Categories
Watercolor Paint

What Watercolor Colors To Buy

What watercolor colors to buy is a personal choice. Experienced watercolor artists develop their own favorite color palette. But, for a beginner, you can start with the bare minimum three PRIMARY hues:

  • Yellow
  • Blue
  • Red

Having only the three primary hues, you can mix all the secondary hues and the hues that fall in-between. But, who wants to do all that mixing? So, why not buy the SECONDARY hues as well:

  • Green
  • Purple
  • Orange

The hues in-between the primary and secondary hues are called TERTIARY hues, they are:

  • Yellow-Green
  • Blue-Green
  • Blue-Purple
  • Red-Purple
  • Red-Orange
  • Yellow-Orange

All of the above consist of the 12 hues on the color wheel. Each of these hues have associated COLOR names that differ slightly depending of the watercolor manufacturer’s labeling.

What Are The Common Color Names

The following chart displays the most commonly used watercolor color names for each hue:

Hue Name

  1. Yellow
  2. Blue
  3. Red
  4. Green
  5. Purple
  6. Orange
  7. Yellow-Green
  8. Blue-Green
  9. Blue-Purple
  10. Red-Purple
  11. Red-Orange
  12. Yellow-Orange

Color Name

  1. Aureolin or Cadmium Lemon
  2. Winsor Blue (Green Shade)
  3. Alizarin Crimson
  4. Viridian or Hooker’s Green
  5. Winsor Violet
  6. Cadmium Scarlet
  7. Winsor Green (Yellow Shade)
  8. Manganese Blue Hue
  9. Ultramarine Violet
  10. Winsor Violet
  11. Cadmium Red Deep
  12. Cadmium Orange

Watercolor Manufacturers

To see a list of well-known watercolor brands click here.

Recommended

If you are on a tight budget buy the watercolor Color Names listed above: numbers 1 to 6. My favorite brands are Winsor & Newton, Daniel Smith and Holbein. I also buy a few Blick colors. I recommend that you always buy professional-quality watercolor paints, especially if you are planning to sell your watercolor paintings.

Categories
Watercolor Ideas

Watercolor Ideas For Beginners

There are many options to choose from when looking for watercolor ideas for beginners. So, you may find it difficult or confusing to decide on a subject to paint. There are still life, landscape, waterscape, or specific objects like flowers, fruit, vegetables, etc. compositions to consider.

One of the most common challenges beginners face is not a lack of skill—but uncertainty about what to paint. Watercolor is a unique medium that rewards simplicity, suggestion, and experimentation, making subject choice especially important when you are just starting out.

Start With Subjects That Work Well in Watercolor

Not every subject is equally beginner-friendly. Watercolor tends to work best with:

  • Large, simple shapes
  • Soft edges and gradual value changes
  • Subjects that do not rely on tight detail or perfect drawing accuracy

Choosing simpler subjects allows you to focus on learning how watercolor behaves—how pigments flow, blend, and dry—rather than struggling to control every detail.

Beginner-Friendly Watercolor Subject Ideas

If you are feeling overwhelmed by choices, consider starting with one of these categories:

Single Objects

Painting one object at a time helps you concentrate on shape, color, and value without distraction. Examples include a single flower, fruit, cup, shell, or leaf.

Nature Close-Ups

Leaves, branches, stones, or petals are excellent beginner subjects because they have organic shapes and forgiving edges that suit watercolor well.

Simple Landscapes

Look for scenes with a clear horizon line, open skies, or large areas of similar color, such as fields, beaches, or distant hills.

Everyday Objects

Common household items like mugs, jars, books, or bowls are easy to access and great for practicing observation and composition.

Paint What You Love (And Learn What That Is)

I am sure you have heard the expression, “Do what you love.”

Choosing subjects you genuinely enjoy looking at will keep you motivated and curious—two essential qualities for learning watercolor.

How To Find What You Love

Ask yourself:

  • What are my favorite activities—things I like to do in my spare time?
  • What are my favorite places to go: the beach, the park, etc.?
  • What objects do I enjoy observing? What brings me pleasure to look at?

Then write your answers down in a list with your most favorite thing at the top as #1. Then list the rest by priority.

These personal preferences often translate beautifully into painting subjects and help you develop a style that feels authentic.

Let Color and Mood Guide Your Ideas

Another helpful way to choose watercolor ideas is by thinking in terms of color and mood, rather than objects alone.

Ask yourself:

  • Do I feel drawn to calm, cool colors or warm, energetic ones?
  • Do I want this painting to feel peaceful, dramatic, cheerful, or moody?

You may find it easier to choose a subject once you decide on a limited color palette. Watercolor paintings often feel more cohesive—and less overwhelming—when fewer colors are used intentionally.

Simplify Your Subject Before You Paint

Beginners often try to paint everything they see, which can lead to frustration. Simplification is a key watercolor skill.

Before you begin painting:

  • Focus on the largest shapes first
  • Ignore unnecessary background details
  • Combine small shapes into larger areas of color
  • Think in terms of light and dark rather than detail

Watercolor does not require copying a reference photo exactly. Suggesting forms is often more effective than rendering them precisely.

Use Free Stock Photo Websites

There are several websites online where you can find images to download for free, with no attribution required. These websites have a search box that allows you to enter your topic of interest and get results to browse. For instance, if you want to paint flowers, type “flowers” in the search box. You can even narrow the search down by color or type of flower that interests you. Here are my favorite stock photo websites:

Using Stock Photos as Painting References for Commercial Use

If you plan to sell your watercolor paintings, it is important to understand how copyright applies to reference photos.

Most free stock photo websites allow images to be used for commercial purposes, including as reference material for artwork sold for profit. However, there are some important guidelines to keep in mind:

  • Do not copy a photo exactly, detail-for-detail
  • Use photos as inspiration or reference, not as a template to replicate
  • Combine multiple references or interpret the image in your own style
  • Avoid painting highly recognizable or branded elements

Your painting should be a transformative work, meaning it reflects your own artistic decisions, color choices, and expression. When in doubt, review the license terms of the stock photo website or choose references that clearly allow commercial use.

Painting From Memory or Imagination

You do not always need a reference photo to paint. Painting from memory or imagination can be especially freeing for beginners.

This approach:

  • Encourages looser brushwork
  • Reduces pressure to be “accurate”
  • Builds confidence and creative decision-making

Even if the result is imperfect, the learning experience is valuable and often leads to more expressive work.

Common Mistakes Beginners Make When Choosing Watercolor Ideas

Being aware of common pitfalls can help you progress faster:

  • Choosing subjects with too much detail
  • Using too many colors at once
  • Attempting complex scenes too early
  • Expecting realism instead of expression

Watercolor is as much about letting go as it is about control.

Composition Steps

  • Open the saved stock photo in your graphic software or directly on your computer desktop.
  • Draw an outline of the image on your watercolor paper.
  • Select your watercolor paint colors to use for your composition.
  • Begin painting.

Turn Everyday Moments Into Painting Inspiration

Some of the best watercolor ideas come from simple, everyday life:

  • Your morning coffee or tea
  • A favorite houseplant
  • The view from a window
  • A walk through your neighborhood

When you start noticing these small moments, you will never run out of ideas to paint.

Categories
Watercolor Paint

How Watercolor Paint Is Made

Prior to the mid-18th century, watercolor artists handmade their paints by mixing powdered pigments with sugars and/or hide glues or some other binder and preservatives. Brothers William Reeves and Thomas Reeves invented the moist watercolor paint-cake in 1781, at the start of the “golden age” of English watercolor painting. The “cake” was immediately soluble when touched by a wet brush; a time-saving convenience.

William Winsor secured the patent for the metal paint tube invented by American oil painter John Goffe Rand. Winsor improved the design by adding the screw cap in 1904 and started manufacturing the Winsor & Newton moist watercolors in tubes.

Today, watercolor paints are sold in tubes and pans in a variety of sizes. Tubes are the most commonly used and are sold in sizes 5ml, 10ml, 14ml, 15ml, 21ml, and 37ml depending upon the manufacturer’s brand. Pans come in full-pan and half-pan sizes.

Where Watercolor Pigments Come From

Watercolor paint begins with pigment, the finely ground substance that provides color. Historically, pigments were derived from natural sources such as minerals, plants, insects, and metals. Famous examples include ultramarine made from lapis lazuli and carmine derived from cochineal insects.

Modern watercolor paints rely primarily on synthetic pigments. These pigments are engineered to provide greater color consistency, improved lightfastness, and safer handling compared to many historical pigments. While the names of some colors remain traditional, their chemical composition has often changed significantly over time.

Pigment Grinding and Particle Size

Before pigments can be made into paint, they are milled and ground into fine particles. The size of these particles plays a critical role in how watercolor paint behaves on paper.

  • Larger, heavier particles tend to settle into the paper’s texture, creating granulation.
  • Smaller particles disperse more evenly, resulting in smoother washes.
  • Particle size also affects transparency and staining properties.

Natural earth pigments such as ochres, siennas, and umbers tend to granulate more due to their heavier particle structure, while many modern organic pigments produce smooth, flat washes.

The Role of Gum Arabic in Watercolor Paint

Once the pigment is prepared, it is mixed with a binder—most commonly gum arabic. Gum arabic is a natural resin harvested from acacia trees, primarily grown in parts of Africa.

Gum arabic serves several essential functions:

  • It binds pigment particles together.
  • It allows paint to adhere to watercolor paper.
  • It influences flow, sheen, and rewetting ability.

Different manufacturers use varying concentrations of gum arabic, which is one reason watercolor paints can feel and behave differently from brand to brand, even when using the same pigment.

Additives Used in Watercolor Paint Manufacturing

In addition to gum arabic, watercolor paint contains small amounts of additives that affect performance and longevity.

Common additives include:

  • Glycerin, which improves moisture retention and helps paint rewet easily.
  • Honey, used by some manufacturers to enhance softness and flow.
  • Wetting agents, which help paint spread evenly across damp paper.
  • Preservatives, which prevent mold growth during storage.

These subtle differences in formulation contribute to each brand’s unique handling characteristics.

Tube Watercolor Paints

Watercolor paints in tubes are soft and moist. They are made with natural or synthetic pigments suspended in a binder of gum arabic with glycerin added as a wetting agent. By reading the label on the tube, you will discover the pigment formula number(s), transparency rating, lightfastness rating, staining property rating, and an approved product seal.

Tube vs. Pan Watercolor Paints: How They Are Made

Although tube and pan watercolor paints may appear similar, they are manufactured differently.

Tube paints are poured while still fluid and sealed to retain moisture. Pan paints are typically poured in multiple layers and allowed to dry slowly between pours. This process creates a firmer cake that withstands repeated wetting.

Some manufacturers use the same paint formulation for both tubes and pans, while others adjust binder ratios specifically for pan strength and durability.

Understanding Pigment Numbers on Paint Labels

Pigment numbers are standardized internationally and provide valuable information to artists. Each code begins with letters identifying the color family (such as PB for blue or PR for red), followed by a number that identifies the specific pigment.

Pigment numbers matter because:

  • Color names can vary between brands, but pigment numbers do not.
  • Single-pigment paints produce cleaner color mixes.
  • They help artists avoid unintended color shifts or muddiness.

Learning to read pigment labels is an essential skill for watercolor painters.

Lightfastness Testing and Paint Permanence

Lightfastness refers to a pigment’s resistance to fading when exposed to light. Modern watercolor manufacturers test their paints using controlled ultraviolet exposure over extended periods.

Results are often rated according to industry standards, allowing artists to choose colors that will remain stable over time. This testing is one reason modern professional watercolor paints are significantly more reliable than historical formulations.

Environmental and Safety Considerations in Modern Watercolor Paints

Many traditional pigments are no longer used due to toxicity, environmental impact, or scarcity. Synthetic pigments allow manufacturers to replicate historic colors while improving safety and sustainability.

Occasionally, pigments are discontinued or reformulated as regulations change, which is why some familiar colors may disappear or return under new formulations.

Watercolor Paint Manufacturers

Here is a list of popular watercolor paint manufacturers in alphabetical order:

Other Watercolor Mediums

  • Gouache – an opaque watercolor with a higher pigment density and white chalk added
  • Liquid Watercolors – resembles ink and is sold in small dropper bottles
  • Watercolor Sticks – resembles crayon or pastels that can be used dry or wet
  • Watercolor Pencils – resembles a lead pencil but contains dry watercolor pigment

Why Professional-Quality Watercolor Paint Matters

Professional watercolor paints contain higher pigment loads, fewer fillers, and undergo stricter testing for consistency and permanence. Student-grade paints are often made with imitation pigments and extenders that reduce color strength, mixing clarity, and longevity.

Recommended

My favorite manufacturers of watercolor paints are Daniel Smith and Holbein in tube size 15 ml, and Winsor & Newton in tube sizes 14 ml and 37 ml. I recommend and use only professional-quality watercolor paints. NOTE: Student-grade watercolor paints are mostly made of imitation pigments of low quality.

Categories
Watercolor Brushes

How Watercolor Brushes Are Made

Since prehistoric times, humans have used brush-like instruments to paint on cave walls. They most likely used sticks with the ends crushed to soften the fibers, and/or animal hair tied at the end of sticks. Until recent history, watercolor brushes were handmade by attaching animal hair to the end of wooden handles.

In the 1800s during the Industrial Age and the invention of the metal ferrule, the manufacturing of watercolor color brushes began. Today, most watercolor brushes are machine-made. Top-quality watercolor brushes are still handmade.

How Watercolor Brushes Are Made Today

Modern watercolor brush making combines traditional craftsmanship with industrial processes. While mass-produced brushes are assembled by machines, premium brushes still rely on skilled artisans for shaping and finishing. The quality of a watercolor brush depends largely on how its hair or fibers are prepared, shaped, and secured.

Preparing Natural Hair for Watercolor Brushes

Before animal hair can be used in brush making, it undergoes an extensive preparation process.

Natural hair is carefully washed to remove oils and debris, then dried and sorted by length, thickness, and resilience. For high-quality brushes, the hairs are aligned so their natural taper forms the brush point. The tips are never cut, as trimming destroys the hair’s ability to hold a fine point.

Lower-quality brushes may use trimmed or mixed-length hair, which results in uneven performance and poor point retention.

Hand-Shaped vs. Machine-Cut Watercolor Brushes

One of the most important differences between student-grade and professional watercolor brushes lies in how the brush tip is shaped.

Premium round brushes are shaped entirely by hand. Artisans use moisture and gravity to coax the hairs into a perfectly tapered point. This method preserves the natural structure of the hair and allows the brush to hold more water and pigment.

Machine-made brushes are often cut to shape, which damages the hair tips and limits water capacity. These brushes tend to lose their point quickly and feel less responsive on paper.

Watercolor Brush Construction

  • Hair or synthetic fiber tip
  • Metal ferrule
  • Handle

Hair or Synthetic Fiber Tip

Watercolor brushes are made with natural sable hair, synthetic sable fibers, or nylon. The very best are made with Kolinsky sable hair from a species of weasel in Siberia.

What Makes Kolinsky Sable Hair Special

Kolinsky sable hair is prized for its unique structure and performance. Each hair has a hollow core, allowing it to hold an exceptional amount of water while still releasing pigment smoothly and evenly. The natural scales along the hair shaft help guide paint from the belly of the brush to the tip.

Kolinsky hair comes from cold climates, which produce stronger, more resilient fibers. This is why these brushes have excellent spring, snap back into shape, and maintain a sharp point over time.

Ethical and Legal Considerations in Brush Making

Kolinsky sable hair is regulated under international wildlife protection agreements, which affects its availability and cost. Because of this, many manufacturers are now focused on ethical sourcing and developing high-quality alternatives.

Modern synthetic sable brushes have improved significantly in recent years. Advanced synthetic fibers are engineered to mimic the structure of natural hair, offering good water retention, durability, and consistent performance. These brushes are a popular choice for artists who prefer non-animal materials.

Metal Ferrule

Fine quality watercolor brushes are mounted into ferrules made of a hard but malleable, corrosion-resistant metal such as brass or copper. These are typically plated with nickel, silver, or (rarely) gold. Ferrules on cheaper brushes are made of softer aluminum or tin.

Why Ferrule Quality Matters

A well-made ferrule does more than hold the hair in place. It protects the brush from water damage by preventing moisture from seeping into the handle. Poorly fitted or thin ferrules allow water to collect inside, which can loosen the handle and cause cracking over time.

Seamless, properly crimped ferrules are usually found on higher-quality watercolor brushes and significantly improve longevity.

Handle

Better quality watercolor brush handles are made of seasoned hardwood that is sealed and lacquered for a high-gloss waterproof finish. Cheaper, mass-produced handles are made of unfinished raw wood. There are also brush handles made of molded plastic.

Short Handle vs. Long Handle Brushes

Most watercolor brushes feature short handles, which offer greater control when painting at a tabletop or desk. Long handles are more common in oil and acrylic painting, where artists often work standing at an easel.

For watercolor painting, short handles allow for precision and comfort, especially when working on detailed passages or smaller paper sizes.

Watercolor Brush Shapes

  • Round – for a variety of brush strokes with a fine tip for details.
  • Flat – for spreading paint quickly and evenly over a broad surface.
  • Mop – for broad washes, soft paint application over layers and glazing.
  • Rigger – useful for painting fine lines.

How Brush Shape Is Formed

Brush shape is determined during the hair alignment and shaping stage. In quality brushes, hairs are layered to create a full “belly” that holds water, while the natural taper forms the working tip. Poorly shaped brushes often lack this belly, resulting in frequent reloading and uneven strokes.

Watercolor Brush Sizes

There is a wide range of brush sizes from very small to very large, respectively:
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 16, 18, 20, 22, 24, 25, 26, 28, 30.

The most frequently used are in the mid-size range: 6, 8, 10, 12, 14, 16, 18. The size indicates the width of the hair tip. The larger the size, the broader the brush stroke will be.

Why Brush Sizes Vary by Brand

Watercolor brush sizes are not standardized across manufacturers. A size 12 brush from one brand may be closer in size to a size 10 or 14 from another. Hair length, belly diameter, and taper all influence how a brush performs, which is why comparing brushes visually is often more reliable than relying on numbers alone.

Why Older Watercolor Brushes Often Perform Better

Natural hair brushes tend to improve with use. When new, brushes contain sizing that helps protect the hair during shipping. As this washes out over time, the brush becomes more responsive and flexible.

A well-cared-for brush often reaches a “sweet spot” where it holds more water, maintains a perfect point, and feels effortless to control.

How to Identify a Quality Watercolor Brush

When evaluating a watercolor brush, look for these signs of quality:

  • Forms a sharp point when wet
  • Snaps back into shape after bending
  • Holds water without dripping
  • Has evenly aligned hairs with no strays
  • Features a solid, seamless ferrule

Recommended

Quality watercolor brushes are expensive but worth the investment. If you handle your brushes with care—rinse them thoroughly after a painting session, and store them flat or in an upright brush holder to dry—they will last you for many, many years.

To start, I recommend buying Blick Masterstroke Finest Red Sable Brush – Round, Size 8, Short Handle. My favorite and most frequently used sable brush is a Round, Size 12, Short Handle.

Categories
Watercolor Paper

How Watercolor Paper Is Made

Prior to the 19th century, watercolor paper was handmade by processing wet pulp in a finely woven mesh screen. The process was slow and very expensive. Then in the early 1800s, an industrial paper machine was invented. The paper-making industry started mass producing mold-made watercolor papers. Now high-quality machine-made watercolor paper is readily available, as well as handmade.

Handmade vs. Mold-Made Watercolor Paper

Although watercolor paper is now widely available, not all paper is made the same way.

Handmade watercolor paper is still produced today using traditional methods. Each sheet is individually formed, resulting in natural variations in texture, thickness, and surface character. This type of paper is prized for its unique qualities but remains expensive due to the labor involved.

Mold-made watercolor paper, however, bridges the gap between handmade and machine-made paper. It is produced on a cylinder mold machine, which slowly rotates through a vat of pulp. This process creates a more random fiber distribution—much closer to handmade paper than standard machine-made paper.

Because of this method, mold-made paper:

  • Has stronger surface integrity
  • Handles wet washes more evenly
  • Allows for better lifting and corrections

Many professional-grade papers, including Arches and Fabriano, are still made using cylinder molds, which is why they perform so reliably for watercolor painting.

The Role of Water in Watercolor Paper Manufacturing

Water plays a critical role in how watercolor paper is made. Traditional paper mills were historically built near clean, mineral-balanced water sources because water quality directly affects the paper’s color, strength, and longevity.

Even today, high-quality watercolor paper manufacturers carefully control water chemistry during production. Clean water helps cotton fibers bond properly and contributes to the paper’s archival stability—one reason professional watercolor paper can last for generations when properly stored.

Watercolor Paper Characteristics

Watercolor paper is made of cotton and/or linen rag or a blend of cotton and synthetic fibers. A gelatin sizing is added as a protective agent that makes the paper less absorbent. Watercolor paper is available in three textures: rough, hot-pressed, and cold-pressed. And, it is available in several thicknesses.

High-quality watercolor papers for professional (and serious student) use have the following characteristics:

  • Made of 100% cotton rag
  • Cold-press texture
  • Thickness: 140 lb., 200 lb., or 300 lb. weight

Internal vs. External Sizing in Watercolor Paper

Sizing is one of the most important—and least understood—components of watercolor paper.

  • Internal sizing is added directly to the pulp before the sheet is formed.
  • External sizing is applied to the surface after the paper has dried.

High-quality watercolor paper uses both methods. This dual sizing:

  • Controls how quickly water absorbs
  • Prevents paint from sinking too deeply into the fibers
  • Allows artists to lift, glaze, and rework areas more easily

Student-grade papers often have minimal or inconsistent sizing, which is why paint can feel harder to control on them.

Why Gelatin Sizing Is Still Used Today

Gelatin sizing has been used in papermaking since the 15th century and remains the preferred sizing for watercolor paper.

Despite the availability of synthetic alternatives, gelatin is still favored because it:

  • Preserves color brilliance
  • Enhances layering and glazing
  • Improves surface durability

Many artists notice a faint smell when watercolor paper gets wet—this is the gelatin sizing reacting with water, a small but familiar sign of quality paper.

Understanding Watercolor Paper Textures

The three standard watercolor paper textures are created during the drying process:

  • Rough: Pronounced texture with deep tooth, ideal for expressive washes
  • Cold-Press (NOT): Moderately textured and the most versatile choice
  • Hot-Press: Smooth surface, well-suited for fine detail and line work

Cold-press paper remains the most popular choice for students and hobbyists because it balances texture with control.

Watercolor Paper Thickness and Weight Explained

Watercolor paper weight refers to the weight of a ream (500 sheets) before cutting.

  • 140 lb. paper is the most commonly used and usually requires stretching
  • 200 lb. paper resists buckling better and may not require stretching
  • 300 lb. paper is very thick and ideal for heavy washes

Heavier paper allows for more water and layering without warping.

What Deckle Edges Tell You About Paper Quality

Deckle edges form naturally when wet pulp spreads unevenly in a mold. On handmade and mold-made watercolor paper, deckle edges are genuine and indicate traditional production methods.

Lower-quality machine-made paper may have deckle edges that are cut or artificially pressed for appearance only. While deckle edges are not required for good painting performance, they are often a sign of higher-quality paper.

Why 100% Cotton Watercolor Paper Is Archival

Cotton fibers are longer and stronger than wood pulp fibers. This makes 100% cotton watercolor paper:

  • More resistant to yellowing
  • Less likely to become brittle over time
  • Naturally acid-free

When stored properly, cotton rag paper can last for hundreds of years, which is why it is considered archival.

Watercolor Paper Sheet Sizes

The standard size categories for watercolor paper sheets are:

  • Royal (19 x 24 inches)
  • Imperial (22 x 30 inches); also called a “full-sheet”
  • Elephant (29 1/2 x 40 inches)
  • Double-Elephant (40 x 60 inches)

Watercolor paper can also be purchased in pads, blocks, and sketchbooks in a variety of standard sizes and paper qualities. Pads and sketchbooks are usually made of cotton-blend watercolor paper for student use.

Watercolor Paper Manufacturers

The best, high-quality watercolor paper is produced in France, Italy, and Great Britain. They are:

  • Arches made in France
  • Fabriano made in Italy
  • Lana made in France
  • T. H. Saunders made in Great Britain
  • Whatman made in Great Britain

Many of these historic mills have been producing paper for hundreds of years and continue to use traditional methods combined with modern quality controls.

Why Paper Quality Matters for Learning Watercolor

Many beginner frustrations with watercolor—such as muddy colors or lack of control—are often caused by paper rather than technique. Using quality paper allows students and hobbyists to:

  • See true pigment behavior
  • Practice lifting and glazing successfully
  • Build confidence faster

Good paper supports learning rather than working against it.

Recommended

If you are a serious student or hobbyist who intends to show and sell your watercolor paintings, use professional-quality watercolor paper that is labeled as “100% cotton”, “archival”, and “cold-press”. The thickness (weight) should be 140 lb. or more.

I use Arches Watercolor Paper natural white full-sheet size for my paintings.

Categories
Color Schemes Watercolor Paint

Prussian Blue

Prussian Blue is a deep, moody blue valued for its strength, staining power, and ability to create luminous darks. It is especially prized by watercolor artists for producing transparent near-blacks and dramatic shadow mixtures without the deadening effect of tube blacks.

Understanding Prussian Blue on the Palette

Prussian Blue sits on the cool blue side of the color wheel and leans slightly toward green, though it is more neutralized than high-chroma blues such as Winsor Blue. This subtle neutrality gives it tremendous versatility, particularly in shadow work and dark passages.

Because it is semi-transparent and staining, Prussian Blue excels in layered washes and deep value building. It is not a delicate blue; instead, it is a workhorse pigment used for structure, depth, and atmosphere.

Pigment Information: What Prussian Blue Is Made Of

Prussian Blue is made from Iron Blue (PB27), one of the earliest synthetic pigments.

Typical characteristics include:

  • Semi-transparent
  • Strong staining behavior
  • High tinting strength
  • Minimal granulation
  • Excellent depth at low dilution

PB27 is known for its ability to create very dark values while remaining transparent, a rare and valuable quality in watercolor.

Handling & Mixing Characteristics

Prussian Blue is known for:

  • Rapid value buildup
  • Strong staining of paper fibers
  • Smooth, even washes

Because of its staining strength:

  • It is difficult to lift once dry
  • It should be used with a light hand
  • Small amounts significantly affect mixtures

It mixes especially well with reds and greens to produce rich, neutral darks.

Why Prussian Blue Works Well in Color Theory Systems

As a cool, dark blue, Prussian Blue:

  • Creates strong value contrast
  • Produces transparent neutrals instead of flat blacks
  • Supports sophisticated shadow mixtures

Its neutrality allows it to function as a darkening agent without overwhelming color relationships.

Use Prussian Blue for Dark Backgrounds

Prussian Blue is similar to Winsor Blue, but it is a neutralized semi-transparent staining watercolor. I mix Prussian Blue with Alizarin Crimson and Viridian to create strong darks for backgrounds and to darken other colors.

This dark mixture is almost black, but is still transparent. I use it instead of black tube paints such as Ivory Black, Neutral Tint, Payne’s Gray, etc. which have an undesirable flat appearance.

Color Schemes Using Prussian Blue

Prussian Blue’s complement on the traditional color wheel is a shade of red-orange, but in watercolor, artists often use warm reds and burnt sienna to neutralize it or create rich, earthy browns and grays, with orange/gold offering vibrant contrast and reds/browns creating sophisticated shadows.

Key Complementary Colors & Uses:

  • Cadmium Scarlet: Painting Prussian Blue adjacent to a vibrant red-orange, creates an energetic contrast, making the blue pop.
  • Light Red / Burnt Sienna: Mixing Prussian Blue with reds/browns creates beautiful, deep, cool grays and muted browns, perfect for shadows or stormy skies.
  • New Gamboge / Cadmium Yellow: Mixing Prussian Blue with warm yellows creates olive greens, while cooler yellows make brighter greens, though these are analogous, not complementary.

Why This Matters for Watercolor:

  • Neutralizing: Adding a touch of its complement (like Cadmium Scarlet or Light Red) to Prussian Blue cools it down and dulls its intensity, making sophisticated grays.
  • Shadows: Mixing Prussian Blue with its reddish or brownish complement creates realistic, rich shadow colors, as pure blue shadows can look flat.

Prussian Blue Compared to Other Blues

Prussian Blue excels where depth and darkness are needed without sacrificing transparency.

Best Uses for Prussian Blue

Prussian Blue is particularly effective for:

  • Dark backgrounds
  • Night scenes and stormy skies
  • Deep water passages
  • Shadow construction
  • Neutral dark mixing without black

Limitations of Prussian Blue

Despite its strengths, Prussian Blue:

  • Can easily overpower mixtures
  • Is difficult to lift due to staining
  • Can appear heavy if overused

It benefits from dilution, restraint, and thoughtful pairing with warmer pigments.

A Note on Prussian Blue’s Role on the Palette

Prussian Blue is a structural, atmospheric color rather than a decorative one. Its ability to produce transparent, luminous darks makes it indispensable for artists who want depth and realism without relying on premixed blacks. Used intentionally, it adds sophistication, drama, and control to watercolor palettes.

Categories
Color Schemes Watercolor Paint

French Ultramarine

French Ultramarine is a classic, expressive blue prized for its warmth, granulation, and versatility. It is one of the most widely used blues in watercolor because of its ability to create both luminous passages and richly textured darks without overwhelming other colors.

Understanding French Ultramarine on the Palette

French Ultramarine occupies a warm blue position on the color wheel, leaning toward violet rather than green. This placement allows it to create depth and atmosphere while maintaining harmony with both warm and cool colors.

Because it is semi-transparent and non-staining, French Ultramarine excels in layered washes, soft transitions, and passages where subtle color variation and texture are desired. Its warmth makes it especially effective for shadow work and spatial recession.

Pigment Information: What French Ultramarine Is Made Of

French Ultramarine is made from Ultramarine Blue (PB29), a synthetic inorganic pigment originally developed as a replacement for natural lapis lazuli.

Typical characteristics include:

  • Semi-transparent
  • Warm blue-violet bias
  • Strong natural granulation
  • Moderate tinting strength
  • Excellent lightfastness

PB29 is valued for its stability, predictability, and distinctive textural qualities.

Granulation & Handling Characteristics

French Ultramarine is known for:

  • Pronounced granulation
  • Soft, broken color in washes
  • Expressive texture on cold-press and rough paper

Because it is non-staining:

  • It can be lifted more easily than staining blues
  • It responds well to rewetting
  • It layers beautifully without becoming heavy

These properties make it especially well suited for atmospheric landscapes and painterly techniques.

Why French Ultramarine Works Well in Color Theory Systems

As a warm blue, French Ultramarine:

  • Produces rich neutrals with earth colors
  • Creates natural shadow mixtures
  • Maintains clarity in both complementary and analogous relationships

Its moderate strength makes color interactions easy to control and visually informative.

Color Schemes Using French Ultramarine

French Ultramarine is one of my favorite blues. It is a warm semi-transparent non-staining watercolor that mixes well with other transparent non-staining colors. It is a good color to use as foreground shadows.

Burnt Sienna and Burnt Umber complement French Ultramarine when juxtaposed in a composition.

Complementary Relationships

Warm earth colors such as Burnt Sienna and Burnt Umber provide strong complementary contrast to French Ultramarine. When mixed, these pairings create a wide range of expressive neutrals ideal for shadows, architecture, and landscape forms.

Analogous Relationships

Sitting between Winsor Blue (Green Shade) and Ultramarine Violet, French Ultramarine supports smooth transitions across the blue spectrum. These combinations are especially effective for skies, water, and atmospheric distance.

Triadic & Expanded Mixing Use

Within broader palettes, French Ultramarine:

  • Anchors triadic schemes with warmth and texture
  • Softens high-chroma colors
  • Supports believable spatial depth

Its adaptability makes it a foundational blue in both limited and expanded palettes.

French Ultramarine Compared to Other Blues

  • French Ultramarine: warm, granulating, non-staining
  • Winsor Blue (Green Shade): cool, staining, high-chroma
  • Cobalt Blue: softer, lighter, more delicate

French Ultramarine offers the greatest balance between texture, warmth, and control.

Best Uses for French Ultramarine

French Ultramarine is particularly effective for:

  • Foreground and midground shadows
  • Skies and water
  • Landscape painting
  • Architectural forms
  • Expressive, painterly watercolor styles

Limitations of French Ultramarine

While highly versatile, French Ultramarine:

  • Cannot achieve the intensity of staining blues
  • Granulates heavily on some papers
  • Requires layering for deep saturation

These qualities are often strengths when used intentionally.

A Note on French Ultramarine’s Role on the Palette

French Ultramarine brings warmth, texture, and emotional depth to the palette. Its granulation and non-staining behavior make it indispensable for artists who value atmospheric color, expressive surfaces, and nuanced shadow work in watercolor.

Categories
Color Schemes Watercolor Paint

New Gamboge

New Gamboge is a rich, warm yellow prized for its glow, versatility, and expressive warmth. It bridges the space between cool yellows and oranges, making it especially useful for creating form, light, and dimensionality in watercolor painting.

Understanding New Gamboge on the Palette

New Gamboge occupies a warm yellow position on the color wheel, leaning gently toward orange without losing its clarity. This placement allows it to function both as a luminous yellow and as a natural transition color when moving into warmer passages.

Because of its warmth and moderate strength, New Gamboge is especially effective for conveying sunlight, warmth, and volume—particularly in yellow-to-orange forms where subtle shifts in temperature are essential.

Pigment Information: What New Gamboge Is Made Of

Modern New Gamboge is a convenience color, typically made from a blend of transparent yellow and orange pigments rather than the historical, fugitive gamboge resin.

Typical characteristics include:

  • Transparent to semi-transparent
  • Warm yellow-orange bias
  • Moderate to strong tinting strength
  • Smooth, even washes
  • Excellent lightfastness (modern formulations)

Pigment combinations vary by manufacturer, so checking pigment codes is always recommended.

Handling & Mixing Characteristics

New Gamboge is known for:

  • Smooth, flowing washes
  • Warm, luminous mixtures
  • Easy transitions into oranges and earth tones

Because of its warmth:

  • It creates natural shadows within yellow forms
  • It mixes beautifully with reds for glowing oranges
  • It pairs well with cool violets for balanced contrast

It performs equally well in direct washes and layered applications.

Why New Gamboge Works Well in Color Theory Systems

As a warm yellow, New Gamboge:

  • Balances cooler yellows such as Aureolin
  • Creates strong temperature contrast with violets
  • Supports believable form modeling in warm subjects

Its position makes color relationships easy to understand and visually satisfying in structured palettes.

Color Schemes Using New Gamboge

New Gamboge is my favorite, warm, yellow semi-transparent non-staining watercolor. It sits between Aureolin and Cadmium Orange on the color wheel.

I like to use it whenever a cheery yellow is called for and when creating 3-dimensional form for yellow-to-orange objects.

Complementary Relationships

Cool violets such as Ultramarine Violet and Permanent Mauve provide strong complementary contrast to New Gamboge. These pairings create visual vibration while also producing rich neutrals when mixed.

Analogous Relationships

Sitting between Aureolin and Cadmium Orange, New Gamboge naturally supports smooth analogous transitions. These combinations are ideal for sunlit passages, florals, fruit, and warm landscape elements.

Triadic & Expanded Mixing Use

Within broader palettes, New Gamboge contributes warmth and light to triadic schemes by:

  • Supporting reds in glowing mixtures
  • Balancing cooler blues and violets
  • Maintaining luminosity in complex color interactions

New Gamboge Compared to Other Yellows

  • New Gamboge: warm, glowing, versatile
  • Aureolin: cooler, lighter, more transparent
  • Cadmium Yellow: opaque, heavier, more direct

New Gamboge sits comfortably between delicacy and strength.

Best Uses for New Gamboge

New Gamboge is particularly effective for:

  • Sunlit highlights
  • Florals and botanicals
  • Fruit and warm still-life subjects
  • Creating form within yellow shapes
  • Cheerful, expressive passages

Limitations of New Gamboge

While highly versatile, New Gamboge:

  • Can overpower cooler yellows if overused
  • Requires temperature awareness in mixes
  • Varies by brand due to mixed pigment formulations

Used intentionally, these traits enhance its expressive potential.

A Note on New Gamboge’s Role on the Palette

New Gamboge brings warmth, optimism, and dimensionality to the palette. Its ability to bridge yellow and orange while maintaining clarity makes it an indispensable color for artists who value expressive warmth and believable form in watercolor.

Categories
Color Schemes Watercolor Paint

Cadmium Scarlet

Cadmium Scarlet is a bold, warm orange-red known for its opacity, intensity, and visual impact. Historically favored for strong focal points and direct color statements, it sits firmly in the orange family while retaining enough red influence to feel powerful and energetic.

Understanding Cadmium Scarlet on the Palette

Cadmium Scarlet occupies the orange side of the red–orange spectrum, leaning warm and forward on the color wheel. Its hue makes it especially effective for sunlight, florals, fruit, and foreground elements that require immediate attention.

As an opaque watercolor, Cadmium Scarlet behaves very differently from transparent oranges. Rather than relying on glazing and optical mixing, it establishes color through direct application and solid coverage, giving it strong physical presence on the page.

Pigment Information: What Cadmium Scarlet Is Made Of

Cadmium Scarlet is traditionally made from cadmium sulfoselenide pigments (commonly PR108).

Typical characteristics include:

  • Opaque
  • High chroma
  • Dense pigment load
  • Strong covering power
  • Excellent lightfastness

Handling & Mixing Characteristics

Cadmium Scarlet is known for:

  • Strong, opaque washes
  • Immediate color payoff
  • Reduced luminosity compared to transparent pigments

Because of its opacity:

  • It can dominate mixtures easily
  • It tends to mute transparent colors
  • It performs best when used deliberately and sparingly

It is most effective when paired with other opaque pigments or used intentionally as an accent color.

Why Cadmium Scarlet Works in Color Theory Systems

As a secondary orange, Cadmium Scarlet:

  • Creates strong complementary contrast
  • Anchors warm color passages
  • Makes hue relationships easy to identify

Its solidity and opacity make it useful for teaching color placement and contrast, even though many artists now favor safer alternatives.

Color Schemes Using Cadmium Scarlet

In the past, I used Cadmium Scarlet as the SECONDARY ORANGE on the color wheel because it is a pure opaque watercolor that is perfect for its complementary color listed below. But, now I prefer to use Cadmium Free Scarlet because Cadmium paints are toxic.

The following color schemes are based on Stephen Quiller’s “Quiller Color Wheel” and his book “Color Choices: Making Color Sense Out of Color Theory.“

Complementary

The complementary color sits on the opposite side of the color wheel. For Cadmium Scarlet, the complementary color is:

This pairing produces strong visual contrast and muted neutrals when mixed.

Split-Complementary

The split-complementary colors are the two colors located on either side of the complementary color on the color wheel. The following are the split-complementary colors for Cadmium Scarlet:

This scheme softens contrast while maintaining balance between warm and cool.

Analogous

Going clockwise on the color wheel from ORANGE to YELLOW, the analogous colors for Cadmium Scarlet are:

These combinations create strong, cohesive warm passages with high visual energy.

Triadic

This Triadic consists of three SECONDARY colors. In addition to Cadmium Scarlet, the other colors that make up this Triadic color scheme are:

This triad produces dynamic interaction while maintaining structural balance across the palette.

Cadmium Scarlet Compared to Other Oranges

  • Cadmium Scarlet: opaque, bold, warm
  • Cadmium Orange: lighter, more yellow-leaning
  • Cadmium Free Scarlet: safer, often more transparent

Cadmium Scarlet stands out for its weight and immediacy rather than subtlety.

Best Uses for Cadmium Scarlet

Cadmium Scarlet is most effective for:

  • Bold focal areas
  • Floral accents
  • Sunlit highlights
  • Teaching opacity vs transparency
  • Direct, painterly techniques

Limitations of Cadmium Scarlet

Despite its strengths, Cadmium Scarlet:

  • Reduces luminosity in mixes
  • Can overpower transparent pigments
  • Contains toxic heavy metals

Because cadmium pigments contain heavy metals, they are considered toxic and must be handled with care. For these reasons, many artists now prefer cadmium-free alternatives such as Cadmium Free Red Deep, Cadmium Free Scarlet, Cadmium Free Orange and Cadmium Free Lemon.

A Note on Cadmium Scarlet’s Role on the Palette

Cadmium Scarlet represents a traditional, assertive approach to color—one rooted in opacity and directness. While modern alternatives offer safer and more transparent options, understanding Cadmium Scarlet remains valuable for color theory education and historical context.

Categories
Color Schemes Watercolor Paint

Cadmium Red Deep

Cadmium Red Deep is a strong, warm red-orange valued for its opacity, weight, and visual authority. Historically favored for bold passages and solid coverage, it occupies a transitional space between red and orange that gives it both warmth and structural strength within a palette.

Understanding Cadmium Red Deep on the Palette

Cadmium Red Deep sits on the red-orange side of the color wheel and leans distinctly warm. Its hue makes it especially effective for sunlit passages, florals, foreground elements, and anywhere visual emphasis is needed.

As an opaque pigment, Cadmium Red Deep behaves very differently from transparent reds. Rather than building color through glazing, it establishes form through direct application, making it a defining color rather than a subtle one.

Pigment Information: What Cadmium Red Deep Is Made Of

Cadmium Red Deep is traditionally made from cadmium sulfoselenide pigments (commonly PR108).

Typical characteristics include:

  • Opaque
  • High chroma
  • Heavy pigment load
  • Strong covering power
  • Excellent lightfastness

Because cadmium pigments contain heavy metals, they are considered toxic and require careful handling.

Handling & Mixing Characteristics

Cadmium Red Deep is known for:

  • Dense, opaque washes
  • Strong covering ability
  • Reduced luminosity compared to transparent reds

Because of its opacity:

  • It can easily overpower mixtures
  • It tends to dull transparent colors
  • It is best used deliberately rather than casually

This pigment performs best when used sparingly and with intention, particularly in combination with other opaque colors.

Why Cadmium Red Deep Works in Color Theory Systems

As an intermediate red-orange, Cadmium Red Deep:

  • Anchors warm passages
  • Establishes strong complementary contrast
  • Provides visual weight in structured palettes

Its solidity makes color relationships immediately visible, which is why it has historically been included in teaching palettes despite its limitations.

Color Schemes Using Cadmium Red Deep

In the past, I used Cadmium Red Deep as the INTERMEDIATE RED-ORANGE on the color wheel because it is a pure opaque watercolor that is perfect for its complementary color listed below. But, now I prefer to use Cadmium Free Red Deep because Cadmium paints are toxic.

The following color schemes are based on Stephen Quiller’s “Quiller Color Wheel” and his book “Color Choices: Making Color Sense Out of Color Theory.“

Complementary

The complementary color sits on the opposite side of the color wheel. For Cadmium Red Deep, the complementary color is:

This pairing produces strong contrast and muted neutrals, especially useful for structural color studies.

Split-Complementary

The split-complementary colors are the two colors located on either side of the complementary color on the color wheel. The following are the split-complementary colors for Cadmium Red Deep:

This scheme offers balance while retaining warmth and visual interest.

Analogous

Going clockwise on the color wheel from RED-ORANGE to YELLOW-ORANGE, the analogous colors for Cadmium Red Deep are:

These combinations create strong, cohesive warm passages but can become heavy if overused.

Triadic

This Triadic consists of three INTERMEDIATE colors. In addition to Cadmium Red Deep, the other colors that make up this Triadic color scheme are:

This triad produces dynamic contrast while maintaining structural balance across the palette.

Cadmium Red Deep Compared to Other Reds

Cadmium Red Deep is best understood as a structural color rather than a luminous one.

Best Uses for Cadmium Red Deep

Cadmium Red Deep is most effective for:

  • Bold focal areas
  • Floral accents
  • Foreground elements
  • Teaching opacity vs transparency
  • Direct, painterly techniques

Limitations of Cadmium Red Deep

Despite its strengths, Cadmium Red Deep:

  • Reduces luminosity in mixes
  • Can overpower transparent pigments
  • Contains toxic heavy metals

For these reasons, many artists now prefer cadmium-free alternatives such as Cadmium Free Red Deep, Cadmium Free Scarlet, Cadmium Free Orange and Cadmium Free Lemon.

A Note on Cadmium Red Deep’s Role on the Palette

Cadmium Red Deep represents a traditional approach to color—one built on solidity, opacity, and directness. While modern alternatives offer safer and more transparent options, understanding Cadmium Red Deep remains valuable for historical context and color theory education.

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