A few darker greens here. Let's drop that in. This whole area should kind of be nicely blended in to the rest of this. So, of course, you're going to get a bit of, you know, a bit of sharper edges here. For some of the trees, that's fine. So I'm just going to cut around parts of them like that. Come down. This is kind of darker green paint, of course. And you can see here how the mountains, well, not mountains, but this hill area just goes up and comes down right at the back there, the front there. Let's just add some more green to the top left hand corner again, like that. Good, good. So I think what I'm going to do is let this dry a little bit. We'll come back to it in a moment. This area is kind of a bit gonna be this furry stuff happening in the back. Doesn't matter. You know, let's just leave it for the time being. We'll get in the rest of it in a moment. Sort of looking to see how the mountains look. I think that's fine. I like to also use a small round brush to put in details of trees, okay? So some darker green again and maybe mix it in with some purple just to get it pretty dark. And it's almost no paint, no water. It's just paint. So here, look at this. I can add in a few little wet and wet trees existing on the edges of this scene here, okay? So parts here. I think it's best to do this while the paint is wet. Otherwise, it's going to look too, it's just these trees are just going to stick out too much and not be the best. Okay, so here, there, you know, as well, you can sort of see little ones, you know, little points of darkness, I guess, running through here and just some of these most, it's not lions, but you can see areas of growth, I suppose. Okay. But, you know, at the moment, all we're doing is just indicating some details. That's all we want to that's all we want to imply with this sort of stuff here. Okay. All right. And, you know, we've also got the light running left from right to left. So some of these trees are going to obviously cast a shadow to the left and we want to imply that kind of on the road. So firstly, I'm just going to add in a few of these other trees surrounding the sunlit areas of the trees, I guess. Okay, e Great. I will also add in maybe a bit of ultramarine blue here. I've got some purple. I got some purple as well. That's going to look nice. To create a bit of a softness and might just spray this area a little so that I've got a softer shadow running through. Just coming through that sort of section. Okay, good. Okay 9. Mountain Road Painting Darks: And you can see some dark shadows on the road right in the back there. Lift off a bit of paint, but you can see these shadows kind of run across the road like this. There's some little bit closer to the front of the scene like here. Like that just sort of joining up maybe with some trees, some larger ones here, and then of course, you've got this really dark region here in the front, which I want to get in and of course, get it to spread a little bit to the left as well. Yep. Of course, we don't want to get rid of all this beautiful beautiful color. So I'm just trying to use this. It's like a rigor brush, really, it's a rigor brush with a larger kind of belly, okay, just to sort of scumble this brush across, move that upward so that we've still got some yep, some darkness in here, but at the same time, you know, we've got a lot of that nice amazing sort of darkness, as well. And, of course, the light light of um, those purples. Now, another thing we want to do is try to use complimentares. So you can see here I'm using a lot of purples, and that's going to compliment with the um, yeah, with all this orange in here. So, you know, I'm trying to add in some other trees and things here in the back. Maybe I'll get one running through here like that. Let's have a look some more green. Let's add in a bit of green for this part here, perhaps. Um, you can add stuff in and then lift it out quickly, as well if you want it to be lighter. I just want to create areas of contrast in some points. I'm not obsessed with this, but just you want it to look a bit more inviting. And also some of these, like, trees, you'll notice some of them are still warm, but they're a little darker than the others. So, you know, you can add in a bit of contrast there. You can even add in a bit of subdued green for some of them, you know, running through. And, of course, down the base, there might be some bits of green here. Well, near the road. Okay. There's actually a lot of little trees here, small round brush and a bit of this color. I'm just going to add a bit of this in just here just a few little maybe marks, I guess, before this orange these orange trees kind of start off, Kay. I want to move that shadow a little bit to the left, as well. Yep. Good. So darker trees in areas here and there, out the back. You really have some quite dark trees in some parts, especially out here. So I'm really trying to add these in without much sort of fiddling around at all. Okay. And some of these I can bring back a bit later with some scrubbing out work. But for the time being, this looks pretty good. All right, great. So I've got a little flat brush here and Okay, great. So I've got a little flat brush here. All right, so I've got a little flat brush here, and I'm going to mix up a bit of this purplish value, purplish color that I have on the palette. It doesn't really matter what color it is, as long as it's a darker kind of color for this. And I want to maybe put in a bit of blue, little bit of blue. I really want to just put in these little striations and details on the mountain. So you can see here just this little little area like that. There's a little ridge that runs across down the white area there, down like that. You're really just picking out some spots to do this. Um, and if you dry if you do a bit of dry brush as well, it makes this actually a lot easier in parts because it sort of skips over the paper touch. So that's a little bit there. You know, here, there's actually some little striations running through, and they run horizontally. So this flat brush does a great job at implying this detail because you only need to kind of run it through once, really. You can use the edge of the brush like that as well. Okay. I want to make this really kind of subdued. I don't want to spend too much time on this, but it is important to, of course, take enough care to indicate these little darker parts in the mountains, because that's what at the end of the day, makes them look like mountains. So over here, you know, even some of these, they probably should be darker. Let me grab a smaller smaller flat brush. I think this is just going to work with a smaller flat brush. Yep. Good. M. Some spots here that are going to be darker, of course, you've got these little, you know, these little dry marks that run through like that. What else have we got? Um, it's these little strations that run through that are important to imply, like that. Dry the brush, continue on. And they continue on further down, as you can see here, these ones just pretty detailed. And as you move further down, you start to see things like these ridges. Like, they are these smaller kind of ridges, and they leave behind a bit of the yellow on the mountains. So my goal is not to get rid of all the yellow, but just to kind of cut around it a bit, okay? Like this might blend with this wash below. That's no big deal. Let's just go with it. Um, There's a large shadow kind of running here from this sort of point of the mountain there, running down to the left. It's just blue. Bit of ultramarine, really, for that should do the trick. And again, yeah, you don't have to make this look exactly like the reference. I'm just using it to get in an indication of everything, but, you know, there's a reason why they call the reference. There look some more bits and pieces. You're just kind of cutting around in some spots and leaving other spots to show through. All right. I can simplify these mountains down a few little brushstrokes. That's going to be the best case scenario, really. And, of course, you know, put in some darker bits as well, running through. So we've got some areas that just look a bit more convincing. Darken parts again. You just have to sometimes go through and touch up here and there, which is, uh, ridges running through this one as well? I mean, they all just sort of run downwards, to be honest. Then here it's dark. Again, you know, at some point, you stop looking at the reference and just go with the flow, I suppose, you can say. Okay. Good. Alrighty. So now with the sky, I'm going to put in a bit of cerulean blue to just just bring everything out of the mountains. Okay? Really, I'm using quite a dark wash of cerulan for this. Start right at the top. This and I'm going to just cut around everything, like the mountains, this is important as well with the mountains that you want to make sure you leave some white in areas. These ridges, for example, they're going to have a bit of white there. Because you only get one chance to do this to cut around. Flat brushes work incredibly don't worry about the clouds. We can get some in afterwards. Just to create the shape of these mountains because we've we have to get these in sharper mountains anyway like that. Great. Just with a flat brush. Left hand side, let's get some of this stuff in. I might I don't know, I'm just thinking of leaving a bit of white in areas. Just have a look to see what it appears like for a second. Look a bit funny. Yeah, I think it's probably not fitting these bits of white. Um, Look we can leave some parts on maybe have a look. Let's just get rid of them. Why not? I can bring some back with some guash if I need to, but it just looks a bit out of place at the moment. And also would be good to have a bit of blue running through, I don't know, just some ridges or whatever, maybe running through here just to indicate because it doesn't quite look like it looks a little bit bare in this spot. But those are also mountains. Good, good. All right, so let's leave this all to dry and we will come back to it. 10. Mountain Road Finishing: Alright, some final finishing touches now on this scene, and we're going to add in a few more dark areas, perhaps, do some lifting out. It's mostly done, but there's just a few little things that I want to do. So firstly, let's have a look at these trees. Now, first, you got to look and see, does it kind of, you know, Ali is this area dark enough? And I don't think so. I think we can certainly put in a little bit more color, a little bit more darkness. I'm going to pick up some purple, a bit of green and purple mixed together. And perhaps, I might actually wet this area a little so that I can get this painting without it moving around too much. Okay, there we go. Just a bit of purple here, and this hopefully will kind of line the road a bit in areas. Yep. Create a bit more contrast, another layer of paint, another layer of darkness here. And it will also allow me to maybe get in a bit more indication of these shadows. Now, the shadows can't be as dark as this layer of paint, so it just has to be a little bit more subdued like that. Yeah, I just want to darken some of these touch, but still indicate that side of the road. Obviously, here, again, this is another element. I just want to indicate more, more blue, more purple here, just for this shadow here, running behind and going to the edges of the scene. This is really going to help Definitely really going to help it look more three dimensional. Yep. I might drop in a bit of paint underneath as well here. There we are. More brown. A little bit more brown up in the edges, okay? Good. Good. These areas in the back I don't mind. They're looking quite fine, but you can sort of outline in some parts again. All right. And I've got a fillet brush, which is good for lifting. Darken this part a bit here near the foreground. Need that. Filled with brush and a bit of tissue. Here, I can just kind of lift some paint, bit of water, just rub on to the scene, lift off. So maybe I want to create a lighter looking tree here, scrub, lift off. Outline this one a bit more. We'll make this one more obvious. Scrub lift off. Maybe here, we can get in an edge of another tree. There'll be going lift off there as well. You always have to remember to have other tree sort of coming in between them, as well. I think otherwise, it looks too. Yep. That's better. Change the shape of some of them. Yep. It dry brush, little bits of dry brush work. Does the trick. Kind of just bringing out some details of the trees. So sharper details, I suppose, which might be helpful. At the back. It does help to have a brush that looks a bit like a tree in the first place. Just a round brush. Tap on a few of those like that. The gonna create some shadows running to the left again, or not. Good. A little bit more lifting off work in this area to create more shapes or I guess, the feeling of softness, leaves, that kind of thing. So it is just a bit of water and lifting off work and supplementing in places with extra green and parts. You know, you've just got to have that combination of soft and sharper sort of shapes. And together, they look more convincing. Yes sir. Bit more up in the corner here as well, these help to frame the scene when you've got some trees in the corners. That's why I normally put them in. I try to put some trees in the edges of scenes at times. I want to just lift off color in areas of the road, maybe outlining the road. That's not what I want. Just color that back in a second. Maybe out in the back would be a good place to start before. I'll let all this stuff in the foreground finish drying off first because there's too much at the moment going on in here. But out here, I can pick up a filbert brush. Kind of wipe on to this sort of section like that. Lift off, and then it creates a bit of a road that maybe ends here. Lift off there. Okay. So it looks a little bit more like a road, I guess. Running into the distance, of course, I'll need to put on maybe some shadows, quick little shadows running across as well. Some little trees maybe there. It's just a way to, I guess, bring out the areas of the road, make it look more um, road like, I suppose, the pathway to the road anyway. Okay, I just need to do it in some parts here and there, break up this all this color. More brown maybe in here, as well. Yep. Do you have a little pocket knife, and that can help greatly, as well. One thing I've forgotten to do is maybe get in a bit of color up to the top this whole section. These little striations or whatever near the tops of these rocks. Yeah. Maybe better just to kind of leave it leave it as is. Um Let me see if I can get in this ridge better with a bit of green. Maybe this running down here. There, yep. Soften this a bit off. Move it down. Just so that it creates a little bit of darkness up there, but also soft and make a nice little ridge which then I can go in with some bluish paint, maybe. I think what's going to work best is if I use a flat brush or this in parts here and there. No fussed about the details, little bits here and there. They sort of look like they're catching the light as it hits. You can also just, you know, outline some other little details that might have been lost out in the first wash, like the sort of sharper edges of the mountains here in the back, you can just indicate a little bit more something in parts. You still got these very light striations running across the mountains that you got to preserve. And I'm going to just also use the filbet brush to lift off a bit of paint here. Scrub to create this smoky effect that you see just scrub on lift off like that. And you can just quite easily create that same sort of effect that you see in the reference. You don't have to do this, but I think it's going to look nicer. We kind of create a bit of something in the sky. It's tricky. It's easy to overdo it as well if you're not careful. I almost tempted to put a bit over this side as well, just to even the whole thing out. Yep. Well, it dry. I'll lift off a touch of paint here in the foreground, as well, just for this road that comes in, I guess, the edge of the road, like that. Okay, so that it just sort of looks like it's it's an actual road, of course, there's another bit of something running through here. That don't even need to lift off, but that it shows up. You know, you have parts of the road or that just sort of come through these markings on the road. Um, yeah, you've just got to indicate them in a very sort of subtle way. Extra little extra darkness in some parts here. But apart from that, it's looking pretty decent. Okay. I just outlining the edge of the road a little bit again to try to bring it out. You just have to really be quite sparing with how you do it. Final bit of lifting out work. And all this stuff is just bonus work, really. Soften this down. Not all of it. So sharpness will be good, too. All right, and we're finished. 11. Mountain Town Drawing: Righty, let's go ahead and get started with the drawing. And what I'm going to do first is I'm going to get in this general sort of area of snow here in the front, and I actually want to maybe raise it up just a little bit rather than it being all the way down the front so there's kind of a big mound of snow here at the front. Okay, to the left hand side. I'm going really light, as well, just to make sure. Yeah, just to make sure that, uh, it doesn't look too obvious where I've drawn in. So it sort of goes up here, then it goes all the way across, maybe up to the back, disappears, maybe a little bit further past the center of the page. But in the reference photo, it's actually in the center of the page, but I just want to make it actually go up a bit further than that, just so that I've got more foreground. Now, let's have a look we'd have to get in all these little houses, and I know there's one here, so I think I'll draw in this one first, okay? That's sort of like the rooftop, and then the bottom of the house here. There's a couple of windows, one here, one there, one sort of window here to the left. And then you've got kind of, like, a little bit of that detail on top. A lot of these houses, you can see, they sort of just overlap with each other. So you want to make sure that they are yeah, that you're conveying that. And here is this sort of larger one. You can see the bottom of the roof sort of, you know, it's this trapezoidal shape that comes downwards like this. And there's this kind of triangular rooftop, again, as usual, coming down here. There's on the bottom there, there's all this sort of snow, and there's a tree here as well, okay? And we're kind of having a look at where, you know, roughly where the light source is coming from. It's almost like it's coming from the you know, the top left hand corner of the scene. So we're going to have to preserve a fair bit of this light on the buildings. Here's another building here, just behind. I'm going to get that in. It's actually got, that's probably a bit better. This another honestly, it doesn't really matter exactly where the buildings are. But, of course, you want to pay enough attention so that we've got enough room for all of these little houses, okay? So that's kind of like the bottom part of one of those houses. That's like the front of it actually here. Triangular sort of bit. And I know the top of this house sort of starts here. There we go, like that. There, there we go. That's another sort of one like this. Okay? Another house. There's another one here kind of going up on the hill just behind it, so I'll get that one in there as well. That's it's the great thing about all these houses that they just overlap, so you don't have to you don't have to kind of draw the entire shape of all of them in. You kind of just overlap them. And that's just a triangle there as well, like that. And then underneath again, there's another house, and it's kind of like, again, sort of triangular part there, and the side of it here, like that. Then the bottom of the house here, there is also this part of the roof there and it kind of comes across like that, that right hand side of the house. Just sometimes I've got to straighten out these lines a bit, like this. There we go. But, you know, let's not get too obsessed over all the tiny little details, okay? There is this kind of, I don't know, like, a little shade here underneath this part of the building. So just kind of draw that in. That's in front of the house. It kind of goes down a bit further like that. And then there's just sort of snow covering it and some trees here. Okay? Something here in the front. I don't know what that is. I reckon I'll just leave it. We've got still that amount of snow. There's other sort of little blocky bits of snow, a bit of darker bit of snow there as well. Behind here, there's an interesting looking little shack I want to put in. So let's get this in. It's a rooftop like that. There we go. I guess it might just overlap a bit more with this building. That's fine. I'm not fussed. Okay, there we go. That's the sort of rooftop of it. Either right hand side. Yep. This is all going to be, pretty much it, I think for the buildings. I don't have anything quite really anything else to put in there. Now, here in the background, we've got quite a bit going on. We've first got all these mountains, so let's draw them in. I'm going to just use edge my pencil like this and just get in this first layer kind of mountains here. Okay, I want to make them maybe a little bit taller than they are higher than they are in the reference. Again, it's just it's a preference, and sort of change things around, if you will. There's another shack here. I almost missed it. I might just get in the rooftop, something like that so that it looks like there's something here in the distance. Okay? While we're at it. Let's put in some of these other pine trees or whatever. Yet pointed looking trees, Christmasy Christmasy sort of trees going in like that. Okay? That sort of that layer, and you can see them all kind of form a bit of this break here, and this is going to be great afterwards as a bit of a guide for our pencil work, okay? So see them kind of come down, and there's a shrub here as well coming into the foreground. Yeah. But these little trees are going to help to indicate a sort of, it's going to indicate the snow a bit better because it's going to be a bit of, like, negative painting. Let's have a look what's going on here in the background now. We do have another layer of mountains here in the distance. I'm going to put that in a little bit of something here. No big deal, something comes forward here. There's a peak, mountain peak here. Comes down, sort of, there's shadow there. There's a bit of something here, and then goes up again. There's a peak here, mountain peak coming down, and then you've got these sort of, you know, bits that just run to the right as well. And these peaks, you can see here, they kind of got a bit of detail in them, as well. So just kind of color in a bit here and there, but it's not a big deal. The background mountains, you always have to remember mountains in the background are going to be darker than lighter than the ones here in the front and the sky and the snow are pretty much gonna be the lightest elements in this scene. 12. Mountain Town Painting: Alright, let's start with the first wash, and I'm going to use some really light paint, some cerulan blue, almost diluted down to nothing about 1%, maybe cerulean blue. The rest of it is just water. And I'm going to carry this wash all the way down. Right. Carry this wash all the way down. And we're going to go over the top of some of these mountains, as well. Let's just do a bit of cutting around work like this. Okay. Now, these mountains in the back are actually a little bit lighter, a little bit darker than the sky. So we can indicate that afterwards. But for the time being, I will just do a bit of sort of cutting around work, okay, like that. This is just cerulean blue. I find that's a great way to indicate some of this snow and it reflects the blue light that's not able to be absorbed, okay? I'm going to go to go over this again a second round afterwards to make it, you know, properly dark. But this is going to do just fine. For now, yeah, just so that this wash goes all the way through, essentially. Okay, you leave bits of white running through as well. That helps. And we've got this sort of second layer of mountains directly below. So again, I'm just going to flood that with some blue, you know, a bit of blue and we'll leave some white of the paper as well in there, okay? Moving all the way down the page. Alright. And let's have a look. Now, we're getting into this sort of snowy region, okay? This snowy kind of region. Um, and what I will do is start putting on this area sort of dry a tiny bit first. But just in the snow, I think what would be nice is if I just start putting on a little bit of this grayish value. Okay? I've already got some pre mixed gray on the leftover from my previous wash, but just any kind of grays fine. Mix your three primaries together, okay? And you can see here in the snow, there's just some gray, you know, bits here and there. It's kind of like a slightly cooler gray, but it's just mix a bit of ultramarine into this gray to just cool it down a touch. Okay, there we go. Yeah. Yeah, there we go. This is a little mound of snow as you can see here that I can just paint in bit bit by bit. Keep it really light. You can see here in the ground as well. You've got some other sort of bits of snow, darker parts here and there. This is really your chance to just get indication of some of this at these troughs, peaks and troughs running through the snow, okay? Um, yeah, keep it so light. I mean, I'm just using a tiny bit of a tiny bit of paint. That's it. Just a tiny little bit of paint. You know, there's a bit sort of running in here as well, underneath this house there, um, like that. Underneath here as well. Okay? Do you notice bit of it underneath areas of the house, like here as well? Um Yep. And I might put in just for the sake of this painting so that it looks a bit more so that there's a bit more color down at the base. I'm just adding a little bit of cerulean blue, very, very light wash of it. It's almost nothing, okay? Just a little bit of something there. You've even got these little sort of, you know, little footprints running through the scene, all the way running through to the back like this. Like that kind of leading into the scene. That really does help, maybe a little kind of other this trail running over there that I want to sort of wet this part of it as well, just to yeah create some softness. There should be some softer edges around these bits of snow, some parts of it anywhere. I just want to soften that down a touch because parts of it look a little too harsh at the moment. There we go. Just soften some of this stuff down. I can go back into it afterwards. Anyway. Um, Yeah. But I like these kind of little little footprints that you can just sort of put in here. It could be a sled or something as well. You can just see some marks running there. It's just indicative kind of work, and you're not really too focused on making sure it's like 100%, you know, accurate, just enough us enough to imply what's happening. In there, this maybe should be a bit darker here. Yep. There we go. More blue there a little bit more blue. Okay. There's even some darker bits of snow here in the background. You can see just these little bits, peaks and troughs here running through the back. Okay. But you want to leave enough white back there, as well, because when we start putting in these trees, it's going to make more sense. The light's going to start coming out from the snow. So I've got a larger but maybe not such a large one, maybe a medium sized round brush. I'm gonna mix up some green. I've got a whole bunch of green on my palette anyway, but all you need to do is just mix up maybe a bit of blue bit of yellow to get yourself a dark green. And if you mix more blue in that you're going to get definitely gonna get more of a darker sort of green color. I like to mix a little purple in it sometimes as well. Yeah. But I've got a few different, you know, sort of greenish values here. Now, let's go and drop this in. Let's have a look here. There we go. Now, it's kind of it's almost it's almost black in some parts. I want to just make sure I've got some blue in there as well to really darken this off. There we go. That's better. And you can see here I'm just sort of feathering this brush in to the previous wash, which is still wet. Right? And then I'm also cutting around this little building underneath that. Okay. Very sort of light indications of what is happening back there. And really kind of goes all the way down here, to be honest, like, just behind this part. The snow. Let's keep going. And this is pretty dark. I mean, it's mostly paint in here. It's mostly paint. Some purple and green 'cause I just want to darken down that. Yeah, I just want to darken down the um the green a bit more. Drop in little kind of, you know, sideward parts, there you go cut around this sort of mound. Snow here, this is a lot of dry brush work now because all this area is pretty much dried. I need to mix up more of this paint. There's not enough in here. It looks too. There we go. That's better. Just cut around this, um, sort of mound of snow. Near the base of some of these, I just really want to make sure I'm darkening enough because, yes, some of them just do not look dark enough to my liking. Here we go. Nice, sharp border where it hits the snow. Cut around this building. Yep, there we go, just really nice and dark behind that building. You can leave some looking a bit lighter as well. They don't have to be super dark, but I find that if you make them darker, the contrasts really, really start to pop out more. Okay, I'm going to go down here. Now, in this area, there's actually, I should have put a house closer up here, but it doesn't matter. More green, a little bit more green now, it's kind of a bit too purple. But it doesn't matter as long as you got a dark value in there, you'll be fine. It's cut around that rooftop. Yeah, there we go. And I like to do this all in one go because, you know, it's gonna look better, in my opinion. Okay, that sort of house there that was on the hill the back. I'm going to bring that out of touch. You do have permission to change things a bit and exaggerate with watercolors. Don't want to make everything look too picture perfect exactly like the reference. Sometimes the reference needs a bit of work itself. So this tree here has kind of got way more detail. Let me see if I can imply some more of this goes up all the way to here. There we go. Let's just try to imply some of that. Yep. K. There you are. So we've got that sort of tree line there in the background. This roof is looking a bit wonky. I'll just fix this up. It's looks a bit better now. Well, maybe just straighten up this area. Yep, angle it off. Okay. Great. All right. So now we've got definitely, like, a much more, you know, strong indication of snow. Down here, I've noticed there is, like, a lighter shrub. I mix a bit of yellow into it as well, so that it's kind of like more of a more contrast in it. Something here, just, you know, some something growing, maybe. I don't want to overdo it as well because there's actually not much. There's almost nothing coming through here in the first place, little sticks, really, dead sticks. But, uh, look, probably more brown, as you can see, I've added in. There's this tree here that's, like, really dark, as well. I'm gonna get that one in right in front of this building there. Do we have any more? Do we have any other buildings? Not quite. No, not quite. All right. I'm going to put in a little bit of color for some of these rooftops. Some of them are a bit more kind of grayish. For example, this one here, I'll just add in a little touch of gray so light running through that right hand side, because the actual light is coming from the top left hand corner. So you're going to get more light running through the left sides of the roofs. But, you know, again, it's something it's something that you might not want to bother too much emphasizing. You can leave them all white if you want. That's going to do the trick, as well. But yeah, this is technically going to be a little more accurate. Let's just do it here. Yeah. So you got kind of variation. Some of the roofs are a little bit darker and some of them it's can have more light showing through. Okay. I'm just gonna try to make sure I cut around this block of snow better. All right. These trees here have kind of disappeared a bit, fortunately. Alright, let's put in a bit of color and stuff into the house to the houses. I've got some yellowy value. Now, these are just the darker colors that we really need to add in to finish it off, okay? A bit of yellow and a bit of purple. Okay? These are complimentary colors. And when you mix them together, it just sort of dulls them both down. So that way you can get a kind of hopefully a yellowish color that just looks very dull. You know, here we go. So this one here, let's get this sort of front part of the house here. There's just something like that. Um, yeah. There's a house behind this one here. And underneath as well, maybe a bit of darkness. And there behind as well. Yep. Good. You got some of these houses here that have more of a certainly more of a darker value here, like in the front of them. So I'm just going to darken here. All right. That's just going to indicate the light source coming from behind. There's also going to be some darkness underneath the houses like there maybe a touch of yellowish value right at the base. Okay. Okay. Just trying to find ways to simplify this really simplify this down. Um, good. Yep. Ways to kind of join up all these shapes as well. It's this house, yeah, we've got that house in there. There's a bit of this kind of house there in the background, actually. Can try to get some color like that there, but I'll leave you know, this could be another something here as well. A little building in the back little building here. The background. If you get it to mix in with the rest of the stuff, it actually looks much better. I've got brown, some darker brown. Let me just grab some of that burnt tumber, mix it with some purple, burnt tumber and purple. Let's see if we can get a really dark value. Again, here for this side of the building. We do both at the same time, actually. That There we have it. Sort of goes right to the ground. That here maybe a bit of darkness underneath the building and right here as well. And, you know, you've got this rooftop, this stark sort of rooftop here in the front of this building. So again, you're kind of doing the same thing just, like, cutting around the rest of the buildings and letting areas join. See, I'm just letting some parts of it join. I'm not really worrying too much sometimes. That's going to help it actually look more as one, you know. Sometimes you have everything that's all the houses are too separated, and then it just suddenly doesn't really make sense anymore. So I really think I need to just add some more here, yep, there underneath to help this house to come out more in the background like that. Right. Take a look further down. You know, we've got this sort of rooftop. There's a bit of darkness in here. A bit of darkness here. Let's just color this biting. Yeah, we have it. Remember this is sort of creating a bit of sharpness on the rooftop of the building below. Okay. So more here. Bottom part of that building behind. You also kind of covered in snow. What else do we have? Should be something here. I don't know what that is, but there is, like, a some shape there. And of course, this one here, I'm going to pick up more warm paint now, warm this up. There cut around this little thing that. There more yellow. Where's the yellow. Just make this a little warmer. Okay, good. To warm back again. Just has to be darker than the roof. Nice sharp edge there. Good. You got that sort of snow. Running underneath like that. Um Alright, good, good. So we've got, you know, the basic details of these buildings in now. Let's give it a quick dry, and I'm going to put in the mountains in the background. 13. Mountain Town Finishing: Okay, let's go ahead and paint these mountains here in the background, what I'm going to do just spray the bottom of this scene a little bit. That way, once I put in some of the paint it's going to hopefully spread and not go too much into these trees. So yeah, let's give this a go. I've got a large round brush. And these sort of ones in the back are going to be a little bit easier. I'm just going to pick up some blue higher concentration. Let's just get this going through. Now, of course, the temptation is to really over you know, overthink this, all we have to do is just put in a darker wash of paint so that it comes out of the sky, essentially. So we just got a bit of mountain there. I'm trying to go over some of that lead pencil, as well, by the way. There we go. Sort of cut around that larger mountain beneath. Here. What else do we have? This one here, maybe. And you've got a bit of darkness here. Let's just drop some of that in a bit of shadow running to the right. A lot of this going to try to keep soft and not too detailed to just let the paint do its thing. Okay. I can exaggerate some parts as well. You can put in a bit more white in some areas if you think that's going to look better. Okay. Just as long as these mountains at the back come forwards a little bit more, I think I'm happy with how that appears. They also run to the right, so I'm going to just make sure I'm putting in more blue here as well. Right hand side. There we go. And as you can see, sort of blends a little bit into the trees. That's no big deal. That's what we want in the first place. And we've got this big mountain here in the foreground. Midground, sorry. And I'm going to mix some blue with green, a bit of ultramarine blue with a bit of green. Uh, yeah, that's maybe going to make just a dark sort of teal color. Alright, let's go. Let's just go for it here. So this is the sort of edge. We've got some of these trees there, and interesting because you've got, like, some bits of light running through as well. So I'm just trying to drag my brush across some parts to indicate some of that light. But then also making sure I make it a little darker on the right hand side, too, because we do need these mountains to pop out a bit more oh, that's too much blue. That's right. Mop that up a little bit. Uh, yep. You get too excited, that's what happens. And I'll just put in a little bit more green in there, maybe. Doesn't matter, kay? As long as this comes forwards a bit, a bit more of that purple, bit more of that bluish value here comes down, goes to the right, comes down here. Sort of like a little wash of color in the background. Just as long as it's nice and soft, I'm not fussed. Okay? And of course, we've got all these, you know, trees here in the front. I'm really thinking I'm going to have to re jig some of these, make them, a touch darker. So yeah, I'm probably going to have to make them a touch darker again because we've got all this extra stuff I've added in here in the background. Let's just go and do this. I've got some darker paint, blue and brown. Just mix those together, ultramarine blue and a bit of brown, and I can now just drop this in and make these trees stick out a bit more. Yeah, it's difficult. Once you re wet the paper, a lot of these trees then just start to disappear. So you can bring that back. Like this. So they just pop through more. I probably won't mess too much with it further down the page because a lot of this stuff it's going to dry the same value anyway. But yeah, these trees really need to just come forwards. And the only way to do that is essentially darkening them, adding a bit more brown and blue and a bit of green, any sort of dark value to tip this back tip this forwards, I mean, And if anything, it might help just create this sense of layering with the trees some might look further back, some might kind of come forwards as well. So Yep. One bit here. I want to make this come back come forward a little bit to help shape the building if I can. Sometimes I just look at ways to take advantage of this negative painting effect as much as I can. Okay. It's not going to be perfect, but you're gonna get something decent from this. I do like some of the trees, how they're sharper on that side as well. Okay? Good. So I think those mountains actually look quite quite okay there in the distance. Might want to do something like, just tap off a bit of paint these ones in the background to lighten them a bit. Really not a big deal. I think they look fine. Little details. So I've got a small round brush here and I'm going to pick up whatever paint I've got left, and we're going to put in some final finishing touches just darken some areas like the rooftops, you know, this here, especially this is sort of, you know, this area of the roof. For some reason, it's darker on top, and then on the bottom, it's, you know, it's lighter. It's just the design of the building, I guess. So, you know, I'm going to imply that there's also some windows here on the side of this building. We can just pop those in, you know, door or something like that there there, you can really take full advantage of this these darks blue ultramarine blue and a bit of this burnt umber does it makes a great dark value as well. Oops. A little round brush. That's all you need for this. Okay, let's have a look. Maybe work on this part here. Okay. Something here as well. These couple of houses and the windows there maybe something back here as well. That sort of house there, maybe a bit of darkness under the roof like that. Here, again, sort of emphasizing that dark darkness underneath the roof area. This kind of needs to be darkened a bit as well here. You know, we have to cross to the right hand side. It's just a bit of final sort of finishing touches, really, to bring it all together. Even this little shrub, I could just darken that down a bit, add some more green in it like that. So it would look good. This little shack. You know, the funny thing about these kind of some of them have these sort of you can just see the wood woodwork. So I can just emphasize a bit of that on there. Let's have a look at this one, you know, maybe some downward sort of brushstrokes again. This one here, just some more little details like that. The underneath this rooftop, bit of darkness here. Okay. Great. I think what I'll do is now just add in a little bit of, I guess, a snow effect further down the page. So picking up some grayish paint, and you can just see areas that you could bit more blue in there, kind of like a blue gray color, cooler gray color. Seeing some areas where you've got some bits of snow like darker snow running through in spots. And you can just indicate like this just little little changes the snow. That that You can even use it to sort of cut around some of the buildings. Some of this area here in the back, I think, I need to just fiddle around with this a bit. Well, this is going to help to just bring out the rooftops of some of the houses out in the distance like there. Okay? This is going to be a bit darker here as well. There's sort of mound there. There's a sort of mound of snow here as well. Let's have a look where else little little areas that might. There could be the shadow of a tree or something more here, a bit more here. Let's get some more blue in here. You're leaving a lot of white on there, though. Just remember that. Eating a lot of white on there. I feel like this needs to be darkened a bit of mound of snow, something there. Yep. So you got maybe some little footprints that I can just quickly get in running through the scene. There's a little shadow shadowed parts on the rooftops, like, for example, here, that's going to be a little bit of shadow there and there. Just drop some colouring. Yep. Yep. Yep, yep. So you're just outlining parts a bit. Oh. Thing was finished. 14. Nocturne Drawing: All right, let's work on the drawing for this scene. And of course, all the way here in the background, roughly about, yeah, I'd say in the middle, slightly right of the center of the reference, you can see this house, and that's probably the most important shape that we need to place in here. There's actually a smaller looks like a hut or something, smaller sort of air on the right hand side, which I'll draw in as well. Do that first, actually. It's just like this triangular shape like this. And you've got kind of the side of it like this as well. Now, this is actually behind a a bunch of trees here. So I think I'm going to shift these trees a little bit. Let's just shift the general location of them. And I'm just going to put them in with this very, very very, very light sort of marks here. They're just triangles, really, because that's what these trees represent. I mean, they look almost like triangles. So we can get them in like this, perhaps perhaps a bit larger, as well. Yep. Um, maybe I'll put in one more here on the right hand side. There, let's get a drawing of this house here in the background now. Okay? So it's actually sort of overlaps with this one. So you kind of got the back end of the house running like there. And then it runs all across like this. And then you've got this sort of triangular triangular sort of shape. Probably doesn't run that far, actually. Little bit less. About here maybe. Okay. Triangle but then there's actually little elements inside. You can see the sort of little areas inside that are a bit lighter. Darkness there. Let's have a look the second little floor or whatever you call it. There's actually a window. Right in the back there. It's like a lot of yellow light coming out of. I'm going to really take advantage of that yellow light. Let's see further down, you've kind of got this again, these sort of this sort of white bit of area here. Draw that across like that. And the bottom part just kind of just comes out like this. And, you know, there's a lot of stuff here in the front. I don't even know what this is, but I think they're sleds, snow sleds, who knows? But there are some windows that have some light coming out from them, like these here, just a couple of windows. Let's put them down the bottom. This part of the house comes out like this, and then sort of it's a bit running to the right. And it's quite difficult to see roughly where it ends because there's just so much snow here. I think these are like logs or something here on the right hand side, and then it just basically becomes snow. But the base of the house here does have some snow around there, a bit of snow here. Go. That's basically it. I mean, I think there might be a person. You might just put in a quick indication of a person maybe standing here. Okay. Why don't we put them in afterwards? We'll see. On the side of the building, there are also some little little kind of marks, details there that are just not covered in snow. So you got this sort of part of the building there, the house. Then you got a bit running towards the back like that. And we've got, like I don't know what this is a chimney. Maybe it's a chimney. Yep. We can get that in. It's not covered in snow. It's just, like, a little darker. And then there's something here, another sort of structure, which I'm not really familiar with, but again, I'm just going to draw it in like this it could be a window or something in the attic area of the house. It's gonna be dark, and you can see it's sort of covered in snow as well. But except for a few parts. So I think that looks pretty decent. Let's just connect this up a little more. Um, yep. This whole areas, pretty much in the dark there. And here as well. There's another window to the left as well there. Good. What else do we have? There's like some snow sleds. I think those that's what they are. These little snow sleds. Let's see if I can get a little indication of them in. Yeah. Whether I want to put them in afterwards, we will have to see. There are some little poles or something there as well. Like I was drawing them in before. I only that, you do get some smaller sort of power poles running there, as well. This is going to be interesting. Whether I want to put them in afterwards again. That's another something we have to see for later. This structure to the right, I can't really see it properly, so I'm just drawing it in in a very basic sort of manner, a bit of shading there. Little figures in here might just help. I don't know whether we want to emphasize this or too much, but just some people perhaps standing by in the snow to just give it a little bit of life. Okay, I stand back and just have a quick look again, and we want these, like, trees here to have a bit of um, you know, create this sort of negative shape with the snow covered areas in the front. So the trees actually just sort of line the path, if you look at them. Some of them are smaller, some of them are bigger. And, you know, as you look at how I'm drawing these, I'm just making them this triangular sort of shape. Okay? Nothing more, nothing less for the time being. When we actually get in with the watercolors, we can detail them a little bit more. There is some larger ones here just behind the the houses there, there's, like, quite a large one here, actually. It's really big. Um, they create a bit of this opening in the center of the scene, and you can use these trees to frame everything as well. And notice how they go a bit higher on the left hand side. So yeah, just make those a little bit higher, and then you can see them sort of come down here and they form like a bit of a path in the center. Okay? So this is just a little a little indication. I think this is going to be good. Maybe put another one in front. So it sort of leads the viewer through here. Okay. You might have some just by themselves, hanging around themselves. The other ones. Okay. But I think this would be a pretty good drawing for us to get started now. 15. Nocturne Painting Light: Alright, so analyzing this entire scene, the most important thing we need to do to begin with is to preserve the light. And we can see, of course, on part of the building, so we can see on the you know, the windows, we've got a lot of yellow light coming through. The ground also has a ton of this sort of what would you call it, like warmer light hitting the ground, okay? So I want to make it actually a little bit warmer, yeah, the same sort of color temperature as the sort of yellowish, you know, yellowish sort of color coming through. So I want to do that in wet, which means I'm going to have to wait a little bit to do that first. But for the other parts like the little windows, I'm going to grab a bit of yellow. This is just a little bit of Indian yellow, and I'm going to drop that straight in to the window here, and I'm just going to color that straight in because there's not really anything else in there besides the yellow, okay? Nice. Like that there. We can put a bit there as well. You know, let's just bring that across a little like that, as well. There's even some little bits here, bits of light for some other windows in the the side area like that. Okay. Great. Maybe a little bit here. Okay? Louison I sort of add in all this stuff now is because afterwards, it's all gonna just be so difficult to get in any of that light. So if we do it now, you're gonna save a lot of hassle for yourself later. Okay. So always remember as well, these trees we look at the scene, the trees are gonna be darker than the actual snow. And the sky, generally speaking, is going to be a little bit darker than the trees, most of the trees anyway, except for some of these ones, they're in the back. So let's go ahead and get in. The details. So I just want to spray down this area here so that I can get in a bit of that yellow into the ground. But I'll cover this yellow bit up the top first, give it a spray, okay? Like, I really just want to Keep it really wet. Well as I can, really. Okay, I pretty must use the whole bottle up for that, and I have a flat brush. I can just drop this flat brush through and mix the water, encourage the water to move around as well and soak into the paper. Right. Don't worry about any other details except just cutting around the yellowish parts. Don't want any of that yellow to sort of yeah, to lose any of that light there. So I can cut around it like that with the flat brush. Let's go further up. That as well if you get a bit of that washing the sky, that's not a big deal. Okay. I want this to be pretty wet. Okay, good. Let's have a look now. I will drop in some a little bit of yellow here, the same yellow that I've used or the windows, just a little bit of yellow here. Alright, just to kind of indicate that the light from the house is like emanating outwards a touch. Okay. Really warm sort of light. I'll make it go down a little bit more because it's tricky. You can often find that it will just disappear once you put in all the other colors. Um, I do notice a little bit, as well on some of the trees, like on the right hand side of some of these trees because, yeah, you do get that with the light near to other objects. Maybe a bit on this bit of snow as well there. Yep. Better to have maybe a bit bit more than necessary. Okay. Let's get going and I'm going to mix up a nice wash of ultramarine blue, and a touch of purple. I've already got some purple here on my palette. Okay. There's a little bit of purple that I have left over here, anyway. So I'll just mix all this up together because I think the ultramarine blue is just going to look a bit too sort of stark on its own, too bluish. So I want to make it a little more purple. Okay. I want to mix up a lot of this stuff as well. Okay. Let's drop some of it here down below. It's looking all right. All right. Good. Let's move our way upwards. I'm really just wary not to let it go too far into the yellow, but some parts of it will mix, which is fine. That's what we want. We want it to have a soft sort of mix as well. Okay? I'm going into the trees as well. Into the distant trees and even in the ones close by. And, you know, remembering that the rooftops are also the same value, right? So I'm going to drop in some of this into the rooftop, a bit more blue, tiny bit more ultramarine blue. This again, cutting around these windows and things. I don't want that to go into the building. Okay, good. This will mix a touch in there. And let's continue to paint through here. It's got also this sort of at the back with these trees again, gonna tap in some more of that paint, go around the side off the left side of the building. And some of these other like trees here are just going to drop in some color. And this is not the final color of these trees, by the way. This is just the base color. Okay? I'm going to move that down a bit. It's gone too high. Yeah, let's just bring this in the left hand side. And remember, the sky is also going to be darker. I'm not bothered too much at the moment to put all the sky in. You can put a very light sort of wash maybe up the top. Okay. Good. Now, we're going to let this dry a little bit. And because if we go in now and start putting in all these, you know, trees, it's going to look it's going to just be way too wet and everything will just run all over the place. So we'll give it a little bit of time to dry. And in the meanwhile, I'm going to look at some brushes that I'll potentially use. I think I'll use this brush, like a medium sized round brush. Some areas of these roofs are also the same color that you see here. That's the same kind of bluish value, which I'll pick up. Here as well. All right. It doesn't look like much just yet, but we carry on and we'll see how we go 16. Nocturne Painting Darks: Okay, so the paper is mostly dried, and what I will do now is mix up a really dark wash of blue and purple together. Well, a slightly darker wash anyway. And I'm going to just drop this in to create these little trees, shapes of the trees, okay, with a few little brush strokes like this. Okay, and hopefully this will sort of blend nicely, but also create enough of a sharp contrast on the ground, okay? Because we've let everything dry off slightly, right? So I'm just going to go around and let's just paint in these trees. I think I made some of them come down further, like you know, that drawing didn't really too much use actually until just for the I mean, just for the actual house itself. I think that was useful, but apart from that, a lot of it was sort of, unfortunately, covered completely. Okay? So let's just continue on anyhow, and we'll get this sort of roll of trees in running all the way to the back. Okay, triangles, these triangular shapes. I'm making some of them go up really high, maybe even out of the scene like that. This is just using it to cut around cut around these buildings a bit. Rooftop here. Yep. Want to preserve that. Okay. Going to add a few more trees maybe to this side of the scene. That we'll get some more triangular sort of shapes. I think the flatbush could help a bit with this. Yeah, perhaps better. Makes it a little bit easier, actually, to get in these sort of triangular shapes. Maybe I'll put one here as well. Just have a couple that are more by themselves. I just want that to spread through and actually look more interesting in this scene because we've got a lot of yeah, we've got a lot of stuff going on in here. But we don't have just some areas that might help fill this space further. Okay. Okay. I'm going to drop in a little bit of purple purple and brown into the trees to try to create a sense of darkness in some of the some parts of it like that. So that it's not just the same old, same old. The bases of the trees as well, you'll see that there's actually a bit of shadow right at the base. So if I can join that up nicely, again, just creating this Perfect. I have actually gone over the top of the little hut anyway. But yeah, as you can see, it sort of just brings out the detail, I guess on these trees a bit more because there are some wet and wet details that you can add in here. And you have to use paint that's very thick as well for this, okay? It's just brown and purple at the moment that I'm using for this darker sort of mix. There's a base the base here. Base is here again. Put in a few of these little branches and things again. It just makes them look a bit more believable with this second second wet and wet wash going through. Okay. I think there's some really dark parts in areas as well that I can just try to emphasize. Ah. Yeah, some really dark spots in areas like here, even. You can just put in a bit of darkness there to really hope to bring out the building better maybe behind it here as well. Okay? All these tree shapes, some parts. Okay, I think I'm going to go and work on the building a bit. I really want to bring the details of the building out. I use a smaller round brush for this. I'm going to mix myself up a really dark color. So this is brown and a bit of ultramarine blue. Okay, there we go. Got a really, really dark value here. And we really have to indicate some of this stuff properly. Let's have a look. I'll start maybe on the rooftop. Here, there is a little area like that. Yep. Just around the yellow, cutting around it a bit like that. Okay, let's bring this down to maybe here. Bit be touch and go happening. And underneath this part needs to be darker around the windows. Now, you see the importance of putting in all that yellow before because it's just impossible to get it in at this stage. I got some of these sleds, let's put them in. I'll zoom into the reference a little to see if I can, just get some little indications of the structure of them. They may not look exactly like sleds, but, something like that should be enough. Maybe some people, a little figure here. Difficult to paint them in at the size that they are. There. Great. Great. Let's have a look. The rooftop. But let's do this one first. This little building needs some darkness here. That's all you need. There's some little something open on the side of it doesn't matter. Okay. And on the sides of the roof again, there's sort of parts like I mentioned, sort of drew them in before, but thinking whether I want to actually imply them or not here, where there's actually some darker spots on the roof, just where the snow hasn't quite hit there and there um, this little chimney or whatever. Then there's this other structure, which I'm not really quite sure of, again, what exactly it is, but we'll put it in anyway. Side of the roof. And again, some little details of its presence. It's kind of the snow that hasn't quite completely covered it just yet. I was all those wooden planks or whatever that I thought I saw on the right hand side there. Let's have a look at the windows, maybe just detailing for them. Got a person here. Let's try maybe. There we go. Got a person there on the left, as well. So three people in there. I think what I need to do is just darken this first wash a little bit more. So I'm gonna go ahead and do that. With a large lat brush. I'm going to put in just this same ultramarine blue, purple mix. Okay? I don't want it to be as dark as the trees, but just a little a little bit darker, like one little wash. Hopefully, that will just because I think it's just a little bit too much light or the appearance of light anyway on the buildings. So if I do this, it might help. Though I might actually leave the top of the building. We'll see how we go. Because that first wash is mostly dried, we shouldn't have much of a problem doing this. Um, where we might run into troubles is just around there, where we've got some of that yellow, and I don't want to rid myself of that yellow. So let's just darken this part to the left first. We'll figure that bit out first, and then we'll do the rest of it. Okay, good. That's looking right. Do notice there's some little, like, soft shadows underneath these trees as well. I'm going to just imply some of that here. There's even a little bit of shadow almost running to the left of those ones. Um, yeah, it's not just completely the same wash all the way through there, so this is going to help actually a lot. And also, maybe in the front, I will try to add some extra strength, a little bit of extra purple or something in there or blue. There we go, just to help create depth in this scene. This part, again, we're going to spray it down, I think, with some water to encourage this area to blend better. But I don't want to I don't want to completely eliminate all this beautiful yellow light. So that's what the spray bottles for. Good. Good. So it kind of looks I think it looks a bit better. This um, darken down that part there in the corner. That looks too much, a bit too much. Don't be afraid to lift off paint in areas if you think it's kind of overdoing it. And also, we can lift off right at the end of the scene as well. So don't too much. Um, good. Good, good, good. Good. I think I'll work a little bit more on these trees because they kind of have disappeared a bit. So some more purple and some more brown. And I'm going to just drop in a little more something in there. Okay? Just some little little dark bits, I suppose, in areas. Here, let's just spray in some parts. I guess the sharper brushstrokes, as you might say, kind of help to more contrast. I've got to be careful as well, I tend to be impatient when I'm painting things like this, okay? But I don't want to get rid of all that previous wash because there's some very nice colors and effects in there that we want to retain. Okay. Here, this other tree here, I want to also kind of maybe darken a bit here. And when you got all these trees in the foreground, it does help to just darken them down a little bit. The ones in the background, I can sort of get away with it and add in some sort of sharper parts here and there, but it's not a deal breaker. 17. Nocturne Finishing: Okay, while I'm waiting for this to dry, I'm going to put in the background, and really it's just a dark wash. I'm going to mix of purple and ultramarine blue, a bit of brown in there to really get in the darkness of the sky. I want to make it a lot darker than the actual trees at the back, anyway. So let's do this. Here we go. It's almost like a bit of negative painting. Yep. M. To really bring home the idea that this is, um, the middle of the night. Okay. And it's still a little wet, if you notice these trees, so they will they might blend a bit into the background, into the sky, I mean, but it's not a big deal. In fact, it's nice if some of it does. Or brown. So more outlines of the bottom of these trees. I need to kind of make sure that they are separated. O. Maybe some little trails or whatever going in. You can see some soft wet and wet trails. You know, people snow sleds, that kind of thing. You can see them just sort of probably a smaller brush will do much better. Quick with this. I've got a rigor brush, little ig of brush that will help a lot with this sort of miniature tiny little details. Oops. Yep. It looks like the sleds have just arrived or whatever, come back there. Oh, I didn't want that. That's right. Maybe some sled patterns also running here. You can see actually some running like here, and running across to the right hand side as well. It's all wet and wet, so it actually looks a lot lot better this way rather than Really overdone and overworked. Yeah, just kind of light brushstrokes. Okay. So Tony finishing touches now. I'm gonna pick up some a little bit of guash here on the palette, but I'll mix it in with some blue to create a kind of cooler highlight. I guess you could call it And let's have a look. What can we do? I think we can probably put in a bit here on the sides of the building, like a little Let's try that. Yep. Just some parts of the building, you'll notice that we have a little more contrast like here, for instance, yeah, it helps to bring out the shape of the building because we've lost. Sometimes it's difficult to tell where it starts and where it ends. Kate, maybe here. Really light touch. I don't want to overdo this Okay, let's give this a quick dry. Alright, I'm going to put in a couple of these power lines, and you can see them just at the front of the scene like here. Seeds, like, a couple of couple of them just here. 12. Um, now, with the actual lines themselves, I'm going to use a rigor to do this. Try to keep it pretty quick. Um, yet, maybe this one goes up here, like, into that building. That these power lines help to just again, indicate that sense of where the buildings are. And, you know, some of this stuff is, it's just going to disappear off here, for example, um, and we might have let me be one running across here into the building there. That you see these little tiny little sort of things here and there we can just indicate. I don't know, areas that might increase a sense of complexity, create a sense of complexity. Um, Okay. Extra darkness and spots. Really just detailing. Okay. And I will also use Bilbt brush, any type of brush to sort of scrub out paint. You can use a round brush for this. And I've got a issue tissue paper here on the side, and I'm just going to sort of scrub away at some parts of the paper that I want to bring back and soften the edges of that tree here. I just really want to soften some parts of it. So just scrub out with the brush, lift off like that. Even some of this light you might want to potentially, you know, exaggerate and bring back out because there is some other paint sitting on top. But you got to be careful with this because it can also ruin the vibrancy of the paint. I think this should be okay. Yep. Sort of nice, almost like blurry effect through the back of the scene there. Can even create a little bit of smoke, perhaps up here. This is just the last quick little idea I had maybe coming out from this chimney to make it look kind of more cozy have that girl the way up into the sky. It helps to break up that sky a little bit as well. Yep. Parts that you just feel look a bit harsh, you can just sort of lift off with the brush. There's just so little detail in here besides those besides the house. I just got to be careful. Okay Back to the filet brush again. Perfect for just bringing back a bit of that light. Mm hmm. Kind of looking like the light is of bouncing off onto those trees. I'm just trying to see here. I'm just trying to just disturb this a little bit so that it doesn't look like the same color all the way through. I mean, there's even another window there, but I can't really indicate that. Now, um, I think I'll call that one finished. You do the same thing on some of the trees again just to bring back maybe a bit of the light, the lighter sort of parts on the tree. Some of the trees anyway. Don't overdo it. You. 18. Town Drawing: Okay, so we've got this interesting scene here, and you can see, kind of in the foreground, well, I guess in the midground, I do think I want to extend the foreground just a little bit further down the front so we can get some yeah, just a bit more feeling of depth because at the moment, I think the sky just occupies a bit too much of this composition. So if I shift it upwards, I actually think it's going to look a bit better and more balanced. But yeah, just sort of analyzing the photo, you can see the house right in the center of the page. There, you've got the light source coming from the left, kind of like the back left almost, and you get the shadows cast on the right hand side of the building. So keep that in mind when you're drawing this and also painting. There's also some soft shadows you can see on the house in the center of the scene, and the roofs white. Believe it's just painted white, plus there's some snow on top, as well, or maybe it's not painted white. But anyway, let's go ahead and start with the drawing. So I think what we will do Again, is shift up this horizon line. So you want to look where those mountains in the background end. And at the moment, the mountains end, it's hard to say, on one side, it kind of goes through nearly the halfway point and then slopes down. So I just want to move that up a little bit so that the the line is roughly in the center of the page. Okay? So let's just draw a little line running through the center of the page like that, and then sloping a bit downwards, you can see, there's a bit of decline at the end, and that's going to be important. If you keep the line too straight, it just looks too picture perfect. And of course, you get some of those scenes in nature, but this is not one of them. Okay? So where this line that you've drawn is basically the area where the mountains touch the snow or the earth. So what we'll do now is let's just get in a little indication of those mountains in the background. So I'm going to use hold my pencil right at the end like this, and I'm going to just draw in some of these mountains, the silhouette of the mountains in the background. And let's not take too much time doing this. Now, of course, you know, wherever this is, and I'm pretty sure this is somewhere in Norway. Someone might, of course, recognize this location, but for the most part, you don't have to make it to picture perfect. Just try to follow the outline of those mountains in the back, okay? And you can see it sort of go down here. Now, this group of mountains to the left ends just before it ends just before the center of the page here, okay? If we want to get precise, in the center, there's some more mountains. And on the right, we have other mountains that kind of go up. There's another layer here that goes up, it's important to put this section in because this is an area that we're going to leave white till the very end. So got that in. There's also another mountain here to the right, like, a very interesting peak. I think this is one that we really have to get in. So let's just put that in as well, roughly about here and bring that downwards like that. Okay. And a little bit of detail in the mountains as well. So you can see with this kind of peak of the mountain, there's, like, a a bit of a ridge to the right hand side and the right hand side of the mountain is a little bit darker like this. And don't worry too much about getting in all of these silhouettes exact. Afterwards, with the watercolors, you can still cut around and shape these mountains. So we'll go down the page like this. Now, this mountain here on the right it's interesting because it's actually there's more light on it, but it's actually further in front. These mountains in the back are very bluish, if you look at them. They're kind of bluish, and there's also little ridges and bits of, these darker rocks that haven't 100% been covered with snow. And those are just important to kind of outline a little bit, and here. There's a little bit of this rock sticking out here. I'm going to color that in, and then you've got a bit of white there. You know, I'm just sort of putting in a little bit of detail in here, okay? And more just to remind myself to go in afterwards with a flat brush and get in some of those little ridges, okay? So we've got those mountains in the background. Let's go and put in. It's gonna be interesting. Let's go to put in a bit of a tree line here. In the back. And before I do that, actually, where the trees sort of finish, which is a little bit further down, I'm going to start putting in some of these houses. Now, in the back, I'm pretty sure. I'm pretty sure on the back there, that's like some snow. So I'm not going to bother too much with that, but I will put in a few indications of some trees to the left. There's a tiny little house here as well in the back. But I think what we want to focus on is let's get these two well, not two, yeah, I guess, two or two plus three buildings here in the foreground. Now, we want to kind of find out where is the center part. So if we have a look right in the center of the reference photo, draw a line from the center of the reference photo going up and cutting the photo in half, you can see the center point is roughly where this I think it's a reddish house. Yeah, I guess this reddish house to the left the larger house to the left here starts. So therefore, we want to just make sure that we have enough room when we're drawing this in so that, yeah, basically, there's room for these other houses to the right. So I always like to make sure that I'm kind of marking this out a bit, and I can go in a little bit kind of loosely as well. Now, the rooftops are just this triangle shape. So we have to do is just draw that triangle shape in, okay? Let's see how far we can get this up, as well. Yeah, that's a little triangle shape for that rooftop there that comes across like that. The base is just like a rectangular. You're looking at the shapes and not thinking of it too much as a house or anything, you know, got a triangle. You've got this line running across here. It looks like I think this must be a garage or a little shed or something out the back. And, of course, the shadow running across the right hand side, of the building. And this one's interesting because you've got some darkness and snow on the roof. So yeah, mainly just put in this indication of the little house there. So that's right in the center. Now I'm going to work on this other house here, the main one here to the left. So you've got this sort of side bit like this, a bit of white on top, and you've got the top part of the house, just this triangular bit runs just like this up, and then it comes down here, a yo like that. There we go. And then I'm going to move this down, and it's got sort of like the snow just underneath the house there, like that. Might look at this house a little bit further back. Doesn't matter. Move that across like this, and then you've basically gotten most of the rooftop in now. Join that up. Okay. And we'll just get the sides a bit in. I think I've not left in just enough room here to the left, but there's enough, there's enough there still to put in some bits and pieces. Let's have a look. The back of the house, there's another sort of triangular shape connecting onto the rooftop, and this is like a patio area or just a back area, I suppose, there. Okay? And then, of course, you've still got that snow that comes through the front. Let's put in some windows, and these windows are just squares or rectangles. It's all you need to look at them it's just a little rectangular shape. Okay, like that. On the rooftop, I've noticed there's a little chimney. Let's just put draw this chimney in, right there. There we go, and make it a little bit more three dimensional. Okay? It doesn't have to be perfect. Something like that. That's a chimney. And it's gonna overlap with all these trees and stuff in the background. I'm not too fussed about that. The rooftop, you know, there's, like, a bit of, you know, of the actual roof showing through. Most of it's just snow, but I'm going to leave it all with snow. Anyway, and let's have a look at this right hand side of the house. It's darker here. It's a lot darker. So let's put in these four windows. You've got two windows here, one, two. And, this is the side of the house there, and then you got another bit here like that. Oops, let's bring this down, more there. Then you've got a couple smaller windows up here, and I mean, aren't they just incredible just the look of the buildings and the windows. They look so cozy really just so cozy. The frames are really important with these Scandinavian houses. The window frames, they just always have these white, very, very precise, white looking frames in there. So as long as you can preserve some of those white frames into the very end and whether that be adding some guash or whether that be just, you know, not painting over them, that's really going to add to the location of this particular scene. Now, again, keeping in mind the right hand side of this building, dog gonna be pretty much in darkness, okay? I don't you think this Let me just get this part of the chimney in. There we go. This part of the chimneys actually dark, and the front there is going to be lighter, okay? Get that in. Sometimes I might add a bit of pencil in the wrong place. I'll just mop up, get rid of those pencil marks a remember this white of the paper here is going to be preserved white right to the very end. So yeah, we just want to make sure that's in okay. Okay, so we've got that little outouse or whatever it is. Then we've got this building here to the very right, and I'm going to put this in let's have a look roughly here. Okay. And let's put this in it's kind of Large sort of building runs right next to this kind of mountain. In fact, I probably should have put it in a bit more to the right, but it's no big deal. Put it here next to the mountain, bring the roof up. The roof goes all the way up into these mountains like that. Go like that. Then it comes down like here. Okay? It's like this triangular sort of shape. There's a nice little chimney here on top, so let's put that in little chimney there. And then we're going to put in this mini kind of roof here. I don't know what this is, the other part of the house there. And let's bring this across and also goes down to the right hand side like that. Good. Okay. And let's just start putting in the rest of the house, like the bottom part of the house there. Let's let me grab my eraser. I've put a bit of pencil here that I want to add in. Okay, so here, let's put in some window, a door here, another window here. And remember, just keep them pretty basic. Yeah. Don't worry too much about the details of them just yet. Alright. One thing always also to remember is when you look at these buildings on the rooftops, there's a kind of white area underneath the parts of the roof, like here. There's also a bit of white here, as well, like the frames, whatever you would call them. Like that. Okay. And yeah, here comes the windows. Add in a few more windows, just a rectangle there. We've got another rectangle to the right here. This window, there's a couple of windows here. Let's just put those in like this. Just rectangular sort of shapes. There's another window here. Interesting looking house. It's almost it's like the house has got a front section. And then it joins onto the back section of the house, just zoom into the photo. See what is going on here? Okay, yeah, it is one whole one whole structure. I was thinking to myself, is there a line here or not, but there's not. It's actually an entire structure. So, that's fine. That's fine. So this whole area remember is going to be dark on the right hand side. So you can either color that in or just, you know, leave it until later on and figure it out just as long as you don't forget. And this building here to the right hand side, it's completely in the light. I'm going to draw this in, and I can actually get in a bit more of this building due to the space that I've sort of left on the right hand side of the scene. So I'm going to just do that. It's just get that in. Rooftop, it comes down like this. There is I don't know what this is sort of like empty space there, maybe a door here or something like that. But the rest of it, there's just snow in front of this building. There's not really much. I mean, you can see here just in front of all these buildings, there's snow. So a lot of this stuff we're going to have to just leave yeah, leave until later. So we've got the main sort of buildings in. Now, another thing you can do is maybe put in some of these buildings to the back. I noticed there is some kind of building here. I'm just going to get in a quick little sketch of that back there. Okay? Not too much going on, an indication of a house there in the background. And then, of course, there is also maybe a smaller one here in front. I can just get in to okay, little house here. And that helps with this feeling of depth, you know, moving through the scene. Now, another thing here is that there is a tree just running kind of through this section there. So I'm going to put a tree here. That's going to help break the scene up a little bit. And, of course, this whole tree line here in the back, I can put in some of those. Now, this is really important. Now, why is this important? Because this is going to bring out all that snow that's coming out on the rooftops of these buildings. So I might actually exaggerate this tree line a little bit there in the background. Okay? In the front, we've got, I don't know, some tracks. We don't need to really draw anything in the foreground. We can get that all in later with some brushwork. Of course, there's some little windows and things on these houses out there in the back. There's another couple of trees there. But for the most part, I think we should be good to go with the painting. 19. Town Painting Light: Let's grab out a small mop brush or a mop brush that's, I guess, large enough to paint this scene. And let's work. I think probably what we want to do first. I thought about this, but getting all these sort of lighter values onto the houses first, these warm values because we're going to put in some blues and stuff like that later. But yeah, let's do this. How about we do this first? Let's put in these warm colors. Now, this house here to the left it's kind of got a bit of this reddish brown color. So if you can mix a bit of red and a bit of brown together, that works. They often, you know, a bit of burnt sienna often works quite well. Keep it very light, about 10% paint. The rest of it is just water. And let's go in here. Now, you can, of course, cut around these frames or if you're like me, I don't sometimes I don't really bother that much and just let it you kind of let it do its thing until later. In fact, like, it's quite warm on this side of the house. It's almost like there's some yellows here as well, so I can drop in a little bit of yellow, something like that. But for the base color, mainly just, you know, that burnt sienna color. These little warm colors are real important. They will kind of contrast against all the coolness of this scene. Take a lot of care and use the point of your brush to cut around and leave the whites of the scene. So don't go into the roof just yet. Okay, let's just go on. I'm just putting a bit of paint here on the right hand side of the house. Let's just see how quickly we can do this now. Remember, the right hand side of the house is going to be a lot darker anyway once we get in the dark values. So don't worry about the exact value of the right hand side, but we just want to put in a bit of bit of color. The rooftop, as well, it's sort of brownish, not the rooftop, but the chimney. It's a little bit of brownish value up there. So I might just work a bit on this and put in a bit of brownish on the right hand side, just to indicate the shadow on that right side of the rooftop. These nice little these nice little round brushes are so useful. I find that they are I find that they just allow you to cut around a lot of detail. Okay, a bit of lighting on the left hand side of that chimney. Like that. Um, good. Let's have a look. What else do we have? Yeah, there's this porch here almost forgot, but the bottom of it, it's got this brownish tinge there as well. That's part of the that's part of it. I might sort of get in a bit of this here as well. There, this right hand side. I've almost forgot about this side of the house. It's kind of like brown, as well. So we'll get that in keeping in mind, you know, leaving that nice uh, white section there on the roof, okay? It's often just leaving out the things that you don't want to paint in, especially with snow. This building in the center is more reddish, so I'm going to pick up some red and mix that into my brown and it can be any sort of red. It can even be some orange. You know, I'll probably mix tiny bit of orange here and make it look a kind of rusty sort of color. And let's get this in. Again, it has to be really light, so drop this in. And, you know, a lot of these houses also they come in various different colors, so you don't have to necessarily get in the exact color that you see here on the reference. But yeah, just something like this will do well, it actually becomes a bit more orangy or yellowish further down here, kind of like this garage shed. Okay? Not not a big deal. Not a big deal. Remember that afterwards, anyway, we can get in a little bit more detail. All right, so just a little bit of that. That's going to be house here. Now, this house here on the right, we want to make this really, really light. I'm going to mix a bit of white paint with a yellow to get this kind of milky yellow color. Okay, let's try that out. That's good. It's kind of like a milky yellow color for this house. It's almost I mean, it's almost white, but we can't Yeah, well, guess you could put it. You could just leave it white if you want, but I think it's going to look better if we add in a bit of that. I value this sort of milky white color. I mean, it's just the same color all across the sides of the building, as well. We can get in some darker bits afterwards. That's fine. Yeah, for the shadow, but just a nice little wash. And this is, again, really light a really light value just running through the whole building like that. Same thing here for this building here to the right. In fact, the building here the right maybe has a little bit more yellow in it, a bit more vibrancy, so I'm just going to add in a tiny bit more yellow. Make this one look a bit different from the other one like that. Okay. Good. Ah, ruddy. So. Now we've just got a few more out the back here, like these small houses, I'm just going to put a little bit of yellow onto them onto the left hand side, on the right hand side of the house, and leaving the rooftops white, as well. Again, just to emphasize that snow. Good. So look, we have got in basically a lot of the warm colors, okay. This is going to dry. We want to let it dry and do its thing because by the time we finish with the background, this should be done. But this is the point where I like to pick up a small flat brush. So a little flat brush like this and basically just work on some uh yeah, basically just work on getting in a light kind of bluish value. So here I've got a bit of ultramarine blue. It's a very light blue, but I'm going to dull that down with a bit of gray. And I just want this to be enough to coat these mountains up in the back. Right? Very light washes, probably about five to 10% paint, okay? There are parts of the mountains that you can see that are sort of white, so I sort of scumble my brush over the back like this and let the brush sort of skip through in areas. Okay, so just sort of go through 'cause this whole area is actually, um, you know, it's actually quite blue. And it's almost one big shape. But the left hand side of the mountains, you can see, there are some little type, sort of snow capped areas, so you want to leave that in. Don't try to paint all that stuff in just scumble the brush across and make sure this is a very light wash as well. Don't um, make it too dark in those mountains because that's going to help to push these mountains back. If you make this wash too dark, mountains are going to come forward, and it's going to look at it's gonna look a bit strange. So let's move this across. And, of course, these mountains that I've joined in are not really in the same position as they are in the reference photo. It doesn't matter. Let's bring this down here, here. And then as we get down to the right hand side here, this sort of mountain here on the right, you can see, it's actually so you can see, it's actually, um, actually darker some parts of it. So I'm going to just go in with this flat brush, same sort of deal. Let's just get a few little quick sporadic kind of marks on this mountain, but leaving a lot of it white as well. Okay? Just cutting around the rooftop here like that. Trying to blend that in. There, let's put in a bit more of this blue up the top here for this side of the mountain, this right hand side of the mountain here. Okay, that's got to be darker. Bit more blue. It's kind of turn a bit greenish, but it doesn't matter. There. And again, more of this sort of dry brush stuff here on the right hand side of this mountain. You know, a lot of a lot of this area is just going to be yeah, a lot of this area is just going to be not much in there. It's going to be kind of the white of the paper anyway, but some of this light work is going to definitely help, especially, you know, going around the sides of the house there as well kind helps to bring helps to bring out the white of the rooftops. Okay. That's about it. Fantastic. Just kind of having a quick look to see how I'm going. Okay. Okay. Great. So I'm going to just do this really really quickly now. Let's bring out some more. I'm gonna use my uh I'm gonna use my main mop brush. I should be able to actually do this really quickly mop brush and a little Just a little round brush first. So there's a tree line here. So I'm going to drop this tree line in right there underneath. Underneath the mountains so that I can get this to sort of blend in a little bit with the background mountains and cut around these houses, the rooftops and leave the rooftops. Remember, don't try to paint in all the everything in watercolors. Leave some bits and pieces. I'm just going to drop that into the background. It's kind of like a greenish value, but I can drop in other values as well here, just around there. Let's just see how we go. In fact, there is another I had almost forgotten, but there's actually another building right here. I've forgotten to put in. You know what? I'm just going to just go to pretend that it's not there. Let's just go around it like that. Okay, so we've got the kind of rooftop of that building here. I'm going to go around. Let's just I'm going to extend this tree line all across. Check this out. It's kind of more exaggerated than the actual reference itself, just to make sure I can get really that white effect of the rooftop coming through, okay? Go with a soft touch and every kind of brushstroke, just get that to indicate a tree, basically. All right. Again, cutting around this rooftop here of this building to the right. There, there. And you'll notice everything is sort of a bit wet in the background, which will make this sort of, blend in better. Here. There we have this other house to the right. Bring that down a bit here. The Woops. I've got a bit of paint on that house. It doesn't matter. Yeah, no big deal. Okay. Same sort of deal up here. Let's just bring in some more of these trees and things on the right hand side. Let's cut through that. There around this rooftop. Yeah. The Okay, so we've got some like this tree line there in the background. Fantastic. Now, here's the fun part. Let's paint all the snow. Let's paint all the snow here as we move down the page. And all we need for the snow is just a light wash of ultramarine blue. Extremely light. I mean, I'm talking about one to 5% paint. And often let's see. There we go. Some of this stuff might run a little bit. I might make it just a touch darker here. Yeah, a little bit darker there in the background with the blue. Okay, there we go. Just dropping that in a bit of that blue in the background. There, not too blue. Now, the reason why snow is blue is that it basically is not very good at absorbing. All these blue wavelengths. That's why we see it often as blue. So the trick is to add in a touch of that coolness, but not to the point where it just becomes overwhelming, okay? So as we come to the foreground, check this out. I'm just, again, really light wash of blue. If you can't control this as well, you can try to use something like cerulean blue, which is very, very light, as well. Alright. But through all this, always make sure to leave in some actual white of the paper. That's the trick. You don't want to leave all of it white, but you want to leave enough of it white to kind of make this snow look more interesting. So bring this all across like that. Very light. This is only not even 5%, 1%. Of this cooler sort of paint. And look here how I've just left out some white of the paper. Okay, let's move the wrestlers down. Let's have a look how that appears. Good, good, good. Good. Another thing you can do is you can also add in a shadow coming in from the left. Now, I just want to do this for the sake of it, but I'm going to just move like, make it look like there's a shadow coming in from the left like this. Okay? It could be another house. It could be anything. But in these sort of scenes, I find a bit of contrast a bit of contrast, especially in the foreground, really helps to bring out all the the other lights, the lighter sort of snow and bits and pieces later on. Okay. At the moment, it doesn't really look like anything, which is absolutely fine because remember, we're not really trying to get in any details. We're just trying to get in that first wash, first kind of lighter wash. I mean, of course, these trees here in the background are a little bit darker, but yeah, I'm actually going to go over them again a second time later, I think, to just darken them a touch. Let's have a look. I have a look, what else do we want to do? I'll just slant the paper down a little bit. Sometimes that helps to encourage the paint to move down so it doesn't sort of travel up too much, okay? Good. A little fan brush is also very helpful or just a smaller brush to pick up some little bits of green paint because you can see actually in here, there are some tiny little shrubs and bits of grass and things. So I'm going to drop in a little bit of green paint in areas like this to just indicate some of these, you know, bits of grass or whatever running through in areas. Not much, but just here and there, especially in the foreground, like that. And let's have a look what else we can do. Some darker bits of blue, maybe, or some mounds of snow like that running through the scene just creating a bit of inconsistency in here. Kind of overdone it a bit with this area, but it's okay. It might be a larger kind of mound of snow, for example, and just showing that there's a bit of shadow maybe running to the right hand side there. Good. Okay. So I think with the foreground, that's looking okay. I don't want to overdo it. I want to keep it pretty light. And looking back into the mountains and stuff here in the distance, as well, this is where we want to again, just pick up a flat brush, a small flat brush. And what I'm going to do is pick up a little bit darker sort of blue paint. And you can see those mountains in the background. There is there are some tiny little striations running through the mountains, so I'm going to just add them in. And they're kind of like a bluish, grayish blue color. You know, I'm kind of just adding them in. Dry brush this in on top of that wash that you've done before. And this is going to make them stick out a little bit more, make them look a little bit like these rocks and things running through. Don't focus too much on getting them in exactly or making them look exactly like rocks and things like that. Just kind of, in fact, keep them a bit more sporadic and randomized. And they'll start looking a lot more like, uh yeah, I'll start looking a lot more like rocks running through. Let's have a look here. Yeah, there's some of these rocks on that mountain, and then it runs down there, like that. This one here, I've already sort of played around that. There's not much else I want to do there. I'll leave that. I'll leave that anyway. Yeah, remember to keep the brush really dry when you're doing this, as well. Okay. Keep it pretty dry and just sort of pick out tiny little details in the mountains that you want to imply, make a little bit. It just adds more details onto those mountains. Okay? Good. Alright, so I'm going to start working on these buildings now. I'm going to pick up a smaller round brush, and this round brush is going to be used. Yeah, we're going to basically just put on the shadows of all these buildings, which I think is going to make everything come together. Now, we talked about these shadows here on the rooftop of this building. They're soft kind of shadows. I'm going to use this spray bottle to just spray on top of this rooftop here a little bit. So like that. Alright. And that's just going to help me to get in some softer sort of shadows on the rooftop. So, I will pick up a small round brush. Let's do this. And the shadows are kind of like this bluish color. So small little round brush here. While the paper is wet, I'm going to paint in a few little indications of these shadows. Look at that. It's kind of a tree that's running in maybe from the background. You know, some of these shadows look a little bit softer and some of them look a bit more darker. It doesn't matter. You can see the shadows also running through the left hand side of the scene of the house here as well. So I can just sort of add in a little bit of that there, too, a bit more gray actually onto the left side of the building. Soften that. I don't I don't want to make it too obvious, especially on the left side of the building because basically, we've got a lot of the light running through the scene, so we want to just keep things nice and light. So yeah, but there are some little dark spots here, just a bit of softer dark shadows. Okay? Good, good, good. So yeah, we've got some bits and pieces here. 20. Town Painting Darks: Hand side of these buildings, they have a lot of darkness back there. So I've accidentally just wet this right side of the building, so I can just lift off a little bit here just to yeah, make it easier for me to paint that section. But I'm going to mix up a really dark color. Can't be any dark color. I've just got some gray bit of pains gray. And then I like to add in a bit of the base color. So a bit of the brown that we'd mixed up before, so a bit of burnt sienna, really dark, 'cause we look at that right hand side of the building, it's pretty dark. Let's go in. It's pretty dark, isn't it? Yep. So we can just kind of cut around the rooftop, around these frames and bits and pieces here. And this is my absolute most favorite part of watercolors when you put in these shadows and make everything start to come alive. Okay, I'm still leaving these windows more or less white. I go add some colours and details into it later. But the main thing is just yeah getting a nice kind of sharp contrast here. I'll have to bring back a bit of that white of the roof on the right hand side later with some guash. This will do for now down. Yeah. Great. And you can see it just ends at this right sharply with the snow. So I'm going to cut around that snow, leave that edge really sharp and crisp on the snow. And then you've got this other building here, part of the building on the right hand side. We're going to connect that on in the same fashion. Leaving the roof. Good. It looks decent. Okay, so we've got that sort of shadow. Underneath the rooftops, as well, you can actually see some little shadows underneath here. I think I will put some of those in, but anywhere on the right hand side of the buildings, like here on the rooftop, you've got a bit of darkness on the right side of the chimney. Let's put that in bit of that darkness. A little round brush like this is so useful. You know, there we go. That's chimney. That's a chimney. That's all you need in there. Oops. Sort of spread a little bit. Doesn't matter. I'll move this a little bit to the left. I think this needs to be more like that. Good. Yeah, and of course, sort of these little bits of darkness underneath the rooftop, I might just quickly drop in some of that darker paint there. But I'm certain I'm gonna have to go through and just re emphasize that afterwards. Anyhow, we'll see how we go. Because part of this scene part of these buildings are still wet, so it's very difficult to imply the sharpness running through there. Okay, let's have a look at this building here to the right. We've got, like, yeah, we've got a bit of it here that's darker. These I don't know what they are sort of garage doors or something, and maybe a shadow here running across or something like that. And the right hand side of it is pretty much the same color. It's really dark. I'm just gonna get this all in in one wash like that. In the foreground, I'll just leave something there because that's actually going to I reckon I'll just use some guash and bring back some color there. Or maybe not. Let's Let's just bring it down, like all the way, like that. Good. Ah, right. Okay. And I really want to make this line quite sharp. Oh, too much here. Yeah, just so that the building on the right really looks like it's, you know, nice and bright, I suppose. Alrighty. So this building on the rights kind of interesting. The rooftops darker and it's more of a cooler darkness. I'm going to go in there with a bit of this um, darker paint. Okay. Maybe a bit of snow there on the roof. I don't know if I want to apply that. Let's just see. Probably not. Maybe a little specs. Now, the roof is darker than the background, so we just have to keep that in mind. But you do again, have this white ridge near the edge of the roof like that that you want to leave out your rooftop there, the chimney, I'm going to paint that in at the same time. Okay. I reckon if I want to put in some snow afterwards, I'll just add in some with guash. C. Rooftop. I bring this down, put more on the right hand side. And then I'm going to mix this paint up with some, the same kind of yellowish color that I had before. It's sort of like a grayish, warm gray color on the right hand side of this building. So let's just get that in here. Here we are. This part of the paper is actually still a little bit wet, but we can get away with it. Yeah. There we go. There again, I'm just sort of cutting around this white of the rooftop. There's actually a shadow running across the roof. I'm not going to bother with that yet. I'll wait for that area to dry so that it doesn't run too far downwards. This part is going to be, you know, also darker on the right side. That's good. There and then we've got these little arts underneath the rooftop, like here, that have a little shadow like that. Be a little bit shadow somewhere here as well. Let's just get that in. Good. Okay. Bit of blue for this shadow here on this white roof there. Good. Okay. Good, good, good. So we have most of the little details of these houses in now. I think while I wait for all this stuff to dry off a little bit, I'm going to work on these, you know, there's this little tree, so there's a tree here. Kind of I'm just gonna put it in with some green paint. I kind of got a point up there, and then the rest of it's just you know, like like Christmasy Christmas looking tree. There you go. Hits the ground. Pretty simple kind of tree and keep it sharp where it hits the ground, keep it nice and sharp. This is going to be a really dark color as well for these trees because they are if you look at the rest of the scene, they're pretty much the darkest, one of the darkest elements in this entire scene. So you want to keep it pretty dark. There's even, you know, a tree here, you know, next to this house. I'm going to put it in quickly like that, a little tree, something here. Um, and I'm also going to add in a secondary layer of trees here. Now, I want to leave in that first row of trees that we'd put in initially, because that's going to create a nice kind of um contrast and softness there in the background. But this second row of trees is going to add detail, go to add complexity. I know it's not in the reference, but I just want to do it because I think it's going to look it's going to make everything look a bit better. Also for this house here on the right hand side, you know, a little bit extra contrast, you know, for the rooftop definitely can help. Try not to go too much onto that rooftop. Yep. There we are. Maybe some more here. So we've got those softer trees in the background, and now we've got this sharper kind of layer of trees coming through in the front. Same here, I think, just to make that chimney pop out a touch more. This is a little technique that I always use when I'm painting around lighter areas, okay? And also, you know, it makes these trees look more Believable, because you know, when you look at trees, there's gonna be some that are darker, some that are lighter. So you want to really make sure you're indicating this, the complexity of shapes and the full range of tones. Okay. So more here is going to be also good. We're mixing a bit of something here on the right hand side, another layer. Why not just around these houses. And, you know, you can see I'm just using, you know, just the rooftops here, just cutting around the whites. Okay. Now, having a look through the scene, I mean, it looks pretty decent. Now, to me, I think we've got, like, the main elements in. You can always do these sort of things as well here in the foreground. You know, there's actually some sharper kind of bits of grass running through. So I'm going to add in a few little bits of grass here, just verticals. And this kind of helps to make the scene kind of lead the viewer into the scene, as well. So if you got some kind of a patch of grass here and they're like, you know, bit longer here in the front, and then they start getting smaller and going up here, it's sort of creates the impression of some sort of path, which there is. There is a little path actually running through here. Okay, I might get that in later. I'll just scrub off with some paint. Um, good, good. So while this is all drying, I'm going to take the opportunity to get in the sky. And this is a really fun part. I love doing this part of a scene because I think this is what makes all the mountains sort of pop out. And I actually want to make the sky a little bit darker. And in the reference, you can see the sky is actually a bit lighter than the mountains at the back. But let's just give this let's just give this a go, and I'll pick up some cerulan blue, actually. Yep, just some curlean blue. And start off right on top like this. It's just going to be a really dark blue. You can't really get cerulean blue that dark anyway. So this down. And what we can do here is just bring this wash down the page, add more water as you move down the page. Okay? But keep it nice and smooth. The top of the page, I sometimes like to add in a little bit more darker blue like this, you know, a little bit of this ultramarine, get the top a little darker, and then the rest of it, I'll feather down. Now, here is where you kind of got to be careful. Just want to cut around everything using the flat brush. Okay. Like that. So now I've got that kind of mountain in. Let's get in this one. The flat brushes just they work perfectly for this to cut around shapes. Okay. And, I think I would just want to darken a little bit more around a little bit more around there. Come around here. I can also create just bits of white running through some of the areas to help draw contrast to these mountains as well, like this. Yep, there we go. That's a peak. Then we're going to go down, cut around these ones here to the right. Okay. Might get rid of some of this snow effect. So now, we have some kind of indication of those mountains all the way back, you know, in the background. And I think later I might redo those mountains, might make them a little bit darker. But for now, that should be okay. I think that should be enough. I. And really, the rest of this scene, it is just it comes down to detailing now. Really just comes down to detailing. So most of it is kind of dried off. Yeah, most of it is kind of dried off. So let's see what we can do. Let's see what we can do. Let's get in some blue in the windows. You know, it's just detailing. Really, you can take your time now. There's no rush, but a little bit of blue, a little bit of color through some of these windows, I think will be good, like that. You don't have to kind of leave the frames. But if you get rid of the frames, that's no big deal as well, because you can always just paint them back in afterwards. But I think some of this blue is good. It helps to, I guess, show the reflections from the sky. Right? This kind of one is, like, a bit darker. These windows here to the right, so I can just kind of add in a bit of something like that. There, you know, there's another window here. These frames I like to just bring out with some guash afterwards if I've lost out on a bit of that detail. But here, you know, you've got this darker sort of doorway. I can just paint that in like that. A bit of that window. You're just kind of detailing, really, finding ways to create some extra darkness through this whole area. Even there's a separation here between this part of the building. I can just imply that like this. Yep. What else do we have? This even a little You can just make out some tiny little shadows like here. Subtle little shadow just running across underneath that rooftop like this. There's a shadow here as well. Little shadow there. I actually joins on to the right hand side, like that. Okay. Uh yeah, I really put in this shadow. That's fine. What else do we have? That shadow I'd put in. There's some sharper sort of shadows here. Let's do that. Let's put in a bit of darker paint in areas like here. It's quite stark, this shadow. It's very these little shadows underneath. I'm just gonna mimic that kind of effect there. Bit of darkness underneath the window sills, as well in areas, okay? Here. Like that. No, there we go. Look, it's not completely straight, but I don't care. Uh, take a look, there's, like, some more darkness underneath this part of the scene, this right hand side, or left hand side, where you've got all those, like, little walkway areas in the back of the house. Um, it's just kind of dry brush sort of stuff going on here. Good, good. There we go. Just outline that part of the house better. Good. Um, yeah, I kind of it's kind of bit annoys me a little bit, actually, this back end area. I kind of want to break this up a little bit like that. Yeah, 'cause that should actually be another house or something running back in the distance, but I hadn't put that in before, so that's fine. Underneath some parts here, you sometimes get a bit of darkness, just fixing and tweaking little bits and pieces. Uh, this area in the back is not exactly white, actually, this rooftop, but it is more kind of like a bluish value. I get that in a little bit of this color. Lift off with a tissue. There we go. That looks a bit better. That looks a little bit better. Okay, let's have a look. What else do we have? What else do we want to sort of put in here? So just, you know, taking your time to refine the dark spots. You know, and adjust if you're not sure whether a certain area should be dark or not, you just go a little bit lighter, and then you can always re adjust it and add more darkness on later. All right. These sort of areas here should maybe have a bit of this house, for example, should have some darkness underneath it here. Forgotten to get it in before there and maybe this side of the house there. It's mainly the light hitting the left hand side of the buildings. But again, remember, it's not the end of the world if you don't get it in First. Okay, here, I'm going to just feather in a few more trees and stuff through there, this sort of area in the background. It's convenient for me to do this right now, actually, because um, it's gonna just drain this whole section up better. Ah. Good. Good, good, good. Um, let's have a look. What else do we have? To put in on this building, I'm just looking maybe if there's any darker sections that I could emphasize. I think what's really important for some of these buildings as well is to put on these, like, indications of the wood. And a lot of these houses are made of planks of planks of wood. So I like to just get in maybe a bit of brown paint. I'll dilute this down, add in a little bit of, like, gray. 21. Town Finishing: And then, you know, dry the brush off a little bit, and let's just indicate on this house some of these these little like wooden boards running across the house. If you've got a little rigor brush, this helps a lot to do this. Otherwise, just use whatever you've got. There we go. No. That first stroke was not the best, but, that's right. At least you got a darker, sort of slightly darker value of gray, and you can see here I'm just sort of drawing in these little painting on these little lines running through the building there to the left. You also get some of them running through the building's right hand side. I do need to make this a little darker here, so you can see this like, I'm just going to do this here. You're probably not going to be able to see this so well in the final product, but let's just see what happens. Like that, you know, just creating that same sort of wooden plank effect. You know, you've got some here on this building as well, which is kind of like a reddish, you know, just bring a few of these vertical lines running down the page there. And what else do we have here? Some of these lines. This part is not such a big deal, really, just something like that. Good. And also, it's the same deal with these white buildings. There's like little kind of, you know, lines running across the building, like, to indicate the little wooden planks. So, you know, keep this really really light. Don't try to make it too perfect, as well. It's like that. And yeah, this one's kind of got it as well. Let's just do it. Let's just get this done. There we go. There. Let's put in some more here on the front of the buildings here. And then they're very subtle. Okay. Looking good. On the rooftops of some of these buildings, you've got, like, some darker sections. So I'm kind of thinking whether I want to do that, kind of put in any of those darker sections or not. I'm thinking probably just a little bit, maybe a little bit. It's gonna be dark. Yeah, let's just try this. Let's just do it. There's actually a bit of a darker section here going through the sort of snow covered area all the way to the back like that, coming down, joining up there. Bit of that snow showing through in a part like that. Okay. That looks alright. That looks alright. I don't know whether I want to do it here or not, though, we can try maybe some little dry brush marks and keeping it quite randomized, as well, you know, just to show that maybe parts of the roof are not covered has not been covered completely in snow. And I'm kind of trying to use this to my advantage as well, to cut around this part of the chimney so it looks more Yeah, so that it just looks a little bit more sharper. Okay. Outline the chimney a bit better. That Rooftops underneath anyway here. What around the windows, they're just gonna dark darken around some of these window frames. The frames are not done yet, by the way, I'm going to get in some guash to bring them out. But a little kind of work like that just to help them come out more would be nice. What else? Here, here. Um. Okay. And these two buildings to the right kind of got a bit of darkness running through them like that as well. One thing I've noticed is that this rooftop does need to be darkened a little bit more. It's too light still. So back to the drawing board, a bit of ultramarine blue and a bit of gray. I really needs to be darker, not gray, but brown and ultramarine blue. And I'm just going to darken this rooftop another shade to really make it properly properly dark. You know, I was thinking to use this flat brush to make it easier, but it's actually quite a little bit tricky to gain control here because everything is so small. I'm painting on a fairly small bit of paper, so, but we'll make it work anyway. Alright, so that rooftops a little bit darker. I think that's the right value. I'm looking for. We'll let that sort of dry off. While that's happening, I'm going to just start playing around with some a little bit of guash, a little bit of white quash, to get in bits and pieces. I mean, here's a funny thing as well. You know, you got these street lamps running through here. Like, I can just indicate some with this smaller round brush. You know, you've got maybe one running through here like that. You know, another I mean, this one's kind of like on a funny angle like that. And then you've got the light coming out like that. That's all you need a little. It looks like it's been blown over by something. You know, you've also got this one here running through the rooftop. Like just see how we can get that in. There we go. That can be another little you know, something there, and I will actually get on a bit more detail afterwards. Here you can see there's also some little shrubs, like just around the base of this building. So I'm just going to put in a bit of that, some little shrubs there. Okay, so like I was saying before, I want to darken down some of these mountains here on the back end of the painting. So some ultramarine blue I'm going to use for this. And I just want to make it, yeah, just dark enough so that it stands out from the sky. Let's try this again. Let's try this again, go around these bits here. Yeah, I just want to make it a little bit darker than the sky. Good. And we can also use this to our advantage to leave out some of the previous wash. Okay, running through running down like this. Oh. That's right. God. Ah, sort of cutting around that chimney. Here, let's just do this mountain, this peak of the mountain again. And here, like I said, you'd sort of just leave part of that previous wash as well, bring this down here. 'Cause this part of the mountains there to the left that actually that really has to be a bit darker. And then we can see it start end here. These distant mountains ends roughly about here. And then this is where the other ones start. Feather this off down like this, so it's not all, just a sharp finish. Suppose Yep, maybe a bit more here. Okay. Good. Good. Alright, so let's get some white guash out, and this is a great opportunity if you have maybe added in too much paint over the top of the snow. So this is really the I think anywhere, one of the best ways to just finish off the painting and squeeze off a little bit of guash here. And then we're going to bring back some highlights. So let's firstly um, yeah. I'll just quickly do something. I've realized here this part of the building should be a bit bluish, this part of the rooftop. Sometimes you notice these little things as you go by even here, this should be a little bit more bluish, this area of the roof. That's actually white here, too. That's already the right value. That's fine. Um, Yeah, that's right. So I will get that guash, and I'll add a little bit of water to it just to activate the guash so that it runs a bit, but it's still going to be nice and thick when you put it on and also going to look nice and kind of sharp. And we're going to find areas to draw out contra. So for example, this area of the roof, I just want to fix that up, make it sharper. This kind of little pole here that's got you know, maybe a bit of white running to the left hand side for the light hitting it. There, there, you might have a bit of snow that you've it's landed on the rooftop here or just hasn't melted off completely. You can just sort of imply a bit of that snow on the rooftop like that. See, it's pretty basic. And even sometimes you might get, you know, for example, a little section that's Ops, just go to make sure I get this in a little bit more convincingly. But here, for example, there's little bits sort of snow or icicles or things just sort of hanging downwards as well. Um off areas. You can just imply bits and pieces. Um here. The frames of these windows are so important. So just draw a little just paint a little, you know, those frames in using the tip of the brush. And this will kind of make them really come out more. And the guash is great, again for this because it's opaque and we'll go over the rest, everything else that's in there. Don't have to make it too obvious as well. Okay. This frame here, you know, look, let's just paint it in frame. More frames. The left side of the building. You might have errors that you just want to recover some white. This is the perfect time to do it. And I don't use masking fluid. I just normally use guash because as you can see, it's so much easier like that. Anywhere on the left side of the building that you want to imply a bit of light, this is your opportunity to just add in a little bit of that to finish it off in places. You'll be surprised at how effective this is. And this pole is well up the top. It kind of comes down like here. It's just ended off like that. And what else do we have? So like another pole or something out there, and there's what's it something here? You know, there's actually some power lines and things just running across in distance. So this kind of helps to imply that going along out in the distance. I also see some power lines and things just running across the scene, which I'm not really too fussed about, to be honest. Uh Yep. And kind of the edges of the buildings here, you can sort of just bring back a little bit of the snow where it hits the buildings like here on the ground, just in parts, just bring a bit of it back near the base of some of these buildings. That's quite important to create a bit of sharpness where the buildings hit the ground. And then you got all the snow gathered up. Yep. Et's have a look here. Sometimes I'll pick up another brush and just sort of scrub away a little bit. I've got this filbt brush, and, you know, here, I've noticed there's a bit of a rough edge, a hard edge where this snow starts. This sort of darker snow starts. I'm going to try to rub off a bit of this edge, lift off to just soften this touch. Yeah, you don't want to do this to the whole area, but just sometimes some spots like that, it will help to just blend together areas that look a bit too harsh like that. Here in the foreground, there's a bit of harshness. Just lift off some of this stuff as well. Sort of scrub away, lift off with a bit of tissue. And some finishing touches, I think I'll just again, redo some of these mountains, these little striations on the mountains that were lost out in the first while I was trying to darken those mountains again, like that. Just a little bit of that here. You know, bit of this is just a bit of dry brush work back there. Yep, yep. But Okay. Back to the guash again, and I do think maybe some little white highlight here as well on this side of the left side of some of these buildings is gonna be good like that. Oops. Here. Whoops. I should be There we go. That's better. Maybe here on the left side or this side of the building or something here. And again, just kind of building up that sort of snow further down, bringing that around feathering a bit of this downwards. The gouache is really a lifesaver with this with some of this stuff because, yeah, it really brings back the white of the paper in certain areas. Yeah, I'm not quite sure about the rooftop there. I don't think I did that bit of snow so well. Maybe I'll remove it afterwards, but let's see, a bit of yellow, maybe for these houses here. The distance, like the left sides of these houses. They do need to be maybe a bit lighter like that. It's a bit yellowish paint there. All right, and we're finished. 22. Two Shacks Drawing: All right let's go ahead and get started with the drawing. And what I'm going to do is just put this kind of inclining area of the snow where the houses are, okay? So just where the houses, I guess, touch the snow. And you've got, I guess, a bit that goes straight across here. Ends near maybe a third of the way through the page up the top. So it starts about maybe a third of the way down the bottom, ends about a third away from the top. And yeah, then you've got another sort of kill over there. But right in the center of the scene, we have a bunch of different a couple houses here. I'm just going to move the houses a little bit more so that I perhaps have yeah, they're kind of a bit to the right of the scene. Let's get this one in, okay? Just get in the rooftop. And there's really not all that much to put into here, just the triangular shape of the house. And inside, there's, you know, bits and pieces here and there, but really there's not a whole lot to imply the roof of the house. Maybe I'm going to just make that a bit more three dimensional like this, perhaps. Okay. I kind of looks like it's just covered in snow though Baria. There could be snow. Behind it is I don't know what that is. It looks like maybe some logs or something. We can put that in after. That's no big deal. Now, I want to shift this tree a little bit just down here so that it doesn't cover the yeah the entire house to the right. Okay, so I'm just going to shift that tree somewhere here. I'm also paying attention to the shadows and direction that they're running. Were going towards the left. Essentially, you know, there's another sort of tree here further down that also has the same sort of shadow, some other trees. These appear to just be kind of birch sort of birch trees. A lot of these trees we can get in with watercolors afterwards and a bit of brush detailed brushwork. Okay we don't need to really put any of it in at the moment. I'd suggest, yeah, not doing that, actually. The second house here, let's put this second house. I'm thinking whether I want to put it next to it or not, directly in the middle. I think it'd be better if it was here even though it is sort of in the middle of the scene, uh, yep, maybe place it right here. Again, this sort of rooftop is sort of like this. Back end of it there. There comes down. And the front of it here. There we go. That's all. That's basically all for this sort of snowy area of the rooftop. Just to raise this bit, join it up, better Okay. I mean, apart from that, we've, of course, got a whole bunch of different shapes and things running in the background. We've got more, you know, there's, like, another ridge here that goes behind. There's another separation ridge here. There's a trough here. Looks like there's some trees growing through here. Some of these vertical shapes, okay? But apart from that, I think we should be good for the painting. 23. Two Shacks Painting: First thing I want to do before we get started is I've got to spray down the paper. Okay? I'm going to cover the rooftops of these houses just a little bit so it doesn't go directly onto the roofs. But I want there to be just a decent amount of water on the surface of the paper. And this is going to really help create this sort of wet and wet effect and make it easier to paint these areas of snow. Okay, have a look. You know, having a look at how the water is sitting on the paper. Sometimes what I like to do is also just grab a brush out and distribute some of this better. You can, of course, just use the brush in the first instance. But I'm going to let this all kind of sit in, soak into the paper, and it's a little bit tricky. But this is a great way to start these sort of snow scenes. Really just wet this down and make sure that it's evenly wet across as well. The first wash is going to be really important to get in all the different colors. And the paper does soak up a lot of water, too. Great. Alrighty. So let's get started on the painting. And the first thing I want to do is maybe add in some little regions of orange of this orangy color for the trees. And I guess it's an orange mixed with maybe brown I've got burnt sienna and a little bit of orange here. The burnt sienna will just dull it down a little bit so it's not too vibrant. I'm just going to pick up roughly where I can see some of these details are of these trees there and I'm going to place them in. Look, they're just all around. I mean, you can see them behind the the house as well here. And the great thing is because you haven't painted the house in, you've just left the white on the rooftop, you can actually just cut around them very easily like this. Okay, drop that in. And this will pretty much be, I guess, the warmth in your scene. And I really like how it's gonna it contrasts in the reference photo with all the coolness. So yeah, let's just keep mixing more of this stuff together, get ourselves in a really nice really nice sort of mixture of all these oranges and kind of like an orangy brown, I suppose, up here as well. These trees get really quite like, thick up here, so I'm going to just drop in more of that orange paint. And they're also being careful not to get rid of the light, well, not the light, but the snow, sort of white of the snow. Further down, there's not really much to put in there. I mean, I could add in that part maybe of a tree, maybe some here. You know, they're not really there, but I thought, why not? Let's just do it. Um, going around the rooftop here as well. I can actually yeah, just darken this bit a little bit more near the roofs of the buildings. This is going to help hopefully help to make the rooftops come out better in some parts. Okay. And, of course, you know, with the trees, you see there are some darker bits on the trees as well. So sort of drop in a little bit of this darker paint sometimes on the lower part, the lower left hand side, because that's really if you think about it, that's where the light source to the right is going to be casting a shadow. So a little bit of this stuff here. Great, great, great. Now, I'm going to move my way down to the bottom of the page and put in some really dark, kind of bluish value that might pick up I could use the mop brush here. Just the mop brush, I think, should do. The trick. Okay, a little mop brush. And I'm going to pick up, of course, checking the I want to check here as well to make sure that it's still wet. Tricky. Hopefully this will still kind of lend you now if it doesn't. If you find that you can always You can also re wet areas just by spring. I think this is important because we're going to also get in these bluish shadows which are going to play an important role. Yep, just like that. Now I'm going to just use ultramarine blue. I already have some other value here on the palette, kind of, like, grayish paint. I'm going to just drop that in and see what it looks like, yeah, 'cause the ultramarine blue looks a little bit too much at the moment, but it does need to be fairly dark at the base. I just don't want it to be completely blue, so some kind of purplish color in there would be good as well. Okay. Uh, this large sort of area down the bottom that's just covered in darkness. And not only that, it moves all the way up kind of here as well to getting near to the top of the scene. Okay, more ultramarine blue, kind of just mixed mix in as appropriate and get it. See how I'm just getting it to converge a little bit, as well. With the rest of the yeah, these little trees here on the right hand side. And, you know, through the middle of these trees as well, you notice there are little sort of shadows. I might just pick up a smaller round brush for this so that I can get a bit more control. Okay, you sort of running through there. These shadows are kind of just like the cast by a lot of these larger shapes, these other trees and things. So, yep, just trying to indicate that. And also here, there's going to be, you know, some shadows, that kind of thing. And we can get more of this in afterwards as well, which I'm definitely going to do, but this is just kind of the first wash to get in, I think, which is kind of important to make sure that there is some sort of background wash of all this area. This area has kind of gone a bit funny. I'm going to just mop up a bit of this paint. Here. Good. You know, these bits of orangy parts actually should probably go down a bit more. See how we can do this. Just bring that down maybe here. Yep. As anyway. Okay. Good, good, good. Some more darker blue through here, it's dark not quite dark enough in spots. This combination of this amazing kind of coolness and the warmth is going to look good together, okay? Around this time, you know, we should notice a bit of kind of drying, I suppose, in areas of the scene. Drying ins. So we can now start to slowly add in some details. I have myself a large rigor brush, and I'm going to go through and add in some of these trees down the base. And for that, I'm going to need a really thick wash of paint. So I've got myself a bit of burnt umber. Burnt tumba and a bit of ultramarine blue, just really picking up as much of that paint as I can and only mixing a little bit of water in in order to activate the paint. And this is so this is so we can get in these really stark looking trees down here. I mean, they're all over the scene, to be honest, but yeah, let's have a look. So this is pretty dark, and here there's like a rock there, so I can just sort of put in some indications of that rock like this. There could be another kind of rock here. You know, you just need to indicate. That's all. Little indications, let it sit in. Now, this paint, like I said, needs to be very thick, so don't hesitate at all in using almost no water through this. But I do have a bit more brown running through the paint than blue. Okay? Another kind of rock, whatever. Here, here. Well, there we go. Does look a bit like a rock, doesn't it? Okay. Another rock here, maybe, yep. Just a few little light touches. While the paint is still wet, it just makes it incredible. You can do this stuff and not have to worry much at all. I do have a small brush here. This is a This is just a fan brush. Okay, I'm going to drop in some shapes of these trees using the fan brush because I think it just will make a better shape for some of these trees rather than using the rigor. The rig is a bit better for pointy sort of shapes, okay? And I'm just dropping this paint straight in. You know, there's another one here. It's kind of like the general shape of the tree, but I'm not really so fuss about how they look, as long as there's clumps of them here and there, I'll use the rigor for those lone ones and branches that look a little bit more detailed, okay? Let's have a look up here. There's probably, there's little bits of darkness in here as well. I'm just going to grab the rigor, and you can see, it's basically just rocks running through the snow. So I can just indicate as well, a bit of detail running through this whole area. Spots here and there. Great. You might have some verticals as well just running through. Some of these verticals are really light, and some of them are darker. So you just kind of have to play it by ear and do the darker ones first, because the lighter ones I can actually get in by scratching out some paint, but we have to wait. We have to wait first, just so that the paint dries a touch. But all this stuff, you can see, it's like, you know, it's melting in a little more. I can sort of spray the page a bit as well. To make it kind of move around a bit yet. But there's another one. There's another one just verticals, really. Okay. What else do we have? There's some little verticals here. Look, there's some little trees here. Let's just paint them in. You can see they just sort of hit the snow in areas there. I Yep. Get this tree here. Again, the rigor brush helps with this. You can just really so you can see just detail without much effort at all. I put the little branches and things going off like that. Little details like this really help with these sort of scenes because often, you've got a lot of these abstract shapes running everywhere. So often the only point of reference for what you're actually looking at comes from these small details. 24. Two Shacks Finishing: Bluish shadow. Light blue sort of shadow maybe running here. Connecting that up. That bit of blue shadow behind this house as well. You can see it's kind of like casting some shadow, more blue. At this is just ultramarine blue, by the way. Uh, maybe, I don't know. I thought I could have some running through here as well. Just something like that. Doesn't have to be too sharp, though. Yep. Good. More blue up here, running through this sort of background area. Um, again, it's kind of like this bit of casting shadows, I suppose. Um, I've lost some of the white, but that's alright. We can, um, deal with that. But, yeah, you can see a lot of this sort of stuff, a cooler color just running through back end of the scene. I like how the bottoms turned out. That's nice and sort of this nice sort of cooler color there. I think what I'm going to do is maybe add in a bit more darker brown areas for these trees because they're just some of them are just not coming out much. Maybe just at the base of them here and there and some spots. There are some other trees here as well in this sort of section that I painted a little bit in before. But, um you can tail. A little extra here and there, maybe like that. Good to have some spaces where there's nothing as well. Okay. There we go. This could be another tree down the base. Gonna grab a small rigor brush again and just mix myself up a really dark mixture of this brown bluish paint. And here I can, of course, get in this indication of a tree, take a bit of time with some of the trees in the foreground. They kind of again, just make the scene look more believable. That kind of around this rock as well, it would be good to just have a bit of something, like that. More verticals and they come upwards, as you can see, and just form a bit of a connection with everything up the top. So all this is pretty much painted wet into wet, so, yep, there's a lot of sort of darker spots that would be better indicated with this smaller brush. Okay, more of twigs running upwards like that. All right. I might just work on this house quickly while we can. Brown. Oh, the right hand side of the house, I might actually add in with some kind of lighter brown color. So look, mix double that down a little bit here. Left side, just a lot of darker round. This Okay. So wind this up a bit better like that. And the left, sorry, the right house here, same sort of deal, just a bit of darkness underneath the roof top, and it really just goes all the way down to here. We're going to imply the whole house is sort of covered. I don't know if it's ours. It's more like a shack or something, isn't it? Covered. Like that. There we go. Just sort of covered in snow. And I like to sort of do this sort of thing as well. We can pick up a bit of kind of bluish paint, and I'm going to just really dilute this blue down as much as I can. Um, get a really light blue, sort of shadow kind of color. Okay, cooler shadow. And we can just sort of put in this indication of, like, tree branches on the building this running across the top of it. From this tree, of course, as well. Oh, that might be better if I actually have a tree that looks like it's casting a shadow on it. I think what I would do is maybe add in a secondary tree so that this makes sense of in front. This one here kind of looks like it's there. It makes more sense because the shadow is actually going in the direction. Okay. So if I Maybe put in another tree here behind it. Okay. Indication of another tree anyway, that that's gonna make a bit more sense. There we go. I want to add more darkness in some parts in there, create a bit of extra contrast and cut around these some of these trees as well. Like there. I might actually just darken this whole area up on the top, cut around some of these trees might emphasize the light a bit more. Um, yeah, that's okay. Cut around that sort of orangy looking tree. Yep. Be tricky to imply some of this detail in here, but it works if you are patient. Just spray this top section down. I want to get some more kind of cooler color also running through the top part more sort of in the edges, I guess, like there. And this kind of helps to frame the scene a bit, if you look at it carefully, it does help a bit. Some more of these sort of shadows being cast by the trees. These ones as well. I just thought I would indicate some kind of shadows also running to the left hand side. You've got these ones here as well in the mid ground. Okay. Trying to create this sort of ridge like effect, as you can see here, just to cut around some of the the snow helped maybe frame this better. Have a look. Here, maybe this bridge just bring that in a bit better. But I think the trees down the bottom look good. I like the style of a lot of these trees down the base. Um, might bring out a bit of scratching out, a little scratching out work. Let's see how this goes. If this doesn't work, I think, yeah, it will work, but it actually looks might look a bit better if I use some guash to finish it off, actually, just to bring back a touch of opaque quality to all this. So I mix up a bit white. I've already got a bit of white guash on the page, and I've got some orange paint, really just some, you know, orange but warmer colored paint. And we can kind of just pick some places to touch on, you know, like this, a vertical here or something like that, more white. Yeah, there we go. Some of these maybe just a bit of vertical activity in the background there. It scratching out work. And It's just a little little pocket knife that I can use to just bring out some vertical marks on the scene. It may or may not look like trees, some sort of distant trees here in the background. That looks better, actually, some of that stuff in parts. Maybe some detail on the house. This can actually sort of help with the sort of indication of the wooden slats. But let's just do this quickly. Some verticals, I guess, which may work in some