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paintingpainting snow

Techniques for painting snowy landscapes

Technical painting notes: With a bold and unexpected start my priority was keeping as much of the original layer as possible, while bringing in more hints of color and depth. I used translucent grays over colored glazes to soften and recede some areas. I pulled up some of the whites in the scraped parts to reinforce their prominence. I used a roller with various gray mixtures to push some areas further back, soften edges, and for the accidents that always happen. The edge of the roller is great for drawing fine lines.


Acrylic Painting – Winter Landscapes – Online Course – Community Learning – 12:30-15:00

Enjoy creating snow scenes in winter landscape paintings. Depending on your color palette, a snow scene can have a frosty feel or a warm glow. Learn some techniques and how to work with a limited palette to depict snow effect in your winter landscape painting

What will be covered on the course? What will be taught to learners?

  • Artist research: John Kingsley
  • Working out innovative, dynamic compositions in acrylics
  • Palette selection, light and perspective
  • Painting techniques: impasto, blending, colour mixing

What will learners achieve by the end of the course?

  • Learners will know how to prepare the surface, sketch and draw the composition. They will also learn how to make a stay- wet- palette, to mix the paint and to apply it using using different techniques like palette knife, scumbling or mottled background.

What skills or knowledge do learners already need to have to attend the course?

  • 40 x 50cm stretched canvas or canvas board. acrylic paper pads, white acrylic gesso, palette, spray bottle, a range of synthetic paint brushes, sponge brushes, metallic palette knife, silicone spatula, Titanium white, acrylic paint

As this course is online, a suitable device such as laptop, smart phone, tablet or computer will be required to access the course. Zoom will be used for the live sessions and the link will be sent to you once your enrolment has been completed.

Booking your place and fee information

To secure your place on the course BOTH the following must be done:

  • Complete the EVENTBRITE BOOKING.
  • Complete our INSPIRE ONLINE ENROLMENT FORM for each person attending the course.

You should be redirected to the Inspire Online Enrolment Form after completing the Eventbrite booking. If you are not redirected, please use the link supplied in the Eventbrite booking confirmation email.

To book and enrol on one of our courses, you must have been living in England and have been resident in the UK for the past 3 years.

Some exceptions may apply if you are living in England with evidence of the right to remain and are from an EEU/EEAU country (completion of a questionnaire will be required).

As we no longer receive funding for our ESFA-funded courses for learners living in the devolved areas listed below, full cost fees would apply to these courses if you live in these areas:

  • Barnsley, Doncaster, Rotherham and Sheffield
  • Cambridgeshire and Peterborough
  • Greater London
  • Greater Manchester
  • Liverpool City Region
  • Newcastle Upon Tyne, North Tyneside and Northumberland
  • Tees Valley
  • West of England
  • West Midlands
  • West Yorkshire


Any questions?

Check the FAQs page, or get in touch:

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Book your place from FREE – £45

Sorry, the booking deadline has passed for this course.


Meltwater Season

Posted on 02/22/2023 by Teri Malo

Some paintings are in development for a long time. Meltwater Season is one of those paintings. I started it, then put it away a couple years ago when the season changed before I could finish the painting. Last year I hauled it out again, bringing it closer to completion. But this year proved to be the magic year. Enough experience, enough inspiration (absolutely missing the white stuff during this mostly snowless winter!). The painting expresses my wonder in the presence of all the ways water in the pond freezes then melts, and the ice-encased grasses in the shallows. Details below. Enjoy!

The two views below show the painting in progress.

Ode to the Dark Days

Posted on 01/29/2023 by Teri Malo

Winter is, to me, a glorious season. I love the starkness of it – brilliant blues, eye-watering whites, and tiny spots of red or dark green that sing out against the cold. This year, there has been so little snow in Boston and environs that I’ve had to hunt for that joy in the multitude of grays that surround me. Ode to the Dark Days is based on the woods and ponds I pass on my way to the studio each day. Layers of brush, bramble, and buckthorn surround the swamps and ponds, while the higher ground claims its share of oaks, ironwood trees, pine, and hemlock. This painting is a compilation from the area around one of the ponds. It is also a compilation in the physical sense, with layers of impasto standing in for the detritus of a season uncovered by snow – leaves, acorns, bare branches, etc. Quiet, maybe somber, but it still tells the story of this place on which I so depend, and the story of an endangered season. Details below. Enjoy.

Listening to Snow

Posted on 12/04/2022 by Teri Malo

First snow is magic. In the city, noise is finally hushed. In the countryside, the gentle shshshsh of falling snow crystals is magnified. John Cage, if he were still alive, would understand. Brian Eno, I’m sure, still does. The question is how to depict the excitement of near silence. Listening to Snow is about that silence. Based on my favorite woodland walk to small pond, the painting has lively rhythms expressed through the tracery of snow-covered branches and young trees. The quiet is expressed through various gray tones and the quieting effect of snow (white and gray spatter) on the overall dynamic. While Eno and Cage encourage me to listen intently, the painting is also influenced by two other artists who wrestled with all-over pattern painting and chance – Sam Gilliam and Jackson Pollock. Their intuitive approach reminds me that nature is not a formula, and the more I can let chance and accident hold sway, the more the painting will, in itself, express the fundamental truth of what I see and hear. Details below. Enjoy.

Colin Wynn
the authorColin Wynn

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