What does that even mean? It looks like a simple piece of advice, but it’s actually the whole philosophy of watercolor. Watercolor is transparent – once you darken something, you can’t bring the white back (secretly… there are ways, like using a fine sea sponge under the shower, but that only works on 100% cotton paper, and I never told you this 😇 … I’ve rescued quite a few paintings that way).
That’s why you always start light, airy, almost shy – and only later add layers, depth, and shadows. Think of it like building a house: first the foundation and light, then the details that give it character.
This is the absolute foundation. You dilute the paint with water until you get a transparent veil of color and apply it in one even layer. A wash gives you a soft background, the sky, or the first undertone of a flower petal. The trick is to keep the surface wet just enough so the paint flows smoothly without creating streaks.
Layering means painting one transparent wash over another after the first has completely dried. This way, you can build depth, shape, and contrast. It’s how you get shadows under a tree or the glow of a sunset. Each layer must dry fully, otherwise the colors will mix instead of stacking.
This is where watercolor really shines. You work wet-on-wet, applying one color next to another so they meet and flow into each other. The transition creates a soft gradient – from blue sky to pink horizon, or from green to yellow on a leaf. The secret is timing: too dry, and the border is harsh; too wet, and the colors drown each other.
This is a rescue method – but also a creative one. You gently remove pigment with a damp brush (or sponge). In watercolor jargon it’s called lifting – basically washing out the paint, but in a more civilized way.
(And yes, some watercolor purists would chop my head off if I even whispered about paper tissues – “brushes only, please!” 😇)
Washes, layering, and transitions are the holy trinity of watercolor. Master them, and you can paint anything – skies, shadows, light on water, or delicate flowers. They’ll give your work depth, air, and that magical glow that makes watercolor unlike any other medium.
Paper? More about paper here. Don’t skimp. 300 g/m² will forgive you much more than a cheap pad from the stationery store that buckles like wet toast after the first wash. The best choice is cotton watercolor paper – it can handle washes and layers and won’t betray you when you spill half a cup of water on it. For beginners though, cellulose is just fine. It may not sound as “posh,” but it has its perks: colors blend differently than on cotton, and it’s easier to lift excess paint with a damp brush (don’t confuse that with my sponge trick – lifting is official, the sponge is a last resort hack, when you’re desperate and mainly “that’s not what a pro would do 😊”).
Brushes? More about them soon. Start with just three – a round no. 8 and 12, and a bigger flat one. The round brush is your all-rounder: lines, strokes, details. The flat brush is perfect for larger areas or bold strokes that make a wow effect. Over time, you’ll discover which one becomes your “faithful horse.”
Colors? More about them here. You don’t need 48 shades right away. A set of 8 to 12 basic colors is plenty. And then comes the magic: mixing will reveal tones no box will ever offer.
Water? More than you think. Watercolor is a dance between pigment and water – the braver you are, the more it rewards you. And don’t forget a rag or tissue – not for wiping the table (well, that too), but for lifting paint when your hand slips.
✨ That’s it – the essentials. Paper, brushes, and colors deserve their own chapter, so we’ll link those separately in the Detailed Guide.
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