37 City Illustration Ideas of Snowy Streets in Paris, New York, Copenhagen and Stockholm

A city illustration in winter gives you everything a painting needs in one small scene: a bit of architecture, a figure or two, and snow doing the work of pulling it all together. Gouache suits this brief perfectly, since its flat, matte color sits down fast and lets you build a street corner the way a poster designer would, shape by shape, with crisp edges instead of fuss.

Below are 37 winter city moments, from a Paris cafe awning to a Zurich tram stop, each one built to finish in a single sitting. Work through them in order if you like, since they move from simple two-shape scenes to busier ones with more figures and more going on in the background.

Start with the easiest scene in the set: a Paris street corner, one striped awning, and a few bistro chairs catching snow on their seats. Block the building front first in a flat cream or warm gray, then paint the awning as one solid cherry red or burgundy shape with straight edges, no fiddly stripes until the base is dry.

Add the chairs as simple black wire outlines with a dab of white gouache on each seat for the snow, keeping every chair the same size so the row reads as evenly spaced. Most beginners lose the corner shape by painting the street too dark, so keep the pavement a pale icy blue-gray and save your darkest value for the cafe door or window behind the awning.

If you do not have burgundy, mix cherry red with a touch of Payne’s gray instead. Work the whole scene wet-on-dry so every edge stays crisp, which is what gives this modern print look its character.

Finish with a scatter of falling snow in white gouache flicked from a nearly dry brush, and stop before you add more than a dozen flakes.

Palette: Cherry Red,Cream,Payne’s Grey,Burnt Umber

This one adds a figure to the mix: a small dog in a red coat sitting on a brownstone stoop under fresh snow. Paint the brownstone facade first as one warm chocolate brown rectangle, then add the stoop steps in a slightly lighter brown so they read as separate from the wall.

Bring in the dog last, as a simple rounded shape with two ear triangles and a dab of cherry red for its coat, since a small bright shape against all that brown is what carries the whole painting. If the brownstone looks flat and lifeless, add one darker brown band under the windows to suggest the cornice line, which gives the building just enough depth.

No chocolate brown in your set swap in burnt umber mixed with a touch of black. Keep the snow on the steps as clean white triangles rather than an even blanket, since real snow collects unevenly on stone edges.

Finish with a black iron railing drawn in thin, confident lines once everything else is dry.

If you enjoy brownstones and yellow cabs, the New York watercolor ideas collection has more of this city to work through.

Palette: Burnt Umber,Cream,Cherry Red,Titanium White

Move from a single building to a whole row: Copenhagen’s pastel harbor houses with two cyclists riding past in the snow. Paint the houses first as a line of flat rectangles in mustard, dusty pink and soft blue, keeping every roofline perfectly straight since that is what makes a harbor front read instantly.

Here is where proportion matters most: measure the cyclists against the house doors before you paint them, since a rider drawn too tall next to a three-story house breaks the whole illusion of distance. Keep both bikes at roughly the same height as a ground floor window and the scene holds together.

Add the riders as simple coated silhouettes leaning slightly forward, wheels as thin dark ovals, and a basket of flowers on the front bike in one quick cherry red dab. If the row of houses looks too busy, flatten the color further and let the snow on the rooftops do the detail work instead.

Swap a soft blue house for pale gray if your palette runs light on blue. Finish by keeping the water strip at the bottom a single flat icy tone, no reflections.

Palette: Mustard Yellow,Dusty Pink,Icy Blue,Cherry Red

Look at real Nyhavn photos for the roofline rhythm before you paint, since the houses never sit at exactly the same height, which is part of what makes the row charming.

Give the city some motion with a Stockholm tram rattling across a snowy square. Paint the tram body first as one long rectangle in cream or soft yellow with a dark window band running its length, since getting that proportion right before anything else keeps the whole vehicle convincing.

Here the light source decides everything: if you put a low winter sun on the left, the tram’s right side and the snow banked beside the tracks both fall into soft blue-gray shadow, which is what sells the cold. Paint the square’s buildings behind as flat, simplified blocks, lower in value than the tram so it stays the clear focal point.

Tracks go in last as two thin converging lines in dark brown, which also helps push the square back into perspective. If the tram looks like it is floating, add a thin strip of shadow directly beneath it.

A toothbrush flick of white gouache across the finished square gives a light flurry without overworking the sky.

You Will Need

• toothbrush for splatter

Palette: Soft Yellow,Payne’s Grey,Icy Blue,Burnt Umber

Center this one on a single strong shape: a woman crossing a snowy Paris bridge under a cherry red umbrella. Paint the bridge first as a pale gray-cream curve with simple stone balusters indicated by short vertical dashes, not individually detailed.

The umbrella goes in as the boldest shape on the page, a near-perfect circle in cherry red, painted before the figure beneath it so you can center her body correctly underneath the dome. Keep her coat a muted color, chocolate brown or soft burgundy, so the red umbrella stays the single loudest note in the painting.

If the bridge looks too empty, add a glimpse of the river below in flat icy blue and one distant building shape on the far bank. Should cherry red feel too bright for your set, burgundy alone still reads strongly against cream and snow.

Finish with her boots as two small dark triangles meeting the snowy bridge deck.

Palette: Cherry Red,Cream,Burnt Umber,Icy Blue

Bring a burst of color to a gray avenue with a yellow taxi stopping mid-street in falling snow. Block the taxi’s body first as one confident yellow rectangle with rounded corners, since getting that single shape right before the windows or wheels is what makes the car look parked correctly rather than sliding sideways.

The quick ten-minute version stops at the taxi, a gray street, and a line of simplified buildings behind it in cool blue-gray. Given forty minutes, add a second figure stepping toward the curb with a shopping bag, steam rising from a sidewalk grate, and a few lit windows in the buildings behind for extra warmth against the cold street.

Where this goes wrong most often is the wheels sitting too high or too low, so check that the car’s base line meets the road directly, no gap. Keep the falling snow sparse and large rather than a fine mist, since bigger flakes read better at a small painting size.

Finish with a thin white gouache line along the taxi’s roof to catch the light.

Palette: Taxi Yellow,Payne’s Grey,Icy Blue,Cream

Follow the taxi with something quieter: a flower seller wrapping tulips under an awning while snow falls on an Amsterdam street. Paint the awning and stall first as a simple striped canopy over a dark wooden counter, then build the tulip bunches as clusters of five or six simple petal shapes in cherry red, burgundy and soft pink rather than individual stems.

The seller herself goes in next, a rounded coat shape and a scarf, bent slightly forward over the counter in the act of wrapping, which gives the whole scene its little story. If the tulips end up looking like a blur of color, group them into two or three distinct bunches instead of scattering them evenly across the stall.

Behind her, a single canal house gable keeps the Amsterdam setting readable without extra work. No burgundy on hand, deepen cherry red with a touch of Payne’s gray for the shaded bunches.

Finish with brown paper wrap around one bunch in her hands, a quick triangle of cream gouache.

Palette: Cherry Red,Soft Pink,Burnt Umber,Cream

Montreal’s spiral outside staircases make a striking subject on their own, snow sitting on every single step. Paint the house facade first in a flat warm tone, then build the staircase as a series of curved steps, lightest at the top where more snow has settled and gradually darker brown toward the bottom where foot traffic has worn it bare.

Comparing each step’s width against the one above it as you go keeps the spiral believable, since steps that suddenly widen or narrow break the curve. Leave the railing for last, thin black lines that follow the same curve the steps take, slightly loose rather than perfectly even.

Where beginners struggle most is making the staircase look flat against the house instead of standing out from it, so paint a thin strip of shadow along the staircase’s outer edge where it meets the wall. Swap burnt umber for raw sienna if you want a lighter wood tone.

Finish by softening the very top step’s snow with a dry brush so it fades gently into the wall.

Palette: Burnt Umber,Titanium White,Cream,Payne’s Grey

Widen the scene for this one: an outdoor ice rink in a city park, ringed by tall towers behind it. Paint the rink first as a flat pale icy blue ellipse, since getting that shape confidently round before anything else is what makes the whole scene sit correctly on the page.

Set your eye level at the rink’s edge rather than from above, which lets the towers stack up tall and close together behind it instead of floating in open sky, and makes the few skaters on the ice read at a believable scale against them. Paint the towers as simple flat rectangles in varied warm and cool grays, no windows beyond a few scattered lit squares.

Skaters go on last as tiny colored coat shapes with a thin curved line for each pair of legs, five or six scattered across the ice rather than lined up evenly. If the rink looks too stark, add a string of small flags or lights around its edge in cherry red and cream.

Finish with a soft dry-brush haze of white at the base of the towers to suggest snow mist rising off the ice.

Palette: Icy Blue,Payne’s Grey,Cherry Red,Cream

Step inside for a moment with a Vienna coffee house window, a couple seated at a table and a snowy street just visible beyond the glass. Paint the window frame first as a simple dark rectangle, then fill the interior warmly, chocolate brown walls, a cream tablecloth, before adding the cold blue street outside through the glass.

That contrast between warm interior and cold exterior is the whole point of the piece, so keep the outside strip noticeably cooler and paler than everything inside the frame. The couple can be as simple as two rounded coat shapes facing each other across a small round table, with a coffee cup indicated by a single white oval each.

Where this scene goes wrong is making the window too large relative to the couple, which empties out the warmth, so keep the figures filling a good portion of the frame. If you lack a true chocolate brown, mix burnt umber with a touch of burgundy for richer warmth.

Finish with one small gold detail, a lamp or a gilt mirror edge, to lift the interior.

Palette: Burnt Umber,Burgundy,Icy Blue,Cream

Bring back a strong color note with a red double-decker bus moving through sleet on a curved London street. Paint the bus first as two stacked rectangles, the lower slightly wider than the upper, in a confident cherry red, since getting that proportion right is what makes the whole vehicle read correctly from any angle.

Curve the street itself rather than painting it straight, with buildings along the bend shrinking slightly in scale as they recede, which gives the whole scene a sense of turning away from the viewer. Windows on the bus go in as a simple dark band with a few lit squares rather than individually painted passengers.

Sleet differs from snow in how you paint it: use thin diagonal gray-white lines rather than round dots, angled slightly to suggest wind. If cherry red looks too warm for London’s wetter cold, mix in a touch of Payne’s gray to dull it slightly.

Finish with wet-look reflections under the bus using a thin streak of pale gray.

Palette: Cherry Red,Payne’s Grey,Cream,Icy Blue

Give a single figure the whole stage: a girl in a beret walking a snowy Prague bridge lined with statues. Paint the bridge deck and balustrade first in pale cream and gray, then place the statues along its edge as simple dark silhouetted forms, evenly spaced but not identical in pose.

The quick version keeps it to the girl and two or three statues with a plain pale sky behind. Given more time, add the Vltava river below in flat icy blue, a distant castle silhouette on the hill, and snow caps on each statue’s head and shoulders for extra charm.

Keep her beret a small, confident burgundy dome and her coat a contrasting chocolate brown so she stands apart from the pale statues beside her. If the statues end up competing with her for attention, simplify them further into near-flat shapes with no facial detail at all.

Finish with her breath as a tiny soft gray puff near her mouth, a nice small touch in cold-weather scenes.

Palette: Burgundy,Burnt Umber,Cream,Icy Blue

Multiply the challenge a little with a dog walker managing five dogs on a snowy Brooklyn sidewalk. Paint the walker first as one simple coated figure, then add the dogs in a fan of leashes radiating from one hand, each dog a different size and color so the group reads as five distinct animals rather than one blob.

Comparing each dog’s height against the walker’s leg as you paint keeps the scale consistent and stops any one dog from suddenly looking the size of a pony. Vary their poses, one sniffing the ground, one pulling ahead, one trotting neatly, which does more to bring the scene to life than any background detail.

Brownstones behind can stay flat and simplified, since the dogs are the real subject here. If five leashes start looking tangled, simplify to clean parallel lines rather than crossing them.

Finish with small footprints behind the group in the snow, a quick row of gray dashes.

Palette: Burnt Umber,Cream,Cherry Red,Payne’s Grey

Move to open water for Helsinki’s harbor, ice floes scattered across it and a white cathedral rising behind. Paint the cathedral first as a simple domed shape in bright white against a cool pale sky, since getting that silhouette right anchors the whole composition before the busier harbor goes in below it.

Light here comes from a low winter sun, so keep one side of the dome in soft blue shadow and the water beneath it a darker icy blue than the floating ice. The ice floes themselves are simple irregular white and pale blue shapes scattered across the harbor, no two the same size or outline.

If the harbor starts looking too busy, reduce the floes to five or six larger shapes rather than many small ones. A small fishing boat moored at the edge adds scale without much extra work.

Finish with a thin gold reflection line beneath the cathedral dome to catch the low sun.

Palette: Titanium White,Icy Blue,Payne’s Grey,Soft Yellow

Return to a single-object focus with a Paris newspaper kiosk, its green roof capped in snow. Paint the kiosk’s octagonal body first as a flat dark green shape, then add the domed roof above it in a slightly lighter green, with a clean cap of white snow painted as one confident shape rather than fussy individual flakes.

Magazine covers on the kiosk’s sides can stay as simple colored rectangles, two or three tones, no readable text needed. If the kiosk looks too plain on its own, add a lamppost beside it with its own small snow cap, which also helps establish scale.

Where beginners lose this subject is painting the dome too flat, so add one soft shadow curve along its lower edge to suggest its rounded form before adding the snow cap on top. No deep green on hand, mix Payne’s gray into a mid yellow-green instead.

Finish with a scatter of newspapers just visible through the kiosk’s little window, quick cream rectangles.

Palette: Forest Green,Titanium White,Cherry Red,Cream

Here is a simple everyday moment: a girl with shopping bags waiting at a snowy crosswalk. Paint her first as the clear focal shape, a coat in cherry red or burgundy, two or three paper shopping bags in contrasting cream and brown held in one hand, standing squarely facing the viewer or slightly turned.

The quick ten-minute version is just her, the crosswalk stripes, and a plain pale sky. With more time, add a traffic light on a post beside her, a car waiting at the curb, and one or two more pedestrians in the background to suggest a busier street.

Crosswalk stripes go in as simple white rectangles laid diagonally across the gray road, which also helps establish the street’s perspective without extra effort. If her bags start looking flat, add one small shadow line along the bottom of each to lift them off her coat.

Finish with her breath as a soft gray puff, matching the cold mood of the whole scene.

Palette: Cherry Red,Burnt Umber,Payne’s Grey,Cream

Change the eye level entirely for this one: a rooftop view across snowy Paris chimneys, a cat perched among them. Set your viewpoint high and looking slightly down across the rooftops, which flattens the chimneys into a repeating pattern of simple triangular and rectangular pots dusted with snow.

That high eye level is what makes this scene work, so resist the urge to add a street below; keep the whole composition rooftops and sky, maybe one distant landmark silhouette on the horizon. The cat goes in last, a small dark silhouette with pricked ears, perched on the nearest chimney pot where it naturally draws the eye first.

If the rooftops look too uniform, vary the roof angles and chimney heights slightly across the row rather than repeating one shape evenly. Zinc Paris roofs read well in cool gray-blue rather than brown.

Finish with a faint pink-gray wash low in the sky to suggest late afternoon light.

Palette: Icy Blue,Payne’s Grey,Cream,Dusty Pink

Add motion again with a jogger crossing a bridge over a frozen river in Chicago. Paint the bridge’s steel structure first as simple dark geometric lines against a pale cold sky, then lay the frozen river beneath it as a flat pale icy-blue-white, with a few cracked dark lines to suggest the ice surface.

The jogger should be small against this big structural bridge, a simple figure in a bright jacket mid-stride, since that size contrast is what makes the scale of the city read. Keep her legs and arms suggested with quick confident lines rather than detailed anatomy.

Skyscrapers in the distance behind the bridge can stay as flat vertical rectangles in varied cool grays, no windows needed beyond a few lit squares. If the bridge structure looks too busy, simplify to fewer, bolder steel lines rather than many thin ones.

Finish with her breath and a faint steam rising from a vent near the riverbank for extra cold atmosphere.

Palette: Icy Blue,Payne’s Grey,Cherry Red,Cream

Shift the mood with a Seoul alley, snow settling on parked scooters and a small street food cart glowing nearby. Paint the alley walls first as narrow flat buildings in warm and cool grays pressed close together, then add the scooters as simple rounded shapes with a cap of white snow on each seat.

The food cart is the warm focal point here, so give it strong color, cherry red awning or burgundy sign, and a glow of warm light spilling from its little window onto the snowy ground beside it. That one warm light source against the cool alley is the whole trick of this scene.

Hanging signs with simple colored rectangles (no legible text needed) add character above the cart without much extra effort. If the alley feels too empty, add one figure standing at the cart with steam rising from a cup in hand.

Finish with strings of small lights along the alley in warm yellow dots.

Palette: Cherry Red,Soft Yellow,Payne’s Grey,Cream

Slow the pace with a snowy Boston brick street, gas lamps lit along its length and one walker heading home. Paint the brick facades first in warm brick red and chocolate brown, using a dry brush dragged lightly over the paper to suggest the texture of old brick without painting every individual one.

Gas lamps go in next as simple dark posts with a small warm glow of soft yellow at the top, spaced evenly down the street to lead the eye toward a vanishing point in the distance. The walker, bundled in a dark coat, stays small against the row of lamps to keep the street itself the real subject.

If the brick texture looks too smooth, flick a little extra dry brown across it once the base layer is dry, keeping the strokes light. Cobblestones at the walker’s feet can be suggested with a few curved dashes rather than painted individually.

Finish with warm light glowing in one or two of the brownstone windows along the row.

Palette: Burnt Umber,Brick Red,Soft Yellow,Payne’s Grey

A dry, half-loaded brush dragged sideways over brick facades gives a textured, worn look that a smooth flat wash cannot, without any extra painting steps.

Narrow the view again for a Stockholm old town alley, its houses painted in mustard and rust tones leaning close together. Paint each building as one flat colored rectangle, alternating mustard, rust and soft cream down the row, since that rhythm of warm color is the whole character of this subject.

Keep the alley narrow by drawing the buildings close on both sides with only a thin strip of pale cobblestone and snow between them, and let the far end fade to a lighter value to suggest the alley continuing beyond the frame. A single lamp or a small window box with a dried plant adds just enough life without crowding the composition.

Where this goes wrong is making every building the exact same height, so vary the rooflines slightly as real old town buildings do. If mustard looks too flat on its own, warm it with a touch of burnt umber along the base of each building.

Finish with a thin strip of snow along every windowsill down the row.

Palette: Mustard Yellow,Brick Red,Cream,Burnt Umber

Bring the scene in close with a single city balcony, a small bistro table and chairs dusted in snow, a plant or two beside them. Paint the balcony railing first as simple black ironwork lines, then add the bistro set as two thin chairs and a round table, snow resting on every flat surface as confident white shapes.

A potted evergreen or a bare-branched plant beside the table adds life without much extra painting, just a simple pot shape and a few quick branch strokes in dark brown. Behind the balcony, keep the city beyond soft and blurred in pale cool tones, so the eye stays on the little table scene in front.

If the ironwork looks stiff, loosen your line slightly rather than ruling it perfectly straight, since real wrought iron has small irregular curves. No black gouache on hand, Payne’s gray mixed with burnt umber makes a near-black substitute.

Finish with a single cup left on the table, a small warm reminder someone was just there.

Palette: Payne’s Grey,Titanium White,Burnt Umber,Forest Green

Here is a livelier scene: an Oslo harbor sauna with bathers running toward the fjord in the cold. Paint the sauna building first as a simple dark wood cabin with a glowing window, then add the water beyond it as a flat deep icy blue, cooler and darker than any other water in this whole set, since the contrast with warm skin tones is the point of the scene.

Bathers go in as a small group of simplified figures mid-stride, wrapped in towels of cherry red or cream, their running poses varied so the group feels like motion rather than a lineup. Keep their skin tones warm against all that cold blue and brown.

If the group starts looking crowded, reduce to two or three figures rather than a whole crowd. Snow on the dock boards can be kept minimal, just a thin white edge along each plank.

Finish with a little steam rising from the sauna chimney, a soft gray curl against the cold sky.

Palette: Icy Blue,Burnt Umber,Cherry Red,Cream

Return to Copenhagen for a warmer family moment: a mother cycling a cargo bike with two kids bundled in snowsuits in the box in front. Paint the cargo bike’s box first as one solid rectangle, slightly wider at the base, since getting that shape right before the kids go inside keeps the whole bike looking properly balanced and real.

The kids are two small rounded snowsuit shapes peeking over the box edge, one in cherry red and one in icy blue or burgundy, so they read as two distinct children rather than one blob. The mother pedaling behind stays taller and more upright, her coat a calmer neutral tone so the bright kids remain the focal point.

If the bike’s proportions feel off, measure the box width against the rear wheel before committing to the final line. Snow kicked up slightly behind the back wheel adds a nice sense of movement.

Finish with her scarf trailing slightly in the wind, one loose curved line.

Palette: Cherry Red,Icy Blue,Burnt Umber,Cream

Slow right down with a quiet moment: a woman on a Central Park bench feeding sparrows in the snow. Paint the bench first as a simple dark wood shape half dusted in snow, then seat her comfortably on it, coat and scarf in warm neutral tones, one gloved hand extended with a small scatter of crumbs.

Sparrows go in last as tiny simplified brown shapes around her feet and on the bench arm, no more than five or six, each just a rounded body and a triangle beak, since too many tiny birds starts to look like static noise rather than a flock. Bare winter trees behind her can be suggested with a few confident dark branches against a pale sky.

If the birds look too stiff, vary their poses slightly, one pecking down, one looking up at her. Burnt sienna makes a quick substitute for sparrow brown if you are missing a dedicated warm brown.

Finish with her breath as a small soft puff, carrying the cold mood through.

Palette: Burnt Umber,Cream,Payne’s Grey,Titanium White

Give the Seine a quiet off-season moment: the green bookstalls along its bank closed and dusted with fresh snow. Paint the stalls first as a row of simple green boxes along the quay wall, lids closed, with a cap of white snow along each top edge, since that repeating green and white rhythm is the whole character of the scene.

Keep the river itself a flat, calm icy blue below the stalls, with a glimpse of a distant bridge arch to anchor the Paris setting without needing to paint much else. A single walker passing the stalls, small and bundled, gives the quiet scene just enough life.

If the row of stalls looks monotonous, vary the snow depth slightly on each lid rather than making every cap identical. Swap a true forest green for olive green mixed with a touch of Payne’s gray if that is what you have.

Finish with a few bare tree branches along the quay wall in simple dark strokes.

Palette: Forest Green,Titanium White,Icy Blue,Payne’s Grey

Climb back up for a close, vertical scene: a city fire escape hung with icicles, a cat watching the snow fall from one of its landings. Paint the fire escape structure first as simple black iron lines, zigzagging down the page, since getting that confident zigzag right before anything else is what makes the whole structure read correctly.

Icicles hang from the lowest rail as thin tapering white triangles, painted wet-into-damp so their tips stay crisp while their bases blend softly upward. The cat sits on one landing as a simple rounded silhouette, ears pricked, facing out toward the falling snow rather than toward the viewer.

If the ironwork looks too rigid, vary the angle of each diagonal slightly rather than repeating one exact zigzag. A kneaded eraser lifted lightly over a wet white icicle shape can soften its highlight if you are working over a pencil underlayer.

Finish with a warm lit window glimpsed just behind the fire escape structure.

You Will Need

• kneaded eraser

Palette: Payne’s Grey,Titanium White,Soft Yellow,Burnt Umber

Pull back for a bigger view: an Edinburgh street with snow dusting the castle rock rising above it. Paint the castle and its rock first, far in the distance, as a single dark silhouetted mass with just a hint of turret shapes along its top edge, since that distant form needs to stay simple and slightly hazy to read as far away.

Keep the eye level low, looking up the street toward the rock, which naturally lets the buildings on either side of the street rise tall and close while the castle stays small but dominant on the skyline above them. A single walker heading up the close gives the street some human scale.

If the castle starts competing for attention with the street below, mute its color further into a flat blue-gray rather than any warm tone. Stone buildings along the street can stay in simplified flat gray blocks with just a few darker window shapes.

Finish with fresh snow caught on the castle rock’s upper ledges, confident white dabs.

Palette: Payne’s Grey,Icy Blue,Titanium White,Burnt Umber

Warm things up again with a hot chestnut cart glowing on a snowy Paris boulevard. Paint the cart first as a simple dark metal box with a small chimney puffing warm smoke, its glowing firebox the single brightest, warmest spot in the whole painting, set against a cool boulevard behind it.

A vendor stands beside it, bundled in a dark coat, tending the cart with one hand, while a bare tree-lined boulevard stretches away behind in flat, receding rows. The quick version keeps just the cart and vendor against a plain cream sky; given more time, add a queue of two or three customers and distant Haussmann buildings along the boulevard.

Where this scene can go flat is the smoke, so keep it a loose, soft gray shape rather than a hard outline. If you lack a dedicated warm orange for the firebox glow, mix cherry red with soft yellow.

Finish with a cone of chestnuts in paper, one small cream triangle in the vendor’s hand.

Palette: Burnt Umber,Soft Yellow,Cherry Red,Payne’s Grey

Follow the chestnut vendor with a quieter scene nearby: a girl sketching in a notebook on wide museum steps dusted with snow. Paint the steps first as a series of flat pale gray-cream bands, each one slightly shaded along its edge so the flight reads clearly in perspective going up toward the museum entrance.

Seat her partway up the steps, knees drawn in, notebook balanced on her lap, coat in a warm contrasting tone against the cool stone. Grand columns at the museum entrance behind her can stay as simple tall rectangles, no capital detail needed, since they only need to suggest scale rather than architectural accuracy.

If the steps start looking flat, darken the shadow cast by each step edge slightly more than you think you need to, since steps read through shadow far more than through outline. Swap a formal museum facade for simple classical columns if that is easier to draw confidently.

Finish with a scatter of pigeon footprints in the snow beside her.

Palette: Cream,Payne’s Grey,Burgundy,Burnt Umber

If you enjoy quiet sketching scenes like this, the sketchbook ideas for a rainy city day collection pairs well with this one.

Carry the quiet mood into Quebec City with a narrow lane of snowy rooftops and a child’s sled left out front. Paint the row of tall narrow houses first, each one a flat rectangle in a different muted color, mustard, dusty blue, warm brown, with steep snow-capped roofs that give this specific city its character.

Leave the sled resting against a low wall or a doorstep, a simple wooden shape with two curved runners, its rope trailing into the snow. Comparing the sled’s length against the nearest doorstep as you paint keeps its scale believable against the tall houses behind it.

If the row of rooftops looks too busy, simplify the roof snow to one clean white cap per house rather than tracing individual shingles. A warm light in just one window gives the lane a lived-in feel.

Finish with a single set of small footprints leading up to the nearest door.

Palette: Mustard Yellow,Icy Blue,Burnt Umber,Titanium White

Try something less obvious: a city laundromat glowing warm behind steamy windows while snow falls outside. Paint the building facade first in cool blue-gray, then let the laundromat’s windows become the warm heart of the painting, soft yellow light fogged slightly at the edges to suggest the steam inside.

A kneaded eraser lifted gently over a still-damp wash of yellow gouache in the window area softens the edges into a convincing fog, or you can simply leave the window edges slightly unblended on purpose rather than hard-lined. Outside, keep the street cold and quiet, a single figure passing with an umbrella, snow falling steadily against the dark evening sky.

If the steamy glow looks too solid, thin the yellow with a touch of water-heavy white gouache at the window’s edges rather than painting it as one flat block. A laundromat sign in cherry red neon-style lettering is optional but adds a nice period touch.

Finish with warm light spilling onto the snowy sidewalk just below the window.

You Will Need

• kneaded eraser

Palette: Soft Yellow,Payne’s Grey,Cherry Red,Icy Blue

Bring a little ceremony to the page: a hotel doorman holding an umbrella as he greets an arriving guest in falling snow. Paint the doorman first in his formal coat, a single bold color like burgundy or chocolate brown with gold buttons suggested by tiny yellow dots, standing tall beside the hotel’s grand entrance.

The guest steps toward him from a waiting taxi or car at the curb, smaller in scale and bundled against the cold, which sets up a nice little social moment between the two figures. Hotel awning and brass details behind them can stay simple, a flat striped canopy and a glint of gold along the door frame.

If the two figures feel disconnected, angle the umbrella so it visually links them, tilted to cover both rather than just the doorman. Swap gold gouache for soft yellow mixed with a touch of white if you do not have a true metallic.

Finish with warm light glowing from the hotel lobby windows behind them both.

Palette: Burgundy,Soft Yellow,Payne’s Grey,Cream

Add a little warmth and humor with a Brussels waffle window, a short queue of people waiting patiently in light snow. Paint the window first as a glowing display of stacked golden waffles behind glass, warm yellow and soft brown tones contrasting against the cool street outside.

The queue itself is where the story lives, so vary each waiting figure’s coat color and posture, one checking a phone, one stamping cold feet, one holding a small dog, rather than lining up identical silhouettes. Keep the queue shorter than feels realistic, three or four figures reads better at this scale than a long crowded line.

If the window display looks flat, build the waffles in two tones, a base golden brown with a lighter cream highlight along the top edge of each one. A small striped awning above the window ties the warm shop front together.

Finish with light snow settling gently on each figure’s shoulders in the queue.

Palette: Soft Yellow,Burnt Umber,Cherry Red,Cream

Return to still water for a Copenhagen canal, its edges frozen and a few small rowboats moored along the bank. Paint the canal first as a long flat band of icy blue, leaving the edges nearest the bank paler and whiter where the ice has begun to form, which is a quick, effective way to suggest freezing water without extra detail.

Moored rowboats go in as simple hull shapes along the bank, snow collecting in each one as a confident white shape, their mooring ropes thin dark lines trailing into the water. Colorful houses along the canal’s edge behind them repeat the harbor-house palette, mustard, blue and soft pink, in flat simplified blocks.

If the ice edge looks too hard, soften it slightly with a damp brush before it fully dries so it blends gently into the darker water beyond. A single swan or duck near the open water adds scale without much extra painting.

Finish with reflections of the house colors kept soft and blurred along the water’s open center.

Palette: Icy Blue,Titanium White,Mustard Yellow,Dusty Pink

If you like painting harbor towns like this one, the watercolor city ideas list has more canal and harbor scenes to work through next.

Build a livelier winter scene with skaters gliding beneath the arched bridges of a frozen Amsterdam canal. Paint the canal ice first as one long pale sheet stretching into the distance, with the bridges’ dark arches spaced evenly along its length, since getting those arches consistently sized is what makes the canal feel properly long and real.

Place skaters at varying distances along the ice rather than all at the same scale, smaller near the farthest bridge and larger nearer the front, which does most of the work of suggesting depth without any complicated perspective drawing. Each skater can be as simple as a leaning coat shape with two thin blade lines beneath.

If the bridges start looking flat, add a soft reflection of each arch rippling slightly on the ice surface in pale gray. Canal houses lining the top of the bank behind the bridges can stay as a simple repeated row, color varied lightly down the line.

Finish with one skater’s scarf trailing behind them for a sense of speed.

Palette: Icy Blue,Payne’s Grey,Cherry Red,Mustard Yellow

Close the set with a crowded Zurich tram stop, a group of people in long wool coats waiting together in the cold. Paint the group as a cluster of overlapping coated silhouettes first, varying coat length and color across the group, chocolate brown, burgundy, Payne’s gray, before adding any individual faces or details.

Working out from that cluster, add the tram shelter behind them as a simple glass and metal structure, kept pale and transparent so the group of figures stays the darker, stronger shape in front of it. One approaching tram light glowing in the distance gives the whole scene a sense of anticipation.

If the crowd starts looking like a solid block, vary the heights across the group and let a gap or two show between coats so individual figures still read clearly. Snow collects lightly on shoulders and hat brims across the group, quick white dashes.

Finish with a single bright scarf or umbrella in cherry red to give the eye somewhere to land first in the crowd.

Palette: Burnt Umber,Burgundy,Payne’s Grey,Cherry Red

What to Do Next

Pick one idea that matches a color or a mood you already feel like painting today, sketch its main shapes lightly in pencil first, then block in color from the biggest shape outward. A half sheet of cold press paper and this short list is really all today’s painting needs.

Frequently Asked Questions

What gouache colors do I need for winter city illustration?

A small set covers it: cream, icy blue, chocolate brown, Payne’s gray, cherry red and burgundy. These six mix together for every building, coat and sky in this style, so there is no need for a large palette.

How do I keep gouache edges crisp instead of fuzzy?

Work wet-on-dry and let each shape dry fully before painting the next one beside it. Thicker, less watery gouache also holds a cleaner edge than a thin, watercolor-like wash.

How do I paint falling snow in gouache without it looking messy?

Flick white gouache from a nearly dry brush, or use a toothbrush for a finer spray, and stop well before it feels like enough. A dozen confident flakes read better than a dense, even scatter.

What paper works best for this flat, modern gouache style?

Smooth or lightly textured cold press watercolor paper holds flat color best. Heavier texture breaks up the crisp edges this style depends on, so a smoother surface suits it better than a rough one.

How do I make figures look right in a small city scene without drawing faces in detail?

Keep figures as simple coated silhouettes with posture doing the work: a lean, a turned head, a hand raised. Scale them carefully against doors and windows nearby and skip facial detail entirely at this size.