We start drawing the trunk of a Japanese tree with an arc, because this will be the trunk.

We draw the main branches in the form of arcs, and then attach additional branches to them. They will be thin.

Create an outline for the cherry blossoms, and then draw the flowers themselves. Add details.

The resulting drawing of a blooming sakura draw with a black felt-tip pen or marker with a thin rod.

Now you can paint the fragments with colored pencils. We start with the branches and the trunk. For them we use a brown pencil.

We pick up a soft pink pencil and stain the bloom.

Let’s complete the drawing with a brown pencil. With it we paint the base of the tree and give a shadow on the blossom near the branches. If desired, you can add highlights with a white pen. So we will get a beautiful drawing of a blossoming cherry tree on a sheet of paper with colored pencils.

Winter lasts only three months, sometimes we want to capture all its beauty. The winter forest is unique and mysterious, the trees in winter are dressed in different clothes. As if they want to show off their outfits. Depict a winter landscape on paper, it is very fascinating and gives you the opportunity to stimulate your imagination and fantasy.

(the higher, the darker)

(How to Draw February)

(on the palette, dilute the blue paint with water)

(How to Draw February)

Yellow alternates with green and dark blue

Winter is mostly white and black. Begin painting our February landscape from the trees. Take black paint and mix it with brown paint. Come up with a concept of how many trees you will have and a plan for planting them. Place large branches behind the trees, gradually reducing them in the background.

The trunks of the trees are better to draw with a thick brush, for the branches take a little smaller, they should be like the curls of a beautiful girl, delicate and graceful. After drawing the tree, you need to dress it up. Dip the brush in dark green paint and press it to the branches, as if the needles will peek out from under the snow

Take a brush with a fluffy pile, dip it in white paint, try to make the snow lying on the branches soft and fluffy. February is the closest month to spring, which usually pleases us with sunny weather. Now let’s picture it in a picture. Take the blue helmet and mix it with the white and we have a gentle blue.

(How to Draw February)

Draw the month, the windows, add color to the horizon line

Use a paintbrush to draw clouds that float over the forest. To make our snow stand out, mix white paint with salt water and draw snow under the trees as if there was a strong wind and it blew it away. And if you want to make a February day with a snow picture, take a toothbrush, dip it in white paint and sprinkle it on the landscape (not much) it should not spoil the overall look of the picture.

Squeeze the paint from the tube onto the canvas. Try to squeeze out more light (warm) colors (shades of yellow, orange, ochre) at the edges and corners of the canvas, and in the middle add more (among the yellow shades) in place of the future orange pumpkin – cadmium red, and in place of the future green pumpkin – emerald, ararat green, mars brown. You can do without thinking too much about it, and just squeeze the paint onto the canvas in an almost staggered pattern.

Press the paint down with a u003ca href=u0022https://en.wikipedia.org/wiki/Painting_knifeu0022u003eu003cstrongu003epainting knifeu003c/strongu003eu003c/au003e

Use the blade of a office knife, which is held almost parallel to the canvas, to distribute the paint on the canvas in short strokes (work very carefully and to avoid injury, do not forget that the blade is very sharp and it can cut).

Next, with the same clerical blade, carefully distribute the paint from top to bottom in one motion. This leaves paint on the blade, which should be removed either on the edge of the canvas, where there is not enough paint, or wiped off on a rag. Try not to stir the paint on the canvas too much at this stage, but to even it out in one movement from top to bottom, and so reach the end of the canvas in parallel paths.

We divide the still life photo into four parts, to make it easier to maintain the proportions when transferring the picture to the canvas (I just bend the photo twice, lengthwise and crosswise).

Using a brush, the back end of the brush or a finger, we outline the outlines of the future pumpkins and the edge of the table.

Putting a sock on your hand or just a rag wrapped around your finger, begin to select (erase) the paint from the light areas of the future green pumpkin (at the same time, work carefully, gradually making the transitions from dark to light places). At the same time the darkest places are not touched at all. The most important thing in this technique is to select the paint from the canvas in short strokes, do not smear large areas on the canvas at once, and constantly change the soiled piece of rag or sock for a clean area, moving the material in your hand.

Similarly, lighten (select the paint) from the light areas of the future orange pumpkin, and also wipe the paint where the table will be. Work confidently, don’t be afraid to remove excess paint, because it can be added again later, but in a clean color!

Sixth step can be skipped and not done. I, on the other hand, took a sheet of newspaper by the middle and lightly touched the canvas with the edges of the newspaper, going over its corners, slightly muddying the paint and creating barely noticeable streaks.

We make a shadow under the pumpkins and in the hollows of the pumpkin itself. For this I made a mixture of ultramarine and cadmium red dark, somewhere I added dabs of brown, somewhere – Ararat green. I applied the resulting dark paint with a brush to the canvas, and then in some places I smoothed it out with my hand (you can use a dry brush, touching the canvas lightly).

Next, we make clean blends of paint on the canvas to highlight the lighter areas of the pumpkins (light orange, light yellow, light green, and even bluish green).

After that, use the brush to apply the light paint to the areas that we wiped beforehand. Try to touch the canvas lightly with the brush in short strokes, not completely covering all the areas, but rather creating ripples.u003cbru003eSimilarly, add dark green, emerald, red-brown, and so on to the shaded areas. The more shades you use, the smoother the tone transitions, the more picturesque your pumpkins will be!

Moving on to the sea buckthorn sprig and the berries on the table. I wanted to make the sprig not as dense as in the photo. I used a brush No. 4 and a dark transparent brown paint.

Doodle the leaves. They are a simple oblong shape and should not cause difficulty in writing.

We make sea buckthorn berries in the background, using darker shades of paint (I added brown to orange and yellow). By the way, the berries are very convenient to draw with a finger, as if putting a paint imprint on the canvas or with a semicircular brush No. 4.

In between, I drew a shadow under the leaves, berries, highlighted the edge of the table and the edges of theu003cbru003eleaves.

Next day, when the paint dried, I did a little more work on the berries. With a softer brush I smoothed the surface of the berries, brightened the berries in the foreground, put highlights (somewhere just with whites, somewhere in the shadows – diluted with whites with yellow and orange paint). I added even lighter color to some of the leaves.

Sketch is done with a hb pencil, which is a standard normal pencil. Sketch is done lightly, so that the pencil is barely visible. I draw a line to divide into two parts. Main thing is that this line is not in the middle but a little lower or higher, I will do lower.

Next I draw a mass of trees in the distance, then draw a meadow, and in the meadow will grow birches. I outline a leaf. The distant trees will be small, because they are far away. I make the plumage of the birches big – this is the law of perspective.

I draw the clouds and basically the sketch is ready.

It’s better to start writing from the sky. The sky is lighter and warmer at the bottom, and darker and brighter and colder at the top. I begin to paint from below I mix white colors, blue and add a little u003cstrongu003eu003ca href=u0022https://en.wikipedia.org/wiki/Ochreu0022u003eochreu003c/au003eu003c/strongu003e, also add a little emerald or light green, then the sky will be more blue and bright. Gouache should be painted in stages. There should be a little water, paint should not leak.

Now I add less whitewash and I get brighter shades of blue. While I’m painting the sky I use this color for the river. The water is a reflection of the sky, only a little darker. On water as well as on sky I put horizontal masks, somewhere in blue color I add a little bit of pink shades. Here you need to make a smooth transition from light blue to bright blue, so whitewash gradually add less and less, then you will succeed.u003cbru003eWhen you paint the sky and the river at the same time, it speeds up the process and the drawing will be a single environment. The river is lighter in the distance and darker and brighter up close. The water is like a mirror that reflects everything nearby.

After the sky I prescribe the background. The lighting will be on the left side. I begin to write the light. On a mass of trees I mix white ochre yellow colors, then I add red and painted halftones on the trees. Strokes I put randomly in different directions emulating the leaves on the trees. In the process of his work more often change the water and wash the palette is the key to your success.

Then painting shadows. I add pink and purple colors. The background should not be contrasting and not very bright. It is not necessary to draw each tree. The reflection on the water from the trees falls vertically. I mix the reds with the shade of water and put a few strokes.

I paint the clouds. I mix white and a drop of yellow paint. These shades will be on the tops. The bottom of the clouds will be pinkish lilac. Now I am going to paint the foreground, it should be bright and contrasting. We mix yellow and white paints, then I add some red strokes, I put on the form of leaves in different directions. I use ochre green blue paint somewhere add pink halftones.u003cbru003e

I will make the meadow ochre green. I have a sunny day, so the lighting contrasts warm light and cool shadows. I add a few greenish strokes in the background to make the work more whole. I want to add some light yellow shades on the most sacred places using almost open color. I paint shadows, find a variety of shades, add ochre-red strokes to play with the light on the foliage and add extra volume. Then I add dark contrasting shadows. In some places I mix ochre with blue, somewhere I add pink. As you can see, I do all the basic work with a thick brush number 6.

I draw the falling shadow of the birch tree. It will be cool and contrasting. I mix ochre, blue, purple and pink.

Now I’m refining my drawing. I add ripples to the water. I take a thin brush, somewhere I put light masks, somewhere dark. We paint it with different strokes. One stroke is long, the second shorter and do not do too much everything must be in moderation.

u003cbru003eI’ll make the clouds a little more contrasty.

I paint the trunks of the birches. I use purple and blue shades. I mix them with black. The light on the trunks of the birches will be white. I add a dash of yellow and make a few spots on the birch trees lighter. For small details you can use a thin brush number one is already as you like. I will add more shadows on the distant trees and highlight the birches. I also want to add some yellow strokes on the distant trees. I go through the yellow on the lighted tops of the foliage.

Now I want to liven up my drawing by adding some contrasting spots to the foreground. I’m painting halftones. The halftone is slightly darker than the light but lighter than the shadow.

To make the composition even more interesting I will draw a flock of birds. The birds will be gray. It’s not hard to draw them, but your work will be much better.

Somewhere on the birches I draw the dark, thin branches.

I add the finishing touches in the center of the composition. I want to make the water lighter. I lay down a broad shade of pale blue.