The watercolor technique variegated wash is a process for blending two or more colors together on very wet watercolor paper using the wet-on-wet technique. This method is normally used for painting a blended background on a full sheet of paper. The resulting effect resembles a sunset.
What Is a Variegated Wash in Watercolor Painting?
A variegated wash differs from other watercolor wash techniques because it focuses on color transitions rather than value changes. While a graded wash moves from dark to light using a single color, a variegated wash blends two or more different hues, allowing them to mingle naturally on the paper. This creates a sense of movement, atmosphere, and visual interest that cannot be achieved with a flat or graded wash alone.
Mix each watercolor separately with a sufficient amount of water.
The Importance of Water-to-Paint Ratio
For a successful variegated wash, the consistency of each color mixture is critical. Both colors should be mixed to a similar fluid strength so that one does not overpower the other. If one mixture is thicker or more heavily pigmented, it may dominate the wash and disrupt the smooth transition between colors. Many blending issues are caused by uneven moisture rather than poor color choices.
Wet the paper with clean water using a large brush or sponge.
Paper Wetness and Timing
The paper must be evenly wet across the entire area to be painted. Dry spots can cause streaks or hard edges, while overly wet areas may lead to excessive blooms. The surface should appear glossy but not puddled. Maintaining consistent wetness gives the pigments freedom to flow and blend organically.
Using Gravity to Control the Variegated Wash
Tilt the paper on a board or easel.
Tilting the paper is more than a mechanical step; it is a design tool. A steeper angle encourages dramatic color movement and flowing transitions, while a shallow angle results in softer, more controlled blends. Adjusting the angle during the wash can subtly influence the direction and energy of the color flow.
Quickly apply the lighter watercolor across the top of the paper and let the paint flow down to the middle.
Turn the paper upside-down.
Apply the second watercolor across what is now the top of the paper, and let the paint flow down and blend into the first watercolor. You can adjust the amount of blending by the amount of time the paper is tilted.
Pigment Characteristics and Color Behavior
Different pigments behave differently in a variegated wash. Granulating pigments, such as Ultramarine Blue or Cobalt Blue, create textured, atmospheric effects as the particles separate. Staining pigments, such as Phthalo Blue or Quinacridone Rose, produce smoother, more intense blends. Combining pigments with different characteristics can add depth and visual complexity to the wash.
Always allow the watercolor to blend by itself over the wet surface. It should look very free-flowing.
Avoid Overworking the Wash
One of the most common mistakes with a variegated wash is excessive brushing. Touching the surface while it is wet can disturb the natural blending and lead to muddy colors. Trust the water and pigment to do the work, intervening only if absolutely necessary.
You can slow down the variegated bleed by laying the paper down flat.
When to Lay the Paper Flat
Flattening the paper slows pigment movement and helps preserve soft transitions once the desired blend has formed. This step prevents excessive pooling and allows the colors to settle harmoniously as the wash begins to dry.
Brush Choice and Stroke Control
For covering large areas, use a one-inch flat brush or an oval “wash brush” (also called a “mop brush”). To paint smaller areas with a wet-on-wet wash, use a round brush size 10 or larger.
Larger brushes hold more water and pigment, which is essential for maintaining a continuous wash. Smooth, horizontal strokes help distribute paint evenly and prevent streaks. The brush should glide lightly over the surface, barely touching the paper, to avoid disturbing the wet layer beneath.
Controlling the brush and the painting speed is important. The wetness of the paper needs to be consistent until the desired area is covered with the variegated wash. The tip of the brush should lightly touch the paper and move across the paper in a smooth, horizontal stroke.
When the variegated wash is complete, leave the paper flat until it has dried completely.
Why Drying Flat Matters
Allowing the paper to dry flat prevents pigment from settling unevenly and preserves the smooth color transitions created during the wash. Moving or tilting the paper while it is drying can cause unwanted backruns and color pooling.
Optional: If desired, a second variegated wash can be applied over the first. After the first wash is completely dry, rewet the paper with clean water and apply watercolor as before to achieve greater depth and luminosity. Let the second wash dry completely.
Layering Variegated Washes for Depth
Applying a second variegated wash can increase richness and luminosity, especially when used as an underpainting. Each layer should be fully dry before rewetting the paper to avoid lifting or muddying the previous wash.
Then proceed with painting the rest of your watercolor composition.
Best Uses for a Variegated Wash
Variegated washes are especially effective for:
- Skies and sunsets
- Water and reflections
- Abstract or expressive backgrounds
- Underpaintings for later glazing
By understanding pigment behavior, water control, and timing, the variegated wash becomes a powerful technique for creating dynamic, atmospheric watercolor paintings.
Recommended Watercolor Paper for Variegated Wash Painting
Use 140 lb cold press archival 100% cotton rag watercolor paper. It is advisable to stretch the watercolor paper first to prevent it from buckling if you plan to cover the paper with a wet-on-wet wash. To avoid stretching the paper, I recommend using a watercolor paper block.
Cotton paper withstands repeated wetting and drying better than cellulose paper, making it ideal for wet-on-wet techniques.