Posts in Watercolour How to
Why Watercolour Dries Lighter

There’s a saying among watercolour painters: “If it looks right when it’s wet, it’s wrong.”

It’s a little dramatic, but it makes a good point. Watercolour often looks darker and more intense while wet. As it dries, the colour loses some of that intensity.

As a general guide, the change can be around 20–30%, although it varies between pigments and depends on how much water and pigment you use.

One way I deal with this is to make sure those areas are strong enough in the first wash, rather than assuming I’ll be able to correct everything later.

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How to Paint Cast Shadows in Watercolour

I've used the same idea in other paintings. In one painting of eucalyptus leaves, for example, I used pale grey in the background shadows, but added violet and yellow where I could see those colours reflected. On the leaves themselves I used darker greens and blue. With daffodils, I used greens and even some orange reflected from the flowers.

So when you're looking at a shadow, don't just ask:

"What colour is the shadow?"

Also ask:

"What colours can I see in the shadow?"

That little shift in observation can make a big difference.

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Why Your Watercolour Painting Looks Flat

One of the most important things to get right in a watercolour painting is the tonal value, in other words, how light or dark something is.

This is actually more important than getting the colour exactly right.

A painting can have lovely colours, but if all the areas are similar in value, it can be difficult to see the form and depth. Everything starts to sit on the same visual level.

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How to Know When to Stop Painting and Avoid Overworked Watercolours

A few years ago, I looked back at some of my older paintings and found one of a tulip that I had overworked.

It was a useful painting to look at because I could see exactly what I had been doing wrong.

I'd used too many colours and too many layers. I'd tried to record almost everything I could see in my reference photo. I'd worked and reworked areas until the paint had lost its transparency and luminosity.

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Scared of Watercolour? 8 Common Watercolour Mistakes That Create Fear

Every watercolour painting goes through an awkward middle stage.

The shapes may look disjointed. The colours may feel uncertain. At this point many painters assume the painting has failed and stop working on it.

In reality, this stage is completely normal.

Once darker values are added and the painting develops further, many paintings begin to come together.

What often looks like failure is simply the middle of the process.

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Muddy Colours

Watercolour is responsive. The paper surface holds pigment delicately, and repeated brushing disturbs that balance.

When we scrub, rework, or keep adjusting an area that has already begun to settle, we break the surface of the paper. Pigment lifts unevenly. Texture becomes patchy. What was once fresh begins to look tired.

Often this happens not because we lack skill, but because we hesitate. We add one more stroke. Then another. And slowly, clarity disappears.

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10 Essential Watercolour Techniques For Beginners

The key to wet on wet is timing. Watch the sheen on the paper rather than relying on instinct alone. Too wet, and the paint will spread uncontrollably; too dry, and edges will become harder than intended. Less brush movement often leads to better results. You can practice wet-on-wet by painting graded washes or flat washes. A spray bottle can help keep the paper evenly wet without introducing too much water, although I prefer thoroughly wetting my paper and if necessary I take the excess amount of water off with a damp brush.

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Composition in Watercolour Painting

What makes a focal point work isn’t detail on its own. It’s the contrast around it that allows the important element to stand out.

High contrast areas naturally attract the viewer’s attention. Strong light against dark, hard edges beside soft edges, and clear shapes set against quieter background areas all help establish a visual hierarchy. Without this contrast, even carefully painted detail can disappear into the rest of the painting.

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Daily Watercolour Practice Ideas

For many watercolour painters, the idea of practising every day brings up pressure rather than motivation. There is the fear of wasting paper. The fear of doing it wrong. The fear that every session needs to end with a finished painting.

But daily art practice is not about proving anything.

It is about showing up in a way that feels manageable, safe, and repeatable.

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11 Watercolour Colour Mixes That Will Transform Your Painting

Over the years, I have found myself returning to a handful of mixes again and again. Some began as small experiments, others solved very specific painting problems, but all of them earned a permanent place on my palette.

Today I am sharing some of those mixes with you, simple combinations that create beautiful natural colours. They are not my everyday choices anymore (apart from my beloved grey mixed from French Ultramarine and Burnt Sienna), but they were once central to what I considered my ultimate mixing palette, and they are still worth knowing.

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Watercolour Is Hard!

A very wet, diluted mix can easily create a puddle on the paper, and that’s when dark edges form. When there’s too much water in the wash (and on the paper), it spreads out across the wet area as it dries and carries the pigment with it, leaving that darker ring around the outside. Using a slightly stronger mix when you apply paint gives you much more control and helps your washes dry evenly.

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How to Create a Watercolour Mixing Chart

There’s an almost magical shift that happens when you see how two pigments combine. A transparent yellow suddenly turns into olive when it meets a touch of French Ultramarine; a pretty violet emerges from a whisper of Ruby Red and French Ultramarine. When you understand those relationships, you no longer guess - you choose your colours with confidence.

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Does Brush Size Matter in Watercolour?

There’s something so rewarding about watching my students grow as painters. Each painting tells its own story of curiosity, courage, and those little discoveries that quietly change the way we paint forever.

Recently, while looking through some of my students’ paintings, I noticed something interesting. A few of them were struggling with uneven washes and edges that looked a little soft or overworked. As I studied their work, it dawned on me that many of them were simply using brushes that were far too big for the level of control they needed.

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