Some artists use a palette knife to paint. I use one to mix paint - and scrap it off. The lower dark left section I painted three? four? times. If you add up all the changes it was more than that. Just as I thought "that is it", I'd take a second look. No. Time to move some paint around, add lighter and darker areas. After taking a break or seeing it the next morning, I'd decide to scrap off that section and start over. There are just a few more adjustments to make so I think I can put down the palette knife and move on.
For the foreground snow I am increasing the hue. There are passages of cerulean blue along with the purple tones. Below, the last of the "white" is painted.
The right lower side was especially tricky. I wanted some detail but not so much that your eyes were drawn to that spot. It took some playing around so the paint would suggest detail without screaming look at me. If you click on the image to see it larger, you can see a couple of splashes of "royal blue" (ultramarine blue, cerulean blue, titanium white) thrown in to give depth and tie the foreground to the distant background trees.
I'm up to using five brushes now. Each is designated for a range of colors. One of the advantages of oil paint is that it works so well for blending the edges which makes the painting feel natural and not static nor cut-out.
Thanks for following along. As you can see, this piece is slow going.
Sometimes telling a simple story takes a very complicated setting. One of the things I love about living in the country is the way a freshly fallen heavy snowfall looks on our trees. When the sun comes out, it is magical.
Unfortunately, painting a scene like that is very time consuming. Each section takes careful thought. Rather then complete all the dark tones first, I work on the dark, light, and medium colors at the same time.
Two small angle bright brushes are used for the brightest whites and the darkest darks. A larger medium angle bright brush is used for the middle tones. (I keep the middle tone brush between the light and dark one so I don't accidentally contaminate my light brush with dark colors.)
I mix two bright white colors, 4 medium tones, and have 3 colors adjacent to each other for the dark tones (burnt umber, ultramarine blue, sap green.)
Here is the start.
For the furthest background trees, I mixed three dark blues.