“Washing” is a technique commonly used with watercolors. You start by wetting the area of the paper that will be covered with the wash. Then mix up enough pigment to fill the area and apply the pigment starting at the top and overlapping on any horizontal bands. The wash is then left to dry. Don’t work it as it will even itself out as it dries. The technique called “dropping in color” is a process where an additional color is added to a wet area of the painting which is then allowed to naturally bleed without any interference by the artist. The results are unpredictable with interesting color gradations.

“Glazing” is a technique similar to a wash, but instead of application to a wet surface a thin layer of pigment is applied to a dry surface over washes that already exist. It is used to adjust tone and color on a wash, and it is applied in layers until the desired affect is reached. Just be sure that each layer is dry before applying the next layer. Auroline, cobalt blue and permanent rose are good transparent pigments to glaze with. The “wet in wet” is a technique where you fill your brush with a very wet pigment that is then applied to a wet paper. It can be applied on top of existing washes that have dried. Just dampen these areas with a large brush. This technique provides soft subtle marks that are great for background areas. The “dry brush” is opposite to the “wet in wet” technique. The brush is filled with pigment with the use of minimal water and then it is dragged across the dry paper, producing a very crisp mark with a hard edge. It is an excellent technique for front work and points of interest. “Lifting off” is an interesting technique where the pigment is dissolved and lifted off after it has dried. Just wet the area you want to lift and then use a tissue to blot the pigment off. Reds, yellows, and blues can be more difficult to lift.

Many beginning artists have trouble with one of the small techniques used widely in water painting called the wrist flick. This is the ending position of the brush stroke. Now pivot from your wrist push the brush tip up and away in a “flicking” motion. The last part of the stroke flicks out in a feathery point. Practice several times in each color you have. As you hit each stroke, vary the thickness of the strokes trying to imitate grasses, branches, or even feathers. Along with suggesting grasses, branches, and feathers effortlessly, the Wrist Flick and variants are handy when rendering hair in portraiture or wildlife painting. A little Wrist Flicking can go a long way to finishing off a landscape painting. Too much can do a painting in before you know you’ve gone too far. Masking is one of the most important techniques that you should master as you improve your water paintings skill. Masking fluid is the most common masking agent. It comes in colorless and in colors. Most artists use the colored so they can see where it has been applied. Others say the colored fluid is distracting or can cause them to alter the color of paints they use.

We know that the “white of the paper” is important. It creates the very light in the painting. White can easily get lost and once it is lost, it is hard to get back. Watercolor paints and paper have minds of their own – that quality of “happy accidents” is what makes this medium so much fun! (But also so difficult, some say the hardest, to master.). A lot of artists will never use masking and others swear by it. Anything goes and whatever works for you to create the painting you want is okay. Experiment with all sorts of masking aids to find what works best for you.