'The first fall of snow is always an exciting time for the artist,' says Colin Steed. 'We go to bed after seeing greens and browns in the landscape and wake up to a blanket of white. However, an artist’s initial excitement can be very quickly quelled by the daunting prospect of putting that lovely snow scene on to watercolour paper.

'How do we paint white snow onto white paper without the use of white paint? If there are buildings and trees in the scene and the snowfall is quite light, there will be a good amount of warm colour to contrast against the white snow. But when we have a heavy fall with strong winds the buildings and trees can be plastered with white.

'The effect on nature is spectacular and we should not shy away from any subject even if our chosen medium is watercolour. With the correct approach and using the right techniques we should be able to achieve a good impression of any subject.'

Seeing colours

Reference photo - the racecourse on Galleywood Common, Essex

'From colour to contrast – that’s the way I see that magical moment in our seasons when a blanket of white changes the landscape. This photograph of the old racecourse on Galleywood Common in Essex (above) is a good example and will be demonstrated below.

'It shows a ride through a wooded landscape with large trees on either side. The snow initially gives the impression that there’s very little colour at all.

'The very dark colour on the left sides of the trees is easily spotted, but the longer you look the more colour you see. The sky is very light but not completely white. The top of the sky is a very weak blue but the closer the sky is to the distant land, the warmer the colour.

'In the distance, the racecourse turns to the left and we can see the far distant wood. Although there are some blue-grey tones that give the feeling of distance there are also some warm oranges and yellows. The same colours can be seen in the distance behind the foreground trees on the left.

'The light is coming from behind the left-hand trees so most of the middle and foreground areas are in shadow, but where the sun shines through on the snow we can see a warm orange-yellow. Even the blue shadows covering the trees and foreground have a hint of red.'

Preparation study: Simple snow scene

Before painting The Old Racecourse, Galleywood Common, practise painting snow with the simple study below.

Step 1

1. Draw a tree with hedges either side and a line for the distant field with a 3B pencil.

2. Using the No. 12 Round brush dampen the complete paper allowing a short time for the paper to absorb the water.

Step 2

1. While still damp paint the weak blue sky at the top. Work your way down, introducing alizarin crimson and cadmium yellow.

2. Now mix crimson with the yellow to achieve an orange-red colour and paint over the hedges and foreground snow. Keep all washes weak in colour and tone.

3. Allow the paper to dry completely.

Top tips

The distant trees should be painted before the sky dries. This creates a soft edge that will help the feeling of depth.

To stop the colour running into the distant field, lift it off using the damp No. 12 Round. This will help the drying time in this area.

Step 3

1. Mix together a medium to weak mix of cobalt blue and Indian red and using the No. 6 Round paint the tree, hedges and foreground shadow.

2. Paint the tree trunk first, followed by the smaller branches tapering their thickness as you go. The foreground shadow is painted one tone darker than the hedge and tree leaving some of the original colour unpainted in the foreground. The snow is now in shadow.

Step 4

Using the side of the No. 12 brush and the same mix paint the impression of clusters of small twigs and branches.

The brush should be loaded with colour, but only damp, not wet. The hairs of the brush will open and create texture on the paper.

Step 5

The finished study, watercolour, (20x28cm)

1. The final stage is to paint any areas that are not covered with snow. Use the No. 6 Round for this.

2. Paint the left-hand side of the tree first leaving the centre and right side unpainted. I used ultramarine blue mixed with burnt umber. A dark brown colour, but not too black, would be the ideal mix.

3. Use the point of the brush for the small branches, leaving gaps where the branches are covered by the small twig areas.

4. The hedge is the same mix but use less burnt umber to create a warm brown colour. Use the side-of-the-brush technique to give the effect of snow on the tops and down the side of both hedge areas leaving plenty of white snow. This technique is also used to create an impression of the odd patch of autumn leaves yet to fall from the tree.

Demonstration The Old Racecourse, Galleywood Common

The Old Racecourse, Galleywood Common, watercolour, (38x56cm)