STAGE BY STAGE

The first thing you will see is that I have done my outline drawing, and now in the bottom third, I've added a mixture of alizarin crimson and yellow ochre, mixed. 

Then from the top, all the way through the other colours, I have used a mixture of ultramarine blue with a tiny touch of alizarin crimson.  After  washing out and squeezing out water from my brush, I  sucked out the clouds.

In the bottom half of the clouds I have used ultramarine blue and light red, this gives the impression of cloud shadow.

For the far distance trees and bushes I have used a mixture of ultramarine blue and burnt sienna, well watered down, dropping this in while the sky was still slightly damp. For the larger section of middle distance woodland, again the same mixture, but slightly darker.

For the individual middle distance tree, I put yellow ochre to the left-hand side, using a No.8 round brush. Then, whilst this was still slightly wet, I did the rest of the tree, dropping in a mixture of ultramarine blue and burnt sienna. Using my rigger brush, whilst adding this colour, I created a few twigs and boughs.

Exactly the same format for the big tree except everything was getting a little stronger in colour. 

The rough edges of the tree were created using a mixture of ultramarine blue and burnt sienna and for these I laid my rigger brush  flat and stroked outwards.

The twigs are created at this point, using once again the rigger brush.  Notice I did not do lots of twigs at the top of the tree.

 To give the impression of a canopy of twigs I simply loaded my 3/4" flat brush with a mixture of ultramarine blue and burnt sienna, dabbing it on flat, picking up the surface of the rough watercolour paper. Now it was time for some rough growth at the base of the trees.

For this growth I used firstly yellow ochre followed by burnt sienna.  All I did was load the side of my 3/4" wash brush and drag upwards picking up the surface of the watercolour paper.  Then it was time for the snow, again a mixture of ultramarine blue and burnt sienna, using my big flat brush, liberally whacking it on making sure it went fainter the further away I got.

For shadows again it's ultramarine blue and burnt sienna, but this time it's darker. A quick tip for getting the shadow of a tree in the right place, load your brush with the colour, touch the side of the tree with a brush stroke down to the ground, and then simply turn your brush around and drag it out horizontally.  Now your shadow is in the right place.  And there you go a winter scene which should make you feel cold by the time you have finished it.