A Guide to Watercolour

Introduction to Watercolour

What Do I Need to Start Painting with Watercolour?

What Are The Main Properties of Watercolour?

What’s The Difference Between Professional and Student Quality Watercolour?

What’s The Difference Between Watercolour Pans, Tubes, and Sticks?

What Mediums Can I Use With Watercolour?

How Easy is it to Clean Up After Watercolour Painting?

Brushes for Watercolour

Care and Cleaning of Brushes

Tools for Watercolour Painting

What is the Best Surface for Watercolour Painting? 

How Do I Present and Store Finished Work?

Further Reading

Glossary

Watercolour is known for its light, translucent look and characterful colours. It can create both strong marks and soft washes. The fluid nature of watercolour allows for surprising effects.

Watercolour paint is made from pigments mixed with water and gum arabic. When the water dries, the gum arabic adheres the pigment to the paper. It also slows down how fast the paint spreads, giving you more control. Some artists add extra gum arabic to stop the paint from spreading too quickly.

The character of watercolour depends mostly on the pigments used. This matters more than in oils or acrylics, where the binder plays a bigger role. Because watercolours are applied in thin layers, the natural qualities of the pigment show more clearly.

If you want to try watercolour painting for the first time, Watercolour Painting for Beginners: What You Need to Get Started, lists all the essentials you will need, including brushes, paints and paper, as well as extras that will help you get the best from your painting experience.

With paper, paints, and brushes, you have all you need to start a watercolour painting. Just add a jar of water, and you're ready to paint! There are also other supplies you might find useful:

• Watercolour paints in solid pans or moist tubes
• Brushes
• Paper
• Palette
• Jar of water

Useful Tools:

• Easel
• Masking fluid
• Sponge
• Board and gumstrip (for stretching paper)

Watercolour paint comes in tubes or dry, solid pans that turn into fluid paint when touched by a wet brush. 

For beginners, a set of pans is a great way to start because they are easier to use. Pans let you apply colour lightly and build up layers. Tubes can be trickier, as it's easy to use too much colour too quickly, which can be hard to control.

An eight pan set of watercolours is small but gives you enough colours to begin painting. Most sets, however, include 12 or 24 colours, offering a broader range to explore.

When choosing watercolour paints, artists look at three main things:

• Transparency/Opacity
• Staining
• Granulation/Texture

Transparency/Opacity: Watercolours are usually applied in thin layers, so they rarely look fully opaque. The size of the pigment particles determines the level of transparency or opacity, affecting how colours mix and appear on paper.

Staining: Staining refers to how much pigment stays on the paper after blotting with a damp sponge. Modern pigments like Prussian Blue and Alizarin Crimson tend to stain more, while older pigments lift off more easily.

Granulation/Texture: Granulation happens when pigment particles dry unevenly, creating a grainy look. Some pigments are heavier and can’t be ground as finely, which causes this effect. For example, French Ultramarine shows clusters of pigment, while heavier pigments like Permanent Mauve settle into the paper’s texture. 

Pigments like earth tones, cobalts, and ultramarines often granulate, while modern colours usually don’t. You can add a granulation medium to increase this effect.

Learn more about granulation in watercolours with Anna Zadorozhnaya, watercolour artist and ambassador for Schmincke and Da Vinci. 

Other Considerations:

Permanence

Permanence, or lightfastness, means how well a pigment resists fading in light. Some pigments, like Opera Rose, fade over time if exposed to sunlight. 

These colours are still popular because they are bright and vibrant, especially for art kept in portfolios instead of on walls. If you need colours that last, check the manufacturer’s colour chart to choose pigments that won’t fade easily.

For more information, read 'Fugitive Pigments: Why Do They Fade, and Does it Matter?' on Jackson’s Art Blog.

Single Pigment Colours

Single pigment colours, like Ultramarine Blue, are made from one pigment. Others, like New Gamboge, are made from two or more. Single pigment colours mix more easily into bright, vibrant hues. Mixing too many pigments can make colours look dull because each pigment absorbs light differently. 

Some colours, like Quinacridone Gold, are made from multiple pigments because the original pigment is no longer available. Artist-grade watercolours usually have more single pigment colours, which makes them better for mixing.

Examples of artist quality watercolours include Daniel Smith Extra Fine Watercolour and Jackson's Artist Watercolour.

Professional watercolour paints, also called artist quality, have a high amount of pigment. This makes the colours more intense, so you need less paint to get strong results. 

The binder quality also matters. Brands like A. Gallo and Jackson’s add honey to the binder for a smoother feel, but other brands use different formulas. Try a few to see what you like best.

In professional watercolours, pigments are ground finely to show their unique qualities. Some pigments are larger or heavier, which makes the paint look grainy (granulation). Sometimes, the pigment settles over time, causing clear gum arabic to rise to the top of the tube. If this happens, stir the paint with a paperclip to mix it back together.

Student quality watercolours typically have less pigment or use cheaper pigments. When there’s less pigment, the colours act more consistently, which is helpful for beginners. A student set is a good, budget-friendly way to start with watercolours.

Student paints use cheaper pigments and ‘hue’ colours to replace expensive ones like cobalt and cadmium. These paints may not last as long without fading, so if permanence is important, check the colour chart.

Examples of student watercolour brands include Daler Rowney Aquafine and Winsor & Newton Cotman.

Watercolours are available in tubes, pans, and sticks. Pans are plastic vessels in which dried watercolour is kept. Colour is taken from a pan by dragging a wet brush over it. Pans are easy to carry in watercolour boxes. Large pans are available for those who like to work on a large scale or use broad brush strokes.

Tubes contain moist watercolour, which can be squeezed into empty pans if so desired, or onto a palette. They are great if you want to premix a batch of colours to contain in pans. They are also good for painters who like to work with intense colours.

Pans
Watercolour pans come in two rectangular sizes: a full pan and a half pan (a full pan is sometimes called a whole pan). Across brands, the sizes of pans are nearly the same standard size, but not quite. That’s why many watercolour boxes have bendable compartments that allow for slight adjustments to hold the pans. 

Travel watercolour boxes that do not have adjustable compartments will not work with all brands of pans, because even a millimetre difference means that they won’t fit in the slot. 

Some brands do other sizes than the two common ones: Blockx do a Giant Pan (a generous 3.5 by 2.5 inches), Gansai Tambi are much larger than standard and Coliro do two sizes of round pans.

Pans also vary in their formula and method of manufacture. Some pans are extruded like dough, cut into cubes, let to dry, and then placed into pans as a hard cake. These can often be seen sticking up above the rim of the pan. Those that are poured also vary. Some are poured once and allowed to shrink so the pan is only partially full, while other brands top up the pour a second or third time for a fuller pan. 

The formula of watercolour paint also differs, with some paintmakers adding some honey, some having different amounts of gum arabic binder, some adding wetting/flow agents, and some not. Some with honey are not as soft because they are extruded, while the poured honey paints can be only semi-hard. These differences in formula are more readily visible in a pan than in a tube, as a shiny/matt, sticky/smooth, or soft/hard surface.

Tubes
Most brands of watercolour make two sizes of tubes, small and large. The most common sizes are 5ml, 10ml, 14ml, 15ml, and 21ml. Occasionally you may find a favourite paint and not have a choice of format. There are some brands that are only available in one format – some that only come in tubes and some that only come in pans.

Read about the benefits of watercolour paint in pans versus tubes on Jackson’s Art Blog. 

Watercolour Sticks
Watercolour Sticks are dried watercolours in stick form. They can be used like pans, i.e. by wetting the brush to extract the colour from the stick, and they can also be used as a drawing tool by applying colour from the stick onto paper, either wet or dry. 

Watercolour sticks are highly pigmented and lightfast. Their special formulation means that they can be used dry and then wetted, after any length of time, for maximum convenience. Simply add water to turn a drawing into a watercolour even years after it was completed.

Watercolour sticks can be used to add details to existing watercolour artworks. The unique shape is great for achieving multiple line thicknesses, and they are also intermixable with other watercolour paints. They are perfect for in the studio or outdoors on the go.

Watercolour Pencils
Watercolour pencils are convenient and portable painting tools that are clean and easy to use. Their versatility means you can use a single pencil with many different techniques. 

They usually contain some wax to keep the lead solid and can be used on their own or with traditional watercolour paint. They can be used dry as regular coloured pencils, or like pans (extracting colour using a wet brush), or they can be dipped into water and drawn with, creating intensely saturated marks.

Watercolour mediums help you control the paint. They can add texture, improve flow, make lifting colour easier, and change drying times.

Read ‘A Guide to Watercolour Mediums’ for a comprehensive look at Watercolour Mediums and their applications.

Gum Arabic
Gum Arabic comes from tree sap. It binds the pigment to the paper but stays water-soluble. It slows down drying, giving you more time to work. It also makes colours brighter.

Masking Fluid
Masking Fluid protects parts of your paper from paint. It blocks the paint from colouring those areas. Use it for details like lines or highlights. Apply with a brush and remove after the paint dries.

Ox Gall
Ox Gall helps the paint flow smoothly. Add it to your paint for better control.

Blending Medium
Blending Medium slows drying, giving you more time to blend colours. It’s useful in warm climates.

Granulation Medium
Granulation Medium adds texture to your paint. It makes colours look grainy and textured.

Iridescent Medium
Iridescent Medium adds a shimmer to your colours. They also slow drying and stay water-soluble.

Sennelier Binding Medium
Sennelier Binding Medium contains gum arabic, honey, and water. It makes colours shiny and bright. It also helps the paint flow better. For paintmaking or modifying paint.

Aqua Gloss
Aqua Gloss makes your paint glossy and slows drying. It stays water-soluble, so you can rework your paint later.

Aqua Effect Spray
Schmincke Aqua Effect spray creates unusual effects by pooling the pigment. Great for experiments. Test it on a separate piece of paper first.

Aqua Pasto
Aqua Pasto thickens your paint and adds texture. It slows drying and stays water-soluble.

Aqua-Fix
Aqua-Fix enables layered watercolour painting by making watercolours more water-resistant. Use it instead of water to keep colours from dissolving when layering.

Watercolour Surface Preparation

Watercolour primers let you paint on surfaces like canvas or wood. Apply three thin layers to create an absorbent surface. These primers come in different shades and textures.

For more information, read 'Painting with Watercolour on Canvas: Choosing the Best Watercolour Ground' on Jackson's Art Blog.

Watercolours are very easy to clean. Since they are water-soluble, you can wipe away paint from most surfaces with just soap and water. 

If you get paint on your clothes, it usually washes out easily by hand or in the washing machine without any extra treatment.

Watercolour brushes have shorter handles than oil and acrylic brushes. They come in many shapes and sizes. Small brushes are good for detail work, while large brushes hold more water and are great for broad strokes and washes. 

Traditionally, sable hair is used because it holds a lot of liquid, but there are many synthetic options today. Natural hair brushes like Sable or Squirrel are the most expensive, while synthetic watercolour brushes are a durable, affordable alternative. Some brushes blend natural and synthetic hairs to cut costs and maximise performance.

For beginners, a set with different shapes and sizes is a great way to start. As you paint more, you'll find your favourite brushes. You can then expand your collection with the shapes and sizes that suit your style. Starting with at least three brushes is ideal. 

To learn more about watercolour brushes, read our Guide to Watercolour Brushes.

For insight into how brushes are made, read A Family Matter: Handcrafting Brushes on Jackson’s Art Blog.

Keeping your brushes clean and well cared for will make them last longer. Both natural and synthetic brushes benefit from cleaning with brush soap, which contains natural oils to keep the hairs strong and in shape. Without proper care, brush hairs can become brittle and break.

Here’s how to care for your brushes after each painting session:

1. Remove excess paint. Rinse the brush in water and blot it on a clean rag or paper towel.
2. Rub the brush gently on brush soap and work it into a lather with your fingers.
3. Rinse under lukewarm water and repeat until the lather stays white. Be sure to clean the area near the ferrule.
4. Blot the brush on a clean rag and shape the head with your fingers.
5. Let the brush air dry by hanging it from the handle in a well-ventilated area. This helps water drain from the ferrule, preventing handle rot.

Palettes
An extra palette gives you more space for mixing colours, beyond what’s in most watercolour paint boxes. If you want to save your mixes for another day or need to transport them, a palette with a lid is helpful. Watercolour palettes usually have wells to keep colours separate. Palettes come in plastic and ceramic.

New palettes, especially plastic ones, can cause watercolours to bead up. This effect wears off with use, but you can speed it up by lightly scrubbing the palette with a scouring pad and rinsing it well. Porcelain palettes don’t have this issue.

Pencils
A set of artists’ pencils is useful for making sketches before painting. A hard pencil works well for lightly drawing your composition on paper. Graphite or coloured pencils won’t smudge, while it’s best to avoid charcoal pencils.

Easel
An easel isn’t necessary, but it can be helpful. It lets you move your work to better lighting or helps you maintain a good posture. If you work at a table, a table easel is compact and easy to store. If you paint outdoors, a sketching easel is portable and lightweight, with folding legs. 

Some easels can tilt to a horizontal position, which is useful if you work with very fluid watercolour washes. If you paint large works, an H-frame easel is sturdy but takes up more space.

Sponge
A sponge can lift wet colour from your painting, either to lighten it or remove it completely. Since watercolour can be rewet, you can apply clean water to an area and use a sponge to dab the paint away. A sponge is also handy for blotting a loaded brush or for removing excess water when stretching paper.

Pots
You’ll need a pot of water to rinse your brushes. A glass jar works fine at home, but if you’re painting en plein air, a collapsible water pot is lighter and easier to carry.

Watercolour Paper
Watercolour paper is the best surface for watercolour painting. It’s absorbent, allowing colours to look their brightest. This paper isn’t just for watercolours; it also works well with acrylics, gouache, pastels, pencils, and more. 100% cotton watercolour papers are especially durable and long-lasting.

Paper Textures
Watercolour paper comes in three main textures:

Cold Pressed (NOT): This paper has a slight texture and is the most popular choice. It’s versatile and works well for most painting styles. The texture helps the paint sink in slightly but still allows for detail.
Hot Pressed: This paper is smooth and great for detailed work. It’s less absorbent, so washes may sit on the surface longer. It’s also good for pen, ink, and graphite drawings.
Rough: This paper has a rough texture, which enhances the textured effects in your painting. It’s best for bold and expressive techniques.

Watercolour Pads and Blocks
Watercolour pads are bound on one edge and are great for sketches. They can be spiral-bound or glue-bound. Watercolour blocks are glued on all four sides, keeping the paper flat as you paint. When you’re finished, just cut the top sheet free. If you like to paint on a large scale, you can use full sheets or even a watercolour paper roll.

Why Does Paper Buckle When Wet?
Paper buckles because its fibres expand when wet. If you use a lot of water, heavier paper (425gsm or more) will buckle less. Stretching the paper before painting helps keep it flat.

How to Stretch Watercolour Paper

What you need:

• A tray of clean water or a spray bottle
• A clean sponge or paper towel
• A rigid board (like plywood or plastic)
• Gummed tape to fix the paper to the board

Steps:

1. Soak the paper in water for a few minutes, or spray it generously if you don’t have a tray
2. Lay the paper flat on the board and gently blot off excess water
3. Wet the gummed tape and apply it to the edges of the paper, sticking it to the board
4. Let the paper dry completely before painting
5. After painting, let the paper dry fully before cutting it free from the board

For a fully comprehensive overview, watch our film ‘A Guide to Stretching Watercolour Paper’.

Presenting Watercolour Paintings
Watercolour paintings are usually framed behind glass to protect them. Paper can be damaged by dirt, dust, and humidity. Watercolour paint can also dissolve if it gets wet again. 

But what if you paint on something other than paper, like canvas? You might wonder if there’s a way to make watercolour paint permanent so it can be framed without glass, like an oil painting.

Varnishing a watercolour painting is not necessary and is not usually done. However, some artists like to varnish because it lets them display their work on canvas or wooden panels without using glass. It also gives the painting a different look.

For more on watercolour varnish, read ‘Watercolour Varnish: Can You Make Watercolour Waterproof?’ on Jackson’s Art Blog.

Storing Work: Using Glassine
Glassine is a smooth, shiny paper that protects artwork from smudging. You can buy it in sheets, which are good for placing between stored works to keep them safe.

Protecting Finished Work: Using Glass
The best way to protect a watercolour painting is by framing it behind glass. When framing, leave a gap between the painting and the glass. This gap lets air circulate and keeps the painting from sticking to the glass. You can use a window mount or spacers to create this gap.

For more information, read ‘Choosing the Right Frame for your Artwork’ on Jackson’s Art Blog.

Visit the Framing Department at Jackson's Art Supplies.

Watercolour Painting for Beginners: What You Need to Get Started 

Everything You Need to Know About Watercolour Paper

Stretching Watercolour Paper for a Better Painting Experience

Your Comprehensive Guide To Watercolour Mediums

Making Handmade Watercolours with Dry Pigment

Testing Jackson's Kite Brushes: How Synthetic Kolinsky Fibre Compares with Natural Sable Hair

Mass Tone - The colour of the paint straight from the tube.

Undertone - The colour seen when the paint is applied in a thin, diluted layer. For example, some yellows look dark brown in mass tone but appear bright yellow when thinned.

Colour Strength - Also known as pigment load, this refers to the concentration of pigment in the paint.

Opacity/Transparency - A measure of how much light passes through the paint. Opaque colours let little light through, making them cover what’s underneath. Transparent colours allow more light through and show the texture and marks beneath.

Blending - The technique of smoothly merging two colours so that there are no hard edges. In watercolour, this is easily done with a wet brush. Blending becomes harder once the paint is dry. A blending medium can keep the paint wet longer, making blending easier.

Dry Brush Technique - Applying relatively dry watercolour paint with a dry brush to create a chalky, textured effect. This technique contrasts well with softer, wet washes.

Watercolour Easels - Easels that tilt to allow flat work, preventing washes from running. Some artists prefer to work upright depending on their technique.

Flat Wash - Using a single, diluted colour to cover the paper evenly. A broad brush, like a squirrel mop, is often used. Artists may paint over the wash once dry or work into it while wet, known as 'wet-on-wet.'

Fugitive Colour - Non-lightfast paints, like Opera Rose, fade or change when exposed to sunlight. It’s best to use colours with good lightfast ratings for artwork that will be displayed.

Glazed Wash - Applying a diluted colour over a dry watercolour painting to tint the entire surface. The artist must consider how the glaze will affect the underlying colours.