The Sun Had Closed the Winter's Day

A flock of sheep descends a snowy path toward the viewer, their cream-colored fleece glowing warmly against the fresh white snow. The composition is framed by bare, dark tree trunks on both sides—dense and interweaving on the left, more skeletal on the right—which create strong value contrast and atmospheric depth. A low golden sun sits behind the distant hills, flooding the entire scene with warm peachy-yellow light that makes the snow gleam and softens the tree silhouettes. The eye lands first on the nearest sheep cluster in the middle ground, which are the sharpest, most detailed elements and benefit from the brightest illumination. A wooden gate sits to the lower left, and distant figures appear along the path beyond, emphasizing the recession toward the horizon.

The darkest values are concentrated in the tree trunks and branches, and the sheep's faces and legs—these anchor the composition and frame the lighter masses. The brightest lights are the snow itself, especially the path and foreground drifts, which dominate roughly half the image area. Mid-tones exist in the sheep bodies (warm cream), the sky's golden glow, and atmospheric passages within the trees. When you squint, the scene resolves into three clear zones: dark tree frame → bright snow ground → golden-warm sky. Shadows in the snow are warm-tinted (containing ochre and ultramarine) rather than cool, preserving the overall golden mood.

• #ecefc7

  Titanium white + tiny touch of yellow ochre

  Brightest snow highlights, upper sky

• #dfdec2

  Titanium white + small touch of yellow ochre + hint of ultramarine

  Mid-value snow, sky transitions

• #cec9ac

  Titanium white + yellow ochre + touch of ultramarine blue

  Sheep fleece, warm mid-tone snow, atmospheric passages

• #b5a984

  Yellow ochre + burnt umber, lightened with white

  Tree branches catching light, warm shadows in snow

• #978d6f

  Ultramarine blue + yellow ochre + burnt umber

  Cooler-toned foliage and shadow areas within trees

• #635b48

  Burnt umber + ultramarine blue, darkened

  Tree trunks, sheep faces and legs, darkest branch silhouettes

The foreground sheep have relatively crisp, defined edges where their warm fleece meets the snow, with visible individual stroke marks suggesting wool texture using small round brushes. Tree branches are rendered with delicate, linear brushwork—thin, branching strokes that create convincing winter skeleton silhouettes without overstating every twig. Snow is handled with soft, directional brushwork that suggests form and shadow without harsh blending; you can see the artist's hand in the way strokes follow the landscape's contours. Distance softens throughout: the far treeline and figures blur into atmospheric haze, creating atmospheric perspective. Edges between sky and distant trees are feathered and lose definition.

1. 01

   Establish the composition and golden light direction

   Lightly sketch the path leading to the horizon with the flock positioned in the middle ground, the tree masses framing left and right, and the gate on the lower left. Note where the golden sun sits behind the hills—this is your light source and will unify all warmth and shadow direction. The sun is low, nearly on the horizon, creating long shadows that stretch toward you.

2. 02

   Underpainting: block in major value masses

   Using diluted burnt umber and ultramarine, loosely paint the tree trunks and branch framework, then block in the darkest shadows within the trees. This creates your dark frame. Leave the snow areas white or very pale. Block in the approximate positions of the sheep as warm mid-tone shapes.

3. 03

   Paint the snow ground with structure and shadow

   Mix your snow base from titanium white + small touches of yellow ochre and ultramarine. Apply it across the path and drifts, then immediately add cooler-toned shadows (burnt umber + ultramarine + white) in areas away from direct sunlight—particularly in the foreground left, beneath tree shadow, and in the hollows of drifts. Keep these shadows warm-leaning, not purple. The snow should have directional form, not appear flat.

4. 04

   Build the tree masses and atmospheric depth

   Refine the tree trunks using burnt umber + ultramarine, varying the value—some trunks catch warm sidelight (yellow ochre + white mixed in). Add secondary branches and twigs with fine, delicate strokes. Trees in the distance should be hazier, with less contrast between trunk and sky. On the right side, allow trees to fade into the warm golden sky, creating soft atmospheric edges.

5. 05

   Paint the sheep bodies and establish the flock

   Using titanium white + yellow ochre + touch of ultramarine, paint the sheep fleece masses. Vary the value slightly—the nearest sheep are slightly warmer and brighter, the back of the flock more muted. Pay attention to each sheep's orientation and posture (heads turn different directions). Use the darker mix (yellow ochre + burnt umber + ultramarine) for the shadows on the sheep's undersides and where they contact the snow.

6. 06

   Define sheep heads, faces, and legs

   Using burnt umber + ultramarine darkened almost to black, carefully paint the faces of the nearest sheep—they're quite dark and give strong character. Paint the legs beneath each sheep body with the same dark mix. The faces should show individual variation: some upright, some lowered to the snow. Don't make them uniform—a few sheep are in profile, others face quarter-angles.

7. 07

   Develop atmospheric perspective and golden light

   Step back and assess the golden glow. The distant sky and hills should glow warmest (yellow ochre + touches of white and ultramarine). Add this warmth to the shadows in the near snow as well—these shadows are not neutral but warm-tinted by the setting sun. Distant trees and figures should be softer, warmer, and less detailed than foreground elements. The path receding should gradually lose value contrast.

8. 08

   Refine snow texture and final details

   Using a small round brush and diluted titanium white + yellow ochre, add final highlights and soft texture to the snow surface—particularly along the path and on the upper surfaces of drifts. Add subtle texture to the sheep fleece with fine strokes suggesting wool direction and volume. Check that tree branches in the middle distance remain delicate and don't overwhelm the composition. A final glaze of very diluted yellow ochre and white over select areas can enhance the evening warmth.

• Painting snow too uniformly white or too perfectly smooth—real snow has warm and cool passages, surface texture, and directional shadows that describe form; resist overblending into a flat expanse
• Rendering sheep faces too uniformly dark or identical—each head has different proportions, tilt, and expression; vary their positions and facial planes to suggest individual animals in a flock
• Losing the warm golden atmospheric light in pursuit of cool 'snow' colors—the entire scene is bathed in golden-hour warmth; shadows and distant areas should lean warm, not toward purple or cool blue
• Making tree branches too regular, too uniform in value, or too dark—vary branch thickness and value to show which catch sidelight; use delicate strokes rather than heavy outlines
• Overworking the foreground or using identical brushwork throughout—the nearest sheep and immediate snow should be more detailed and crisper; distant elements should be sketchier and softer
• Placing the sheep purely in silhouette rather than using light and shadow to model their volume—the wool catches light on top, creating dimension even against bright snow

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility