Cold Corner, oil, 16x20in (40.5x51cm). For me this is at the larger end of the spectrum for a plein-air painting in snow. What didn’t I love about this subject? I was in absolute heaven! It was one of those days when everything just worked; a day to remember and savour.

Make the most of the transformative effects of snow and paint impressionist winter landscapes with Haidee-Jo Summers.

Transformative snow

Under Cover, oil, 20x24in (51x61cm). This is a large studio painting exploring the mysterious bulbous shapes of the brussel sprout plants under a blanket of snow, the opacity of the snow and translucence of the leaves, coupled with the long winter shadows.

Every winter I long for snow, although snowy days can be few and far between. The rarity of this transformative weather brings an extra heightened sense of excitement for me when it actually does occur, along with a determination to make the most of it.

Although there are towns that I would love to see and paint when covered in a snowy blanket, the hazardous conditions make travelling difficult so I make the most of what’s on my doorstep and the short daylight hours. It’s not very hilly in my area of Lincolnshire but we do have a nearby slope that attracts sledgers, so that’s a favourite winter haunt. I also have access to that most magical of places where I find inspiration in every season – the allotments.

Strong compositional shapes

Room with a View, oil, 8x16in (20x40.5cm). Another fast paced plein-air painting that came together exactly as I needed it to. I never work on these paintings later on as I wouldn’t want to spoil the immediacy. If I felt on reflection that the painting didn’t say what I had intended I would rather start a new painting in the studio based on it and leave the plein-air study be.

What I love about allotments as a subject matter are the strong shapes provided by the sheds, greenhouses, various containers and trees, together with the softness and chaos of shrubs, foliage and overgrown areas.

I love the organised way in which vegetables are planted in rows that can lead the eye through a painting, the pattern-providing repetition of crops, as well as the vertical markers that link land with sky provided by canes and posts. I enjoy the life and movement provided by gardeners and poultry, not to mention the interesting man-made touches of wheelbarrows, compost bins, bird scarers and cloches; all this as well as the colours, light and atmosphere. There’s so much to work with!

The snow brings a whole new dimension to the visual treats on offer: a blanket of white punctuated by sticks and hardy winter vegetables peeking out under their winter cover; the thick dark wintry sky above; the peace and solitude, the moisture of my breath, the crunch underfoot.

Sometimes the winter sun and crisp long shadows provide more shapes and interest to design a painting around; the spots of deep warm colour provided by the hens punctuating the greys. Then the thaw, the green colours peeping back through, the patches of brown mud getting larger and wetter, the bare branches of the winter trees, the circling of crows above. Yes, winter is the time to be outside making the most of it.

Working outside in winter

Treading Softly, oil, 16x20in (40.5x51cm). I had to exercise restraint with this painting, holding my breath even to try to achieve the delicate subtleties of the soft light and temperature changes. This is such a quiet subject with a good covering of snow and one of my all-time favourites.

Working on site as much as possible provides me with so much stimulus and food for thought.

My time with the snow on the ground is limited, and speed is of the essence if I’m going to make the most of the opportunity. People wonder how I can paint outside in such wintry conditions but it all boils down to having the right clothing and equipment. If venturing out with your paints into the snow wrap up more warmly than you think you will need to.

Standing still for a length of time is the fastest way to get cold. Ski wear is ideal, and I have a pair of snowboarding trousers and also wear many layers including a thick fleece and a waterproof overcoat. I paint wearing fingerless gloves. A thick cosy hat and warm sturdy boots worn with thick socks are essential. A flask of coffee always keeps me cheery. I really do find that when I’m in a heightened state of excitement I don’t notice minor discomfort at all. For me painting in snow is such a treat.

I fully embrace the new challenges of painting a snowy subject, the reflected light in the shadows if the sun is shining or the chasing of close values when the sky is overcast. Subtle colour mixing is the order of the day as snow certainly can’t be described within the painting as just pure white. Searching for the colour bias amongst all the subtle greys keeps me on my toes.

The Glow, Allotments, oil, 7x10in (18x25.5cm). This small plein-air study on Arches huile paper explores the structures and shadows and the warm light coming through the greenhouse.

Don’t be fooled into thinking that snow is all about the cool colours. Depending on the light conditions you may see warm pinks and oranges, and greenish greys as well as blues and purples. Try to forget all about formulas, there really is no substitute for careful observation. Make comparisons constantly across the whole subject to judge value and colour. Ask yourself: is this area lighter or darker, warmer or cooler than that? A snow subject can have a full range of value contrast on a bright clear day or a narrow band of tonal values when there is a dull overcast sky, blizzard or fog.

I used to be disappointed if the sun wasn’t shining as I was longing for those crisp shadows on the snow, but not anymore. When there is a narrow range of tonal values I have more reason to explore subtle changes in colour temperature.

Medium and mode

A photo of my easel in situ while painting Cold Corner

Oil paints are ideal for working in wintry conditions because they are not affected by the kinds of temperatures we have in the UK.

The freezing point of linseed oil is around -20 degrees centigrade, which makes them a safer bet than watercolours or acrylics. If snow falls on the palette during the painting session this can be a real nuisance but having an umbrella that clips on to the easel helps.

It makes sense to work quickly on small panels. I try to stick to an hour at most and I set a timer on my phone to remind me. Small drawn sketches and notes are useful for studio work later, as are photographs.

I once painted a snow painting which was exhibited with the Royal Institute of Oil Painters from a five-minute pencil sketch on the back of an envelope and the memories it evoked, so powerful is the experience of actually being there and making an effort to absorb and record it rather than just snapping photos and moving on. I walk around in between paintings to warm up to get the blood flowing. That’s a good time for spotting the next subject and making reference notes.

The Thaw, Drove Allotments, oil, 20x24in (51x61cm). A large studio painting based on photographs that I took on the last day of that winter’s snowfall. It was a mild and sunny day and the snow was melting rapidly. I painted three small plein-air pieces and took around 200 photos. I found my subject here with the sheds and the dark trees and long shadows to be a fantastic light and dark pattern and the painting came together effortlessly in the studio.

I look for an interesting pattern of light and dark on which to build a painting. If there are long winter shadows I will exploit the shadow shapes when creating a composition. Firstly I establish the dark shapes in the composition and then keep a broad view over the subject, always comparing values and colour temperature.

When I’m working from the subject in these conditions I am very much in reportage mode, trying to gather as much information as I can about what I am seeing. Then when the snow has melted away for another year I like to work on snow paintings in the studio for the next few weeks, while the experience is still fresh in my mind. I can work on much larger paintings in the studio and with the luxury of time I can build up a painting in layers.

Within the studio I find I can be more inventive and take from the various reference studies and photos while focusing on making something new and different. After a month or so of intense activity, the inspiration ebbs away again as my attention is drawn to other things, to be rekindled next winter with a little luck.

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About Haidee-Jo Summers

Haidee-Jo is a full-time professional artist known for painting gardens, landscapes and seascapes 'en plein air'. Vice President of the Royal Institute of Oil painters (VPROI) and an elected member of the Royal Society of Marine Artists (RSMA) her work can be seen each year at the Mall Galleries in London in these prestigious society exhibitions.

As well as a busy painting life, Haidee-Jo is an author of two books on oil painting and an editorial consultant for The Artist magazine, alongside David Curtis ROI RSMA.

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See more from Haidee-Jo on her website, www.haideejo.com.