Master Watercolor Techniques In

2-Weeks

Meeta Dani
Master Watercolor Techniques In 2-Weeks

About Meeta Dani

Meeta Dani is an internationally renowned award-winning watercolor
artist and author. She is also the founder and president of non-profit
international organization Global Association of Watercolor
Artists (GAWA). She is a signature member of the Federation of
Canadian Artists (SFCA) and one among the top 100 contemporary
grandmasters of fine arts.
Meeta is completely self-taught and specializes painting in photo-
realistic and hyper-realistic style using watercolors. She started
painting realistically with watercolors from March 2015 onwards.
She likes to paint portraits, birds, wildlife, still-life and basically
anything which seems challenging to her. Light is an integral part of
most of her paintings. She loves using bold colors and creating
paintings that are strong and crisp. Meeta has achieved
international fame and recognition within a very short period
because of her highly detailed watercolor paintings.

Meeta has curated and juried several painting contests and

exhibitions within and outside Canada. Her online painting courses
are known for providing valuable trainings in watercolors. Her highly
acclaimed book Realistic Watercolor Unleashed is now available in
18+ libraries all over the world and more than 2100 copies of this
book has been sold till date.

A few of Meeta’s watercolor paintings

Treasured Memories My Naughty Kittens Darpan Sundari

Peek-A-Boo Flavours of India And Here They Come

 The Catch Peterborough The Look
Cathedral

What is covered in this guide

This guide includes the following:

1. 12 watercolor painting techniques.

1. Wet-on-dry
2. Wet-on-wet
3. Flat wash
4. Graded wash
5. Scumbling
6. Drybrush
7. Color lifting
8. Applying paint using various textured surfaces
9. Splattering
10. Stippling
11. Glazing
12. Masking

2. Exercises to learn and master watercolor techniques in 2-

weeks.
 3. Appendix

1. Paint consistencies
2. Wetness levels of brush
3. Wetness levels of paper

How to use this guide:

To get the best results from using this guide, you need to first
understand one technique and then complete all exercises
suggested for mastering that technique. The exercises are specified
in a day-wise manner; studies related to one technique is suggested
to be finished in a day. You are suggested to complete all the
exercises related to one technique before you move to the next
technique.

You can master the techniques within 2-weeks if you follow the
instructions sincerely and do your part of hard work dedicatedly.

Watercolor Painting Techniques

Please check out the ‘Appendix’ section of this document to clearly

understand the terminologies related to paint consistencies,
wetness levels of paper, and wetness levels of paint.

Technique - 1: Wet-on-dry
Wet-on-dry technique simply means applying wet paint over dry paper
(or any other substrate).

What should be the paint consistency - tinted, watery, milky, creamy and
creamy to buttery consistency paint can be used in this technique. Raw
paint is not used in this technique. Buttery consistency paint is not
recommended although can be used for painting considerably small
areas. Buttery paint is not advisable if the area to be painted is not small.
That is because when applied over a big area, buttery consistency paint
almost always bronzes (looks shiny) making the area look patchy.
 How to apply paint using wet-on-dry Wet-on-dry technique is
technique: used when the shapes to be
painted need to have
1. Prepare a paint mixture of the desired prominent edges (or hard
color and consistency. edges).
2. Make sure that the paper (or any other
substrate) is completely dry.
3. Select brush type and size depending
upon your requirement.
4. Dip the brush in the paint mixture. Take
out the brush from the paint and gently
scrape against the edge of the paint
well to remove excess paint.
5. Apply brushstroke with this brush over
the dry painting surface. The size of TIP: Take less paint than
brushstroke, pressure and angle of required to paint any area to
holding brush will depend on your have better control while
requirement. painting.

Wet-on-dry gives you full control over the shapes you paint.

Once the paint has been applied, leave it to dry. Once the painted area is
completely dry, you can paint over it.

Complete the day-1 exercise for thoroughly understanding wet-on-dry

technique.
Technique - 2: Wet-on-wet
Wet-on-wet technique simply means applying wet paint over wet paper
(or any other substrate). This technique is used when the shapes to be
painted need to have blurred (or diffused) edges.

What should be the paint consistency - Any paint consistency can be

used.

Apply clear water on the area to be painted, and a substantial area

around it, and wait for a few minutes till the paper attains satin wetness
level. Now apply creamy to watery consistency paint on the area to be
painted. The paint will diffuse in the wet area without leaving any hard
line edge. This method is most commonly used for painting blurred
backgrounds, fogs or mists, and is a useful technique for painting
landscapes.
 Complete the day-2 exercise for thoroughly understanding wet-on-wet
technique.
Technique - 3: Flat wash
Flat wash technique is used to uniformly paint a considerably large area
with no perceptible variation in the color, texture or value. This type of
wash is very commonly used for painting the background in portraits and
still lifes.

What should be the paint consistency: Diluted paint (watery, watery to

milky, or milky) is suggested for a flat wash. Although creamy
consistency paint can be used to apply a wash, it might result in
imperfections due to non-uniform drying of the painted surface resulting
in an uneven wash. It is therefore recommended to apply multiple
washes using diluted paint instead of applying a single wash with
concentrated paint for a smoother and more homogeneous wash result.
Anything thicker than creamy consistency paint is not suggested for flat
wash.

Which type and size of brush should be used? Whichever brush you
choose, make sure that it can hold enough paint to complete a single
brushstroke without running dry in the middle. You may test this out by
applying a brushstroke using clear water on your painting surface before
you start with your flat wash.

How to apply a flat wash:

6. Prepare a watery to milky consistency paint

mixture of the desired color.
7. Make sure that the paper surface is completely
dry.
8. Tilt the painting surface (10° to 30°).
9. Start the wash by applying a single straight
end-to-end stroke using the paint on dry paper.
10. Dip the brush head in the paint mixture after
each brushstroke.
11. Take the brush out of the paint and, once it
 stops dripping, apply a straight brushstroke in
the opposite direction.
12. Overlap the previous brushstroke almost half
with the width of the brush. Notice that each
time when a brushstroke is applied, the wash
bead is pulled down.
13. When you reach the end, for the last
brushstroke use the paint from the wash bead
instead of adding more paint. Blot any excess
paint that beads at the bottom of the wash.

You can leave the painted surface to dry in a tilted

position. Keep an eye on the painted area and blot off This is the result of
extra paint that accumulates at the bottom of the applying single layer
wash. This is important as any extra moisture might of watery consistency
create backrun. paint using flat wash
technique.
Once the painted area is completely dry, you may
apply another layer of paint over the painted area to TIP: Each paint layer
get a smoother finish. must be allowed to
dry completely
before applying the
next paint layer.

Complete the day-3 exercise for thoroughly understanding this

technique.
Technique - 4: Graded Wash
A graded wash is basically a wash in which the color of the wash
gradually changes in hue or value. In other words, a graded wash
gradually becomes darker to lighter or changes from one color to
another gradually. A graded wash is often used for painting sky in
landscapes.

What should be the paint consistency: Diluted paint (watery, watery to

milky, or milky) is suggested for a graded wash. Although creamy
consistency paint can be used to apply a graded wash, it might result in
imperfections due to non-uniform drying of the painted surface resulting
in an uneven wash. It is therefore recommended to apply multiple layers
of graded washes using diluted paint instead of applying a single layer
with concentrated paint for a smoother graded wash result. Anything
thicker than creamy consistency paint is not suggested for graded wash.

Which type and size of brush should be used? Whichever brush you
choose, make sure that it can hold enough paint to complete a single
brushstroke without running dry in the middle. You may test this out by
applying a brushstroke using clear water on your painting surface before
you start with your graded wash.

How to apply a graded wash that gradually fades and becomes white:

1. To start with a graded wash,

prepare a milky consistency
paint mixture of the desired
color. Have a big bowl of clear
water.
2. Make sure the paper is
completely dry.
3. Tilt the painting surface (10° to
30°) to enhance the blurring of
the gradient across
brushstrokes.
4. Make sure that the darker area
is at the top of the tilt.
5. Start the wash by applying a
single straight end-to-end
stroke using the paint on dry
paper.
6. Dip the brush head in clear
water and gently stir it once.
Take the brush out of the water
and once it stops dripping,
apply a straight brushstroke in
the opposite direction. Overlap
the previous brushstroke
almost half with the width of 8. Once the wash is over, blot the
the brush. Each time when a wash bead from the bottom of
brushstroke is applied, the the wash with a dry paper towel.
wash bead is pulled down. You can leave the painted
7. Continue applying straight surface to dry in a tilted position.
end-to-end brushstroke back Keep an eye on the painted area
and forth, each time dipping and blot off any extra paint that
the brush in clear water and accumulates at the bottom of
gently stirring the brush in the wash. This is important
clear water. This will gradually because any extra moisture
lighten the wash color. Do not might create backrun.
go back to make changes in a
 previously applied brushstroke
that has started drying; this
will create backrun.

TIP: The trick behind achieving a smooth graded wash lies in getting the
moisture of your brush just right. If the brush is too wet while applying a brush
stroke then the wash bead might break and run down the paper. A brush that
is too dry will soak up paint from the wash bead and the paper surface.

Complete the day-4 exercise for thoroughly understanding graded

wash technique.
Technique - 5: Scumbling
Scumbling is an advanced technique used both
in drawing and painting.

Scumbling uses multiple layers of small

scribbled marks to build up value and texture.
This technique is great for adding details and
often used in achieving realism.

Scumbling is a type of dry-on-dry technique in

which a layer of broken, speckled, or scratchy
color is added over another color so that bits of
the lower layer(s) of color show through the
scumbling. The result gives a sense of depth
and color variation to an area.
Think of the technique as
For this technique, a damp brush is used to rubbing the last little bits of
apply traces of paint over dry paper. The key is paint from the brush onto
to keep the brush almost dry with very little the painting, leaving behind
paint. Dip your dry brush into a bit of paint, then fragments of color. You are
dab it on a paper towel to remove most of the not trying to fill in every
paint. Try to keep the brush hairs relatively dry, little piece of the previous
rather than soaking up moisture from fluid layer.
paint.
Don't use your best brushes for scumbling since you will be scrubbing and
will most likely push hard on the brush and flatten the hairs at some stage.
Either buy a cheap, stiff-hair brush that you sacrifice for scumbling or use an
old, worn-out one, preferably synthetic. Work the brush in a circular motion or
back and forth.

Complete the day-5 exercise for thoroughly understanding scumbling

techniques.
Technique - 6: Drybrush
Drybrush is an advanced watercolor technique. It is used for creating
unique painting effects that are not produced by other methods.

Dry-brushing requires raw paint to be applied on dry paper using a damp

round brush. Raw paint, freshly squeezed from the tube, is mostly used
for dry-brushing. You may add 1-2 drops of clear water to mix the paint if
needed; this may help you to apply the paint more easily. Pick up very
little paint using the tip of a clean, damp round #2 brush. Make sure that
only traces of paint are released with each brushstroke by trying it on a
spare piece of paper. Apply the paint in small, quick brushstrokes by
barely touching the brush to the paper surface. Change the position of
the brush frequently; do not apply brushstrokes continuously on the
same area, otherwise the underlying paint layers may get disturbed or
the paint strokes may stand out making the painted area look patchy.

The texture of the paper plays a major role in the result of the dry-brush
technique.

Dry-brush technique can also be used for adding very fine texture. For
this, dip a round #1 brush in watery or milky consistency paint and
squeeze out all the paint using thumb and forefinger. Make sure that the
brush is barely releasing any paint by brushing it against a spare piece of
paper. Apply the paint using very small and quick brushstrokes by
holding the brush parallel to the paper surface. Patches of paint may
form on the paper surface if the paint is applied slowly or if the brush
releases more than traces of paint at a time. The pressure you apply on
your brush will affect the results of dry brushing.

The paint has to be applied in small quick strokes, and the direction
of the brush has to be changed continuously to produce the desired
tint and consistency. Compared to other watercolor techniques,
drybrush requires extensive practice, focus, patience, perseverance
and inclination to experiment. The colors look more vivid and
saturated when applied with this technique so it is suitable for adding
texture and contrast.

Complete the day-6 exercise for thoroughly understanding

drybrush techniques.

Technique - 7: Color lifting

Watercolor allows the artist to remove (lift off) colors after it has been
applied. You may need to lift off color because of various reasons - you
applied the wrong color by mistake or you want a highlight or some
interesting texture, or simply because you painted an area by accident.

Know that how much color can be removed depends on three main
factors:

1. The staining properties of the paint: Staining colors are harder to

remove and cannot be lifted off totally.

2. Time since the area has been painted: Recently applied paint is easier
to lift off.

3. The type of paper used for painting: Color lifting is easiest on hot-
pressed paper because of its smooth surface texture. Rough watercolor
paper has a coarse rough texture which makes color lifting difficult.

You can use different ways to lift color.

Paper towel: A paint that is freshly applied can be removed by immediately

blotting the painted area with a clean dry paper towel. To remove paint from a
dry painted surface, take a piece of damp paper towel and gently scrub the
painted area. This will lift off color from that area. Try again over the same
spot using another damp paper towel to make the area lighter.
Wet brush: Put 1-2 drops of clear water on the dry painted surface using
your paintbrush. Using a wet brush, gently wiggle the wet area to activate the
paint and then blot the surface with a clean dry paper towel. You may need to
repeat this a few times if you want to lift more colors.
Masking tape: Masking tape can be used to create a highlight
area with straight edges or a definite shape. For this, cover the
adjacent areas with masking tape; scrub the exposed area
between the masking tape using a damp brush or damp paper
towel to lift off the color. Once the color is lifted off, remove the
masking tape carefully.

Mr. Clean’s Magic Eraser effectively lifts off watercolor paint

from a painted surface. Before using the Magic Eraser, mask Repeat the
the surrounding areas so that the paint is not lifted off process to lift
unintentionally. After securing the surrounding areas with off more paint.
masking fluid or masking tape, use a damp Mr. Clean’s Magic Don’t rub lifted
Eraser to gently rub the surface of your painting where you paint back into
want to lift off paint. When you pick up paint on the eraser your paper.
sponge, blot the area with a dry tissue and rinse the eraser. Don’t rub hard
enough to
 damage the
paper surface.

Complete the day-7 exercise for thoroughly understanding color lifting

techniques.

Technique - 8: Apply paint using various textured surfaces

It is fun to apply watercolor paint using various textured surfaces. The
results achieved by using these textured surfaces for painting can be
unpredictable.

The above image shows how a The above image shows how jute cloth
paper towel soaked in paint can be can be used for achieving texture.
used for achieving texture.

Apply paint on the paper and place
a loosely crumbled piece of plastic
wrap over the wet paint. Remove
the plastic wrap once the paint gets
dry (this will take a while). This will
create rock-like irregular shapes
with hard edges.
Natural sea sponges can be used for
applying watercolor on paper. For this,
dip the sponge in clear water. Take it
out from water and squeeze out all
water from it. Take a little paint using
this moist sea sponge and lightly dab it
on watercolor paper.

Complete the exercises suggested for day-8 to understand and master

achieving textures.
Technique - 9: Splattering
Creating splatter effects can definitely be fun. Use an old toothbrush or a
stiff paintbrush to flick tiny dots of paint onto your paper.

Splattering using toothbrush

 1. Mix milky consistency paint of a color of your
choice.
2. Dip the dry toothbrush head in the paint mixture.
3. Take dry watercolor paper.
4. Firmly run your thumb over the bristles to create a
light mist of paint over the surface.
5. If you wet the brush before dipping it in paint, you
will get heavier dops when you run your finger
over the bristles

Image - 1 shows
splattering over dry
paper.

Image - 2 shows
splattering over wet
paper.

Splattering using paintbrush

1. Prepare milky consistency paint of any color

of your choice.
2. Dip round #10 brush in one paint and make
sure that the brush is saturated.
3. Take dry watercolor paper.
4. Hold the brush parallel to your paper before
lightly tapping your paintbrush against the
wooden stick so that specks of paint fall onto
your painting. Multiple layers of
splatter can be used to
Try to change the paint consistency, speed of
achieve a more realistic
splattering and how hard to tap the brush to get
texture.
different results using this technique.

Complete the exercises suggested for day-9 to understand and master

splattering technique.
Technique - 10: Stippling
Stippling is a technique used in painting as well as drawing. It is more
formally referred to as pointillism. Stippling is an advanced technique
that allows you to make 3D effects by creating designs using a series of
dots. It requires a lot of time and patience if you aim for great results
using this method.

To stipple, dip a round #0 or #1 paintbrush (or a bigger paintbrush

with a fine tip) into milky consistency paint and create a small
impression either in the form of a dot or by bending the tip of the
brush slightly. Apply more dots in the areas where you want more
color. Apply fewer dots in the areas that are closer to the light source
of your image. Achieve amazing gradient tones can be achieved
using this technique.

Complete the exercises suggested for day-10 to understand Glazing

technique.
Technique - 11: Glazing
Glazing is a technique in which multiple thin, transparent paint layers of
the same or different colors are applied one over the other. Each paint
layer dries completely before the next paint layer is applied on top of it.
When paints of different colors are applied using this technique, the
colors appear to mix together. Glazing essentially mixes color in the
viewer’s eye rather than on the palette. It is important to note that the
paper surface must be bone dry before you attempt to apply another
glaze. If it is not, the paint on the paper will mix with the freshly applied
layer thereby losing transparency and ruining the effect.

Complete the exercises suggested for day-11 to understand Glazing

technique.
Technique - 12: Masking
Art Masking fluid, also called as liquid frisket, is widely used by
watercolorists to preserve areas from getting painted accidentally. It
forms a barrier between the paint and the paper, and gives the artist
freedom to apply broad color washes across the painting surface without
fear of losing highlights or accidentally going over any area where paint
is not wanted. It can easily be removed once the painting process is
finished.

Before using masking fluid, you need to have the drawing on your
watercolor paper. You also need to identify the areas of your painting
that you want to preserve.

Recommended brands for masking fluid: Pebeo, Schmincke, Winsor &

Newton

Steps for using masking fluid:

1. Gently stir the bottle containing the masking fluid.

2. Open the bottle and pour a small quantity of masking fluid in a small
container.
3. Make sure that the paper is totally dry while applying masking fluid.
4. Use an old brush or a synthetic brush to apply the masking fluid
onto the areas that you want to preserve.
5. You can start painting once the masking fluid is thoroughly dry.
6. When the painting is completely dry, you can use a soft eraser or
your finger tip to peel off the masking fluid.

Some important points to remember while using masking fluid:

1. Make sure that the paper is totally dry while applying masking fluid.
2. Make sure that the paper is completely dry when removing the
masking fluid.
3. Do let the masking fluid to dry naturally in the shade. Never dry
masking fluid under direct sunlight or using a hair dryer as the heat
may cause the latex to adhere strongly to the paper, making it very
difficult to take off.

Complete the exercises suggested for day-12 to understand masking

technique.

Exercises to learn and master watercolor

techniques
Exercises for day-1: Paint different types of lines and shapes using
wet-on-dry technique.
The objective of these exercises is to make you confidently paint
various shapes using wet-on-dry technique.

Materials needed for this exercise:

Watercolor paper: Arches cold-pressed 140# (or 300 GSM).

Artist grade watercolor paints: Mix 3-4 different colors in different paint
consistencies.

Brush: All brushes of your choice.

Other materials needed: Watercolor palette (preferably white), paper

towel.

Exercise-1: Write A, B, C upto Z over watercolor paper using milky

consistency paint with a #1 round brush. Do this as neatly as possible.
Exercise-2: Write your signature 20 times using milky consistency paint with a
#1 or #0 round brush. Try to paint each signature as nicely as possible.
Exercise-3: Paint a 1” x 1” square, equally big circle and an irregular shape
with #2 round brush using watery consistency paint. Repeat this exercise for
various different paint consistencies.
Exercise-4: Draw 3 squares of 3” x 3” and fill the 1st one with fine horizontal
lines, the 2nd with vertical lines and the 3rd with diagonal lines.
Exercise-5: Paint zig-zag lines, spiral lines, dots, dashes, wavy lines using #1
round brush with milky consistency paint.
Exercise-6: Try to use all your brushes to make various shapes over paper.
Change the speed, angle and pressure while applying brushstrokes to find
the differences in the results.

Please note: If you see patchy results of hard line edges then your brush
is probably too wet. In that case wipe your brush over a paper towel to
remove excess paint from your brush.
Exercise for day-2: Paint blurred background using the wet-on-wet
technique.
This exercise will help you to understand how to paint blurred
background using wet-on-wet technique.

Follow the below steps to painting a blurred background using

watercolors.

Step 1: Draw the image accurately on watercolor paper

and apply masking fluid if needed.
Step 2: Apply a generous amount of clear water over the
whole background area with a hake brush and blot excess
water using a large paper towel.
 Step 3: Apply milky consistency paints of different hues
on the wet paper with a round #6 brush and allow the
paper to dry thoroughly.
Step 4: Apply a second layer of paint wet-on-wet by repeating steps 2 and 3.
Step 5: (optional) If the background appears patchy, apply a layer of clear
water with a 2½” hake brush with a little scrubbing action and then allow the
paper to dry thoroughly.
Step 6: Using the above procedure, apply 3-4 layers of paint wet-on-wet.
Each time allow the paper to dry thoroughly before applying the next layer of
paint over it. You may also apply clear water over the background and scrub it
with the brush in-between applying two layers of paint.

Exercises for day-3: Paint a big area evenly with flat wash
technique.
The objective of these exercises is to get a smooth even finish across
the whole painting surface. Make sure that you have understood the flat
wash technique and have the following materials ready before you start
with your exercise. Here you will try to achieve a smooth even wash
using multiple wash layers. Therefore you will need to prepare the paint
mixture sufficiently lighter.

Materials needed for this exercise:

Watercolor paper: Arches cold-pressed 140# (or 300 GSM).

Artist grade watercolor paint: Any color of your choice, preferably non-
granulating.

Brush: 1” flat brush, or #12 to #16 round brush.

Other materials needed: Watercolor palette (preferably white), paper

towel.

Exercise-1:

1. Mix enough quality of watery to

milky consistency paint of your
preferred color in the palette.
 2. Draw a 8” x 10” rectangle over
your watercolor paper.
3. Use the steps suggested in the
Flat wash technique section of
to apply single layer of paint over
the entire rectangle.
4. Let the paper dry thoroughly.
Give a gap of minimum 1 hour for
letting the paper dry. You can
also use a blow dryer for this
purpose.
5. Once the paper is absolutely dry,
apply another layer of paint using
flat wash technique over the
entire rectangle.
6. Repeat the aqbove 2 steps for 6-
8 more times to get a perfectly
smooth even finish.
This result was achieved by
applying 10 layers of watery to milky
consistency Cobalt Blue Deep paint
using flat wash technique.
Exercise-2:

Repeat the above exercise using a different color. Check if you are able to get
a perfectly smooth even finish.
Exercise-3:

Repeat exercise-1 with a different type of brush, big enough to hold enough
moisture for a single end-to-end brushstroke. Check if you are able to get a
perfectly smooth even finish.

Please note: Keep an eye on the painted area while it is drying. Blot off
extra paint that accumulates at the bottom of the wash. This is important
as any extra moisture might create backrun.

Exercises for day-4: Paint a big area with graded wash technique.
The objective of these exercises is to get a flawless graded wash result.

Materials needed for these exercises:

Watercolor paper: Arches cold-pressed 140# (or 300 GSM).

Artist grade watercolor paint: Any two colors of your choice, preferably
non-granulating.

Brush: 1” flat brush, or #12 to #16 round brush.

Other materials needed: Watercolor palette (preferably white), paper

towel, big jar of clear water.

Exercise-1:

Applying two or more washes over the same area can hide imperfections
in a graded wash. In this exercise you will apply a graded wash using
multiple layers to achieve a perfectly painted area using graded wash
technique.

1. Mix enough quality of watery to

milky consistency paint of your
preferred color in the palette.
2. Draw a 8” x 10” rectangle over
your watercolor paper.
3. Use the steps suggested in the
Graded wash
technique section of to apply
single layer of paint over the
entire rectangle.
4. Let the paper dry thoroughly.
Give a gap of minimum 1 hour for
letting the paper dry. You can
also use a blow dryer for this
purpose.
5. Once the paper is absolutely dry,
apply another layer of paint
using graded wash technique
over the entire rectangle.
6. Repeat the above 2 steps for 6-8 The above wash result was achieved
more times to get a perfectly by applying 4 layers of milky
painted area using graded wash consistency Cobalt Blue paint using
technique. the graded wash technique.

Exercise-2: Graded wash with hue variation

To apply a graded wash with hue variation, replace the bowl of

clear water with a paint mixture of transition color in step 1 of
 graded wash section and follow exactly the same procedure for
applying the graded wash.

Multiple wash layers may be used to achieve the flawless wash

results.

Exercises for day-5: Understand scumbling technique

Try experimenting with scumbling technique on your watercolor paper by

following the directions given in the Scumbling technique section in this
document. Change the consistency of paint, brush size, brush angle,
paper type, etc. and note the result.

Do a lot of research on Google to understand how scumbling technique

was used by old oil paint masters of renaissance period for achieving
realism in their figurative works. Also check out how scumbling is
implemented in drawings.
Exercise for day-6: Understand drybrush technique
Try experimenting with drybrush technique on a spare piece of paper by
applying the brushstrokes with different amounts of pressure. Change
the consistency of paint, brush size, brush angle, paper type, etc. and
note the result.

Do a lot of research on drybrush technique on handprint.com to

understand this technique thoroughly.
Exercises for day-7: Master the color lifting techniques.
The objective of this exercise is to make you thoroughly
understand and master the color lifting technique.

Exercise-1:

Follow the instructions specified in Color lifting section of this document to lift
off colors using:

1. Paper towel
2. Paintbrush
3. Masking tape
4. Mr. Clean’s Magic Eraser

Exercise-2: Apply Milky consistency paint of Cobalt Blue or any other color of
your choice on watercolor paper and immediately lift off the freshly applied
 paint. After that, gently scrub the area with a clean and wet paintbrush and
dab with a paper towel. Write down your observation.

Repeat the above instructions with 2-3 different paints, each time note down
your observations.

Compare all your observations to understand the color lifting concept better
Exercise-3: what are the three factors that affects color lifting.

Exercises for day-8: Achieve textures using various textured

surfaces.
Try to achieve textures using the following textured surfaces:

1. Cotton ball
2. Natural sea sponge
3. Plastic wrap
4. Jute cloth
5. Bubble wrap
6. Kitchen towel

Try to apply multiple layers of paint using textured surfaces to achieve

depth.

Use more than one textured surfaces to achieve complex textures.

Try to achieve the texture of foliage using sea sponge.

Exercises for day-9: Master the splattering technique.
The objective of this exercise is to help you use splattering technique to
achieve realistic textures. Use multiple layers of splatter to accomplish
the below two exercises:

Exercise-1: Try to paint the texture of sand realistically using splattering

technique.

Exercise-2: Try to paint a distant tree with cherry blossoms using

splattering technique.
Exercise for day-10:
The image below is an example of painting done using only stippling
technique. Make a watercolor painting using only stippling
technique. This will help you to master this technique and will
improve your patience to a very high extent.
 Do a lot of research on Google to understand how stippling
technique was used by artists of the renaissance period for
achieving texture in their paintings. Also check out how stippling is
implemented in drawings.

Exercise for day-11:

The objective of the following exercises is to help you understand the
glazing technique thoroughly.

Exercise-1:

1. Prepare a watery consistency paint of Cobalt Blue and apply it

evenly with a half-inch flat brush on dry paper. Allow the paper to
dry completely.
2. Prepare a watery consistency paint of Quinacridone Gold. After
making sure that the paper is totally dry, apply the paint gently and
evenly with a half-inch flat brush over the same area. Allow the
paper to dry.
3. Make a note of your observations. Did you notice that the surface of
paper is looking green?

Exercise-2:

1. Apply a watery consistency paint of Quinacridone Gold evenly with

a half-inch flat brush on dry paper and allow the paper to dry
completely.
2. Once the paper is dry, apply a watery consistency paint of Cobalt
Blue gently and evenly with a half-inch flat brush over the same
area. Allow the paper to dry completely.
3. Make a note of your observations. Did you notice that the surface of
paper is looking green? Did you notice that the green you achieved
in Task 1 is different than the green you achieved in Task 2?

Exercise-3: This exercise will help you to compare the result of mixing
paints using a glazing technique with the result of mixing of paints on a
palette. For this task use the same paints that you have used in the
above two tasks.

1. Mix the two paints on palette in 1:1 proportion.

2. Apply the above paint mixture using a half-inch flat brush evenly on
dry paper and allow the paper to dry completely.
 3. Make a note of your observations. Did you notice that the green
that you achieved after mixing the two paints on the palette is more
homogeneous?

Exercise for day-12: Understand the masking technique

The objective of the following exercises is to help you understand the

masking technique thoroughly.

Exercise-1: Apply masking fluid using different items:

1. Dip a toothpick in the masking fluid and try to form fine straight and
curved lines using the fluid on the paper using it.
2. Dip a toothbrush in the masking fluid and splatter some fluid on
paper by rubbing your thumb on the bristles.
3. Apply masking fluid using a fan brush and try to make some grass
like shapes.
4. Apply masking fluid over paper using earbuds.
5. Make your signature 20 times using masking fluid pen. If masking
fluid pen is not available then use a round #1 paintbrush to apply
masking fluid over your signature accurately.

Exercise-2:

1. Apply masking fluid evenly over a big area using an old damaged
brush on cold-pressed, rough and hot-pressed 140 lb paper and let
it dry.
2. Apply milky to creamy consistency paint of any dark hue over the
masked area. Lift off the masking fluid once the paint is dry.
3. Did you find any differences caused because of the texture of the
papers?

Exercise for day-13:

Do a thorough research on Google about all the 12 techniques specified
in this document to improve your understanding.
Exercise for day-14:
Confidence cannot be achieved unless you implement your knowledge to
create a painting from scratch to finish. It is highly recommended that
you paint a beautiful painting using some of the above watercolor
techniques to get further confidence in painting using watercolors.
Appendix:

Paint consistencies:

Thoroughly mixing 1 part of raw paint to 1 part of clear

water for few minutes results in a smooth lump-free
Buttery
buttery consistency paint.
consistency
(1:1)
This consistency may also be termed syrupy as this paint
mixture (paint + water) is like thick corn syrup.
Thoroughly mixing 1 part of raw paint to 3 parts of clear
water for few minutes results in a smooth lump-free
Creamy
creamy consistency paint.
consistency
(1:3) This paint mixture is termed as creamy because it has the
viscous consistency of milk cream.
Mixing 1 part of raw paint to 6 parts of clear water will
Milky result in milky consistency paint.
consistency
(1:6) This paint mixture is termed as milky because it has the
consistency of milk.
The raw paint-to-water ratio may vary a little because
some paints are saturated and some are not. Mixing 1 part
Watery of paint with 9 to 12 parts of water will result in watery
consistency consistency paint.
(1:9 – 1:12)
The consistency of this paint mixture is the same as that
of water.
Tinted Tinted consistency paint mixture can be obtained by
consistency mixing a small tinge of raw paint in a large amount of
water.
(1:24+)

Brush wetness levels: The wetness level of the brush determines

how much liquid (water or paint) the brush will release when stroked
across the paper.

The tuft(brush head) is completely dry.

Dry
 brush A dry brush does not releases any traces of water or paint
when rubbed on paper.
The brush is pre-wetted (with water or paint) and then nearly
Moist all water or paint is taken off by repeatedly blotting the tuft
brush on a dry paper towel, or by covering the tuft with a dry paper
towel and firmly squeezing with thumb and forefinger.
(or damp
brush) A damp brush releases traces of paint or water when rubbed
on paper.
Rinse the brush in clear water, shake out the brush and blot
water by gently tapping the brush on a dry paper towel. The
tuft is moist, but there is no water in the belly of the brush.
Thirsty
brush
A thirsty brush releases little water or paint when rubbed on
paper. The brushstrokes made by a thirsty brush shows
streaking and/or pinholes.
The brush is termed wet when it is dipped in water or paint
and then the tuft is gently wicked (touched or scraped
against the edge of the water container, the paint well,
Wet mixing cup or palette).
brush
A wet brush contains sufficient water or paint to produce a
brushstroke with an even flow without any streaking or
pinholes.
Dip the tuft in water or paint and hold the brush at a
downward angle until dripping stops. The tuft is fully
Saturated
charged with water or paint.
(or half-
A saturated brush releases an uncontrolled, large bead of
loaded)
liquid when touched to paper, and may leave a bead of liquid
when it is lifted from the paper.
The tuft is overfilled with water or paint. The fully loaded
Dripping brush will drip liquid if the tuft is held at a downward angle,
but may not drip if the tuft is held horizontally.
(or fully-
loaded) A Dripping brush will certainly release an uncontrolled, large
bead of liquid when touched to paper.

Paper wetness levels: The terminology used for the different

wetness levels of paper are only for your understanding.

The paper is said to be soaked if its surface is completely

covered by a thin layer of water, has a shiny appearance,
excess water flows to the lower edge when paper is slightly
tilted and the surface texture may not be clearly visible due to
the presence of a water layer.
Soaked
A paper can achieve this wetness level when a generous
amount of liquid (water or diluted paint) is applied over it OR
the paper is kept submerged under water for 5-10 minutes and
then lifted.
The paper with this wetness level appears shiny, but with most
or all of the surface texture clearly visible, extra water may flow
Shiny to the lower edge of the paper is tilted considerably.
wet
A soaked paper turns shiny wet if it is kept tilted for 2-3
minutes and excess water is absorbed using a paper towel.
A paper with this wetness level has a dull satin luster on its
surface with clearly visible surface texture. The paper is moist
to touch and is distinctly cool.
Satin
wet When a shiny wet paper is left to dry for 3-4 minutes, it
achieves this level of wetness. Alternatively, you can soak off
extra water from a shiny wet paper using a large, thirsty brush
to bring it to this level of wetness.
A moist paper is non-reflective but appears a little dark
because of moisture. It is cool in temperature and moist to
touch.
Moist
One should know that the paints on a moist paper have already
started to dry and should not be disturbed.
A damp paper is non-reflective, slight cool in temperature,
appears to have just dried and the paper makes a dull snap
when flicked with a finger.
Damp
A moist paper will turn damp if left for 3-4 minutes or when
dried with a hairdryer. A damp paper should be left to dry
completely before applying a layer of paint.
 Paper is dry if it is dry to touch, has a normal temperature, a
non-reflective dull appearance, dry paint remains unchanged if
rubbed firmly, and makes a loud snap when flicked with a
Dry
finger.

A dry paper is best for achieving sharp, crisp-edged painting

effects.

Note: The drying time may vary depending upon the moisture level
in the air and the atmospheric temperature.

For a thorough understanding of watercolors, you can purchase

Realistic Watercolor Unleashed which is available on Amazon in
both paperback and e-book format.

Highlights of Realistic Watercolor Unleashed:

1. Comprehensive guide to realistic watercolor painting

for artists of all levels.
2. Explains the scientific reason behind the behavior of
watercolor paints.
3. Includes paper stretching, drawing techniques,
masking, and painting techniques.
4. Explains how to make a strategy for a painting based
on the complexity and type of subject.
5. Seven demonstrations on a variety of subjects such as
water, wood, fur, feathers, skin, blurred background,
perspective painting, etc.
6. Provides several tips on how to make a painting
impactful.
7. Provides tips and guidance on different aspects of
painting.
8. Provides a comprehensive list of watercolor pigments
along with their characteristics.

Happy Painting!!!