Starting at the top of the page work your way down with the local hues. Indicate the water with the sky color. Keep your values light. Let dry.
Indicate the background trees with a darker value. Start to sculpt out the pine trees on the left and the willow tree on the right. Show a reflection in the water of the trunks and go over the water with a darker value, letting some of the original wash show through. Let dry.
Using your dark values now go in and accent your dark areas, referring to your value study. Show a shadow on the ground from your light source. use a credit card to show some grassy areas in the foreground and on the pine trees. Darken your values in the water also - soften the edges.
Start painting background to foreground on the composition. Using a blue hue indicate the top of the sky. Come down adding water to your brush and a slight amount of red or pink. Come down to the horizon line. Let dry.
When you remove your wax or saran paper you will see some nice textures that the papers created. Using your middle values now, indicate your shapes from your value study with mid-values hues - similar colors, but darker values. Let dry.
Show a horizon line with a darker value than the sky. Carry down that color trying not to cover up all of your first wash. Using your dark values bring out those dark shapes with a variety of colors. Using a rigger brush show some dead branches and some brush.
For this painting we will be doing a wet into wet technique. Wet the entire paper with clean water. If you are working on a board you will have to staple, tape, or bulldog clip your piece of paper to the board.
Using middle values start to build up the roses and leaves, indicating their shapes by their values. Show stems in the glass vase, soften the edges while the pigments are still wet. Let dry.
Begin painting the background sky area with a light value. Continue into the foliage area, watching your negative shapes (the sky) as well as your positive shapes (the trees). Make interesting shapes. Show where the bridge will go by leaving white for the snow on top of the railings. While the pigment is still wet use a credit card and scratch out some trees in the background. Indicate the area of the stream using a similar palette as the background. Start to show snow drifts.
We will now be using our middle values, similar colors but darker values. Show a shadow side of the left snow area in the foreground. Develop the bridge area. Break up the background by adding some darker shapes.
Using our darkest values on the value scale, go over the water area with darks, doing some line work on top to show some movement in the water. Put some dark trees in the background. Using a rigger brush show some branches on the trees. Soften edges where the water meets the snow.
Starting at the top of the page using blue hues, continue down the page introducing greens in the foliage areas. Watching your value study to see where your lightest lights are, make the horizon line a light yellow. Indicate the pond with a cerulean blue and the foreground area with yellow ochre and burnt sienna. Show your flower shapes with a light pink hue. Add green in the foreground at the bottom of the page. Let dry.
Using mid-tone values, start to show tree shapes using your value study. At the back of the pond indicate a darker color and soften the edge as you come forward. The edge in front of the pond should be rough to indicate the foliage is in front of the pond. Drop in burnt sienna to show a value change in the foreground area. Using these same values negatively paint out the shapes of the flowers. While this pigment is still wet, use a credit card to scrape out some grasses. Paint negatively the grasses on the bottom of the page.
Using dark values - alizarin crimson and thalo green are a nice combination - put in your dark shapes. Change the color by using a little burnt sienna with ultramarine blue. Build up the flowers by showing a value change, from your light side to mid-tone to a shadow side with a darker value. Using a dark green hue show leaves on the stems. Indicate some grasses with a rigger brush.
Start at the top of the page and work your way down from one color to another, working background to foreground, light values to dark values. Start to indicate the local hues of the different areas of the painting, watching your value study to keep your light shapes. Let dry.
Our second wash will consist of mid-tone values. Start to paint positively (the tree) and negatively. See our center of interest in the lower right corner, that tree was painted negatively. Show shadows on the road with a light color, keeping your strokes horizontally as to keep the road smooth. Show brush on the sides of the road with some vertical strokes, making sure your shapes are interesting and different. Let dry.
As we work our way down the value scale we are now going in with our darkest darks (look at your value study to see where these shapes are). Make your dark shapes interesting and different from each other. On the evergreen trees, your darks will be placed on the underside of the branches. Indicate some tree trunks also with the darks. Where your lightest light and darkest dark meet, this will be where you are telling the viewer that you want them to focus on that area (center of interest). Go over your shadows once again on the road with a cool color. Using a rigger brush, indicate some dead branches and some grasses along the road.
With blue hues paint the sky, adding water and no pigment as you go down the page. Start to indicate foliage as you sculpt out the barn shape. This painting will be a predominately warm painting with a touch of cool. Continue on down the page with local from you reference sheet. Let dry.
Start your second wash with mid-tone values. Start to make tree shapes in the background with darker values. Using the edge of a credit card, scrape out some tree trunk shapes and grasses in the foreground. Repeat with the same colors - just darker values - in the foreground. Indicate windows and doors in the barn with darker values. Refer to your value study to see the dark shapes. Let dry.
Your final wash will consist of darker values. The roof, doorway and foreground are going to be your darkest values. Make sure your vertical lines of the building are parallel with the edge of your painting. Indicate some foliage in front of the doorway on the barn, by wetting the pigment and dragging the edge of the credit card through the area. Add some dark limbs and tree trunks.
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