Welcome to Louise De Masi’s Watercolour Tips Blog, your ultimate resource for mastering the art of watercolour painting.
Dive into expert advice, step-by-step tutorials, answers to common questions and creative techniques to elevate your artistry. Whether you’re a beginner or an experienced artist, Louise’s insightful posts cover everything from basic brushwork to advanced colour blending. Discover how to choose the best materials, perfect your painting skills, and find inspiration for your next masterpiece.
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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.
Read MoreThere’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.
Read MoreBefore you start painting on an Aquabord panel it's important to wet the surface with some water to release any trapped air bubbles. I use a large flat brush and paint clean water onto the surface. I let it dry naturally and then I transferred my line drawing onto the panel using some saral transfer paper.
Read MoreThere’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.
Read MoreAt first, I thought I’d leave the water droplets out. But as the painting progressed, I decided to add them in, and I’m so glad I did. They gave the flower sparkle, depth, and a feeling of freshness, as though it had just been kissed by the morning dew. I always look for new and exciting watercolour painting ideas.
Read MoreIt’s one of the most common questions beginners ask – and for good reason. Watercolour has a mind of its own, and once the paint hits the paper, there’s no going back. Knowing where to start can save a lot of heartache (and paper).
Read MoreOne of the most daunting things about painting large is exactly that - it’s large! The paper feels endless, and the temptation to cover everything at once can be strong. But here’s a little secret: you don’t have to paint everything in one go. In fact, you’ll often get better results if you take it step by step.
Read MoreOne of the biggest advantages of using Procreate for planning is that it saves paper and materials. You can test countless colour combinations and compositions without committing them to paper until you’re sure.
For example, I created a digital illustration of a happy little girl, which I plan to recreate on a larger scale using watercolours. The app can help me decide on colours and compositions before I even touch my paper.
Read MoreSometimes when you're looking at a reference photo, it can be hard to figure out exactly what colour you're seeing. Is that shadow a grey? A purple? A cool green?
When I’m unsure, I open the image in Photoshop and use the eyedropper tool to grab the colour I’m trying to identify. Then I paste it onto a blank canvas so I can see it on its own, without being influenced by the surrounding colours. It really helps to isolate the colour and understand what’s actually there.
This is especially handy if you’re trying to figure out subtle tones in a shadow, fur, or petal - areas where the colours can be more complex than they first appear.
Read MoreA strong painting needs a focal point - something that draws the viewer’s eye and gives the composition a sense of purpose. So when you’re choosing a photo, ask yourself: What is the star of the show?
It might be the eye of an animal, the curve of a petal, or the way the light hits a glass bottle, that fills you with inspiration. But there has to be something that grabs you. If a photo is too evenly detailed across the whole image, it can be difficult to know what to focus on in your painting.
Personally, I often find myself drawn to reference photos that have a bit of drama - a close-up angle, an expressive pose, or a little sparkle of light that adds interest. Once I’ve identified that focal point, I build the rest of the surrounding composition, supporting it rather than competing with it.
Read MoreA big part of how your edges behave comes down to one simple but powerful thing: your water-to-paint ratio. If your brush is loaded with too much water, the pigment will pool and drift unpredictably. If it’s too dry, you’ll get scratchy, uneven marks.
The sweet spot lies in understanding the relationship between water and pigment - how they dance together on the page.
Read MoreOne of the biggest challenges in painting white objects is maintaining soft edges, especially in areas where light gradually transitions into shadow. To achieve this, I use a damp brush to soften the edges of my shadows immediately after applying them. This technique helps the transitions look seamless and natural.
Read MoreThese days I almost always mix my own violets because it helps me stick to a limited palette, which naturally creates better colour harmony across the whole painting. I also paint wet on wet a lot, and there's something beautiful about watching the pigments separate on the paper when you mix violet yourself - especially with granulating colours like Ultramarine.
Read MoreThere’s something so beautiful about the hydrangea flower - the full, delicate blooms, the shifting colours, and the way they fill a space with softness. I have a few hydrangea bushes growing in my garden, and when they’re in bloom, I always feel inspired to bring them indoors and start painting. This watercolour hydrangea piece came together after I popped a few freshly cut stems into a glass vase and decided it was the perfect moment for painting flowers.
Read MoreI’ve learned the hard way that Louise’s first layers always look way darker in the video than they actually are. Determined to remember this, I mix a watery paint.
I’ve also learned that if your paper is too wet and your paint is too watery, the pigment will migrate to the edges, leaving behind an unwanted harsh line. So, keeping all this in mind, I put paint on the paper—only to immediately want to quit.
Read MoreWhen you watch my tutorials, I want you to think of them as a jumping-off point. Don’t feel like you need to replicate every step exactly. Instead, start experimenting by making small changes. For instance, you could swap out the colours I use and choose a palette that resonates with you.
If I’m painting a bird, maybe you’ll add your own background - a loose wash of colour or some foliage to give it your unique flair. Another idea is to combine techniques or elements from different tutorials to create something entirely your own.
Read MoreI always begin my floral paintings with a wet-on-wet technique for the initial wash, embracing the unpredictability and softness it brings. This stage is about capturing the ephemeral qualities of petals- their delicacy and the gentle interplay of light and shadow. I wet the paper first, allowing the paint to flow freely, blending seamlessly into the damp surface. Sometimes, I paint each petal individually, while other times I apply a wash over the entire flower at once. It depends on the flower and the level of colour or value variation within each petal.
Read MoreI love using watercolour sketchbooks for small studies. They’re perfect for experimenting with colours and working out compositions before committing to a larger painting. These quick studies not only help me refine my ideas but also build my confidence, knowing I’ve tested my approach beforehand. A journal becomes a safe space to explore and make mistakes without pressure.
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