Drawing water in a landscape Automatic translate

Water remains one of the most complex and inspiring elements in landscape watercolor. Its changeable nature, ability to reflect the surrounding world and create the illusion of depth, requires a deep understanding of the medium and a mastery of a variety of techniques. Watercolor as a medium offers unique opportunities for conveying the element of water thanks to its transparency, fluidity, and ability to create smooth transitions.

Fundamental principles of working with watercolors

Basic paint application techniques

Watercolor painting is built on four fundamental techniques, each of which finds its application in depicting water. The wet-on-wet method involves applying wet paint to pre-wetted paper. This technique creates soft, blurred transitions and unpredictable effects, ideal for capturing atmospheric phenomena over water, reflections on a calm surface, or misty seascapes.

The wet-on-dry technique gives the artist greater control over form and color intensity. This method involves applying a wet brush to a dry paper surface, allowing for the creation of crisp edges and detailed elements. This method is especially valuable when working on waves with sharp crests, ripples on the water’s surface, or clear reflections of objects.

The less common techniques of "dry on wet" and "dry on dry" also have their place in the artist’s repertoire. The former creates interesting textural effects when a relatively dry brush touches a damp surface. The latter is used for final details and accents that require maximum precision.

Water to pigment ratio

Controlling the amount of water on the brush and paper is the foundation of mastery in watercolor painting. Too much water leads to excessive pigment spreading, loss of control over form, and the creation of muddy color mixtures. Too little water makes the paint thick, hinders smooth application, and creates visible brushstrokes.

When depicting water surfaces, the ability to control the degree of pigment dilution is particularly important. To create the illusion of transparent water, highly diluted paints applied in thin layers are required. More saturated solutions are used for deep shadows, dark areas, and reflections of massive objects.

Properties of watercolor pigments

Transparency and hiding power

Watercolor pigments are classified by a variety of parameters, among which transparency holds a special place. Transparent pigments transmit light, allowing underlying paint layers and the whiteness of the paper to show through. This characteristic makes them indispensable for glazing techniques and the creation of multi-layered compositions.

Opaque pigments contain heavier particles that block light and conceal underlying layers. When applied with water on damp paper, opaque pigments behave differently than transparent ones: they spread less and remain in place. This property is useful for creating certain effects that require controlled paint spread.

The degree of transparency of a pigment depends on its dilution. Typically, an opaque pigment, such as cadmium orange, becomes quite transparent when highly diluted. Similarly, a transparent pigment becomes opaque when applied in a thick layer.

Granulating and coloring properties

Some pigments have the ability to granulate — forming a grainy texture on the paper surface. When working with water surfaces, this property creates interesting effects, imitating a sandy bottom, shallow water, or the play of light on waves. Granulating pigments are especially expressive on textured paper.

Staining pigments penetrate the paper fibers, creating long-lasting, vibrant colors. They are ideal for glazing techniques, as the underlying layers of these pigments do not wash away when subsequent layers are applied. When depicting water, staining pigments help create the rich, deep tones of the sea depths or dark reflections.

Glazing technique for creating water effects

Principles of layered construction

Glazing is a method of applying thin, transparent layers of paint one on top of the other, allowing each layer to dry completely. This technique allows for a gradual buildup of color and tone intensity while maintaining the transparency and luminosity characteristic of watercolor.

When working with water-based surfaces, glazing allows for the creation of complex color transitions and depth. Each new layer darkens an area of the painting, while light areas are created by the whiteness of the paper or a minimal number of layers. This method requires advance planning, as in watercolor, it is impossible to lighten a dark area by adding a lighter paint on top.

Technique for applying glaze layers

When applying a glaze, work quickly and confidently. The dry base coat of paint is reactivated upon contact with a wet brush, so over-brushing in one area will cause the layers to blend and lose opacity. Brushstrokes should be light and gentle on the underlying layers.

To create soft, diffuse effects, you can apply multiple colors within a single glaze, allowing them to blend naturally at the edges. While the glaze is wet, adding clean water creates diffuse transitions reminiscent of a gradient wash. This technique is especially effective when depicting transitions from shallow to deep water or creating highlights on water.

Creating reflections in water

Mirror reflections in calm water

The first method of creating reflections involves working separately on the object and its reflection. First, the artist depicts the object above the water, then paints its reflection in the same colors and allows the image to dry completely. Once dry, a translucent wash of water color is applied over the reflection.

This technique creates the effect of objects reflected in calm, mirror-like water. The top layer mutes the colors of the reflection, creating the illusion of immersion in the water. This method provides maximum control over the shape of the reflection and is suitable for detailed compositions.

Broken reflections in rippled water

The second method imitates reflections in rippled or rippled water. The reflection and the water surface itself are painted simultaneously using intermittent horizontal strokes. The brush is held firmly, and the stroke is drawn from the elbow rather than the wrist, ensuring straight lines.

Spaces of white paper or light underpainting are left between brushstrokes, creating the illusion of light reflected off the surface of the water. This technique is effective for depicting lakes, ponds, or calm stretches of river with gentle turbulence. The artist can use multiple colors within a single brushstroke to convey the complexity of the reflected hues.

Wet-on-wet method for soft reflections

The third method is the least predictable, but creates realistic, blurred reflections. First, a layer of paint is applied to represent water, then, while the surface is still wet, the reflected objects are painted onto it. The paint flows and blends naturally, creating soft, blurred shapes.

To create soft reflections, paint is applied with vertical brushstrokes using the wet-on-wet technique. After the painting has dried, use a damp, clean brush to lift a few horizontal stripes across the reflection. For sharper reflections, allow the first layer to dry completely, then paint the reflections with horizontal brushstrokes.

The reflection becomes denser in the immediate vicinity of the reflected object and becomes more fragmented as it moves away from it. Some edges are then softened with a clean, damp brush. This approach creates the layering and depth characteristic of real water reflections.

Image of ripples and waves

Creating ripples with horizontal strokes

Ripples on the water are depicted using a series of horizontal brushstrokes applied at a specific rhythm and intervals. The base layer is created with light horizontal brushstrokes on damp paper, leaving white spaces between the strokes. These spaces simulate light reflected from the water’s surface.

After the first layer has dried, the surface is lightly moistened again. Then, additional horizontal strokes are applied in a darker tone, enhancing the ripple effect. It’s important to maintain lighter spaces and not fill the entire surface with a smooth wash.

The ripples are characterized by alternating light "valleys" and darker near-surfaces. Excess water is removed by brush strokes in the direction of the ripples, preventing the formation of feather-like streaks. The contrast between the light and dark areas creates the illusion of water movement and the play of light on its surface.

Technique for creating sea waves

When depicting sea waves and surf, color is concentrated at the edges of the composition, leaving the central portion lighter to simulate sun glare. The waves are painted layer by layer, starting with light tones and gradually adding darker shades.

Masking fluid is often used to preserve the white areas of foam and splashes. After applying and drying the masking fluid, the artist can freely work over the water surface without fear of painting over the bright areas. Once the work is complete, the masking layer is removed, revealing clean white paper.

Shadows under the wave crests are added after removing the masking fluid. These dark areas create volume and emphasize the three-dimensionality of the water. Horizontal strokes of darker color increase depth and create the sensation of moving water.

Working with the coastal zone

Image of shallow water and surf

The coastal strip requires special attention to the transitions between water and land. The sandy surface is painted with warm ochre tones, with details imitating the texture of the sand. Along the shoreline, where the waves roll onto the sand, a more saturated tone is added to create depth.

These dark areas should be carefully blended before the paint dries to create a smooth transition. Work is done layer by layer, gradually building up color and tone. A flat brush is effective for creating broad horizontal strokes that mimic the movement of waves on sand.

Detailing and accents

After completing the main stages of the work, small details of the coastal area are added. Starfish, shells, rocks, and pebbles enliven the composition and create a sense of a specific place. These elements are painted on a dry surface using small brushes.

White gouache or white watercolors are used to create the final highlights. Bright reflections on the water, foam on the wave crests, and highlights on the wet sand are added at the very end of the work. These finishing touches enhance the sense of light and create contrast with the dark areas.

Tools for working with water

Types of brushes for landscape painting

Hake brushes are among the most versatile tools for creating water surfaces. These wide, flat goathair brushes hold a large amount of water and create smooth washes. The edge of the hake brush forms a sharp line, allowing it to be used not only for broad strokes but also for detailed work.

Flat synthetic brushes are ideal for depicting water due to their ability to create straight edges and crisp lines. Their flat shape is particularly effective when working with architectural elements in water scenes and creating horizontal ripples. Brushes of this type allow you to work with both the flat side and the edge.

Medium-sized round brushes (numbers 6-10) provide a balance between water retention and precision application. For work on A5 and smaller sizes, a number 6 round brush and a number 0 or 1 detail brush are sufficient. Neptune series brushes mimic the characteristics of squirrel brushes: softness and high absorbency.

Specialized tools

Mop brushes are large, soft brushes capable of holding large volumes of liquid. They are indispensable for creating atmospheric effects, soft transitions in the sky over water, and extensive washes. The softness of these brushes allows for delicate gradients without visible edges.

Calligraphy brushes or detail brushes are used in the final stages. Their fine tips allow for fine details: boat masts and their reflections, fine lines of ripples, and coastal vegetation. Confidently applying such details with a minimal number of brushstrokes creates a sense of mastery and completeness.

Pure water sprayers expand the possibilities for creating organic textures. Spraying water on dry paper and then applying pigment creates coral-like textures. Spraying water on partially dried paint creates a spatter effect, useful for simulating water splashes.

Planning and composition of water scenes

Preliminary sketch and layout

Successful watercolor painting begins with careful planning. A light pencil sketch serves as a map for the entire painting process. Working from a reference or a natural setting, the artist determines the placement of key shapes and centers of visual interest.

When depicting water, it’s especially important to consider the placement of light and dark areas. In watercolor, work proceeds from light to dark, so light areas are planned in advance. The whiteness of the paper is used to create the brightest highlights on the water, and these areas must be protected from accidental overpainting.

Creating depth and space

Depth in a watercolor landscape is achieved through a combination of soft and hard edges. Blurred edges of distant objects create a sense of atmospheric haze and push elements into the background. Sharp, clear contours bring objects into the foreground.

The juxtaposition of sharp details over a soft background creates a striking illusion of space. This contrast is particularly effective when depicting water scenes: the blurred distant shores are contrasted with the detailed ripples in the foreground. The artist must trust this process and resist the temptation to detail everything equally.

Color solutions for water

Basic colors for sea and river scenes

Blue pigments form the basis of the palette for depicting water. Ultramarine, Prussian blue, and indigo create a range of medium to dark tones. Cobalt turquoise and cerulean add brightness and convey sunlit areas.

Water is rarely a pure blue. Adding red tones, such as quinacridone, creates purple undertones, often seen in shadows on the water or in evening light. Green tones, such as verdant gold, are essential for depicting shallow water, coastal areas, and waters with high algae content.

Reflected color and local tone

The color of water is determined not only by its own characteristics but also by the reflected colors of its surroundings. The sky, shores, vegetation, and clouds all contribute to the overall tone of the water’s surface. When creating reflections, the artist transfers these colors into the water, simultaneously muting their intensity.

A transparent wash of water color over the painted reflections unifies the composition and creates a convincing illusion. This top layer must be translucent enough to allow the reflections to shine through, yet saturated enough to suggest the presence of the water column. A balance between these requirements is achieved through practice and experience.

Common errors and their solutions

The problem of recycling

One of the main difficulties in watercolor painting water is overworking the surface. Constantly returning to wet areas and repeatedly brushing over the same spot destroys the freshness of the watercolor and creates dull, featureless areas. The artist must learn to stop, even when the urge to add another stroke arises.

Confidently applying paint with minimal strokes creates a sense of spontaneity and mastery. Reflections of masts, subtle ripples, or highlights on waves should be applied decisively, in one or two strokes. This approach preserves the purity of color and creates visual energy.

Controlling the amount of water

Too much water on the paper creates uncontrollable bleeding and puddles. Before applying paint to a damp surface, ensure the paper has a uniform sheen but is free of puddles. Remove excess water with a clean, damp brush or sponge.

Insufficient water creates hard, unnatural edges and makes it difficult to create smooth transitions. The wet-on-wet technique, so crucial when depicting water, requires sufficient moisture on the paper to allow the pigment to move freely and create soft, blurred forms. Finding the right balance takes time and practice.

Layered construction of the water surface

First layer: underpainting

The initial layer establishes the overall tone and color of the water surface. This stage is typically done using the wet-on-wet technique to create soft transitions. A light, transparent wash covers the entire water area, establishing the base color and leaving the lightest areas as unpainted paper.

At this stage, the artist outlines the basic tonal relationships without worrying about details. Darker areas of the water receive additional pigment while the surface is still wet. The paint flows and blends naturally, creating organic transitions.

Intermediate layers: building up the shape

After the first layer has completely dried, the phase of building up the form through glazing begins. Each new layer intensifies the tone of specific areas, gradually creating a range of values from light to dark. The light areas defined in the first stage are preserved.

The artist works from the general to the specific, first establishing large tonal masses and then adding smaller details. Horizontal brushstrokes begin to shape the structure of the water’s surface. Reflections are applied over the base layer, creating layering and complexity.

The final layer: details and contrasts

The final stages of the work add the darkest tones and sharp contrasts. It is the contrast between light and dark areas that creates the impression of volume and movement in the water. Dark accents are placed selectively, highlighting key elements of the composition.

Fine details — fine ripple lines, reflections of small objects, texture in the foreground — are added last. These elements should be applied confidently and precisely, without fuss or alterations. White highlights, applied with gouache or lifted with a clean, damp brush, complete the work.

Special effects and textures

Paint removal technique

Lifting is an important technique for creating highlights on an already painted surface. A clean, damp brush applied to dry paint partially removes pigment, creating lighter lines or spots. This technique is effective for creating highlights on water or brightening reflections.

Horizontal stripes captured through a vertical reflection create the illusion of subtle ripples on the surface. The degree of lightening depends on the wetness of the brush and the pressure applied. Coloring pigments are more difficult to remove than non-coloring ones, which should be taken into account when choosing paints.

Using a dry brush

The drybrush technique creates grainy, textured effects. A brush, with excess moisture removed, applies paint with quick, light strokes, leaving a jagged trail. On textured paper, the pigment clings to raised areas, creating a distinctive, ragged texture.

This technique is useful for depicting foam on wave crests, ripples in the foreground, or the texture of a sandy shore. Drybrushing contrasts with smooth washes and adds variety to surfaces. Combining different techniques within a single work creates visual interest and conveys the complexity of natural forms.

Working with different types of water bodies

Tranquil lakes and ponds

Still water in lakes and ponds is characterized by crisp reflections and minimal surface movement. Specular reflections are created by successively painting the object and its reflection, followed by a translucent fill. Subtle ripples are depicted using thin horizontal lines that interrupt the reflections.

The lake’s depth is conveyed by a gradation of tone: darker areas in the deep water, lighter in the shallows. The coastal vegetation and its reflections create the characteristic appearance of a pond or lake. The absence of sharp contrasts and dynamic forms creates a sense of peace and stillness.

Rivers and streams

The flowing water of rivers and streams requires the depiction of directional movement. Horizontal and diagonal brushstrokes, following the direction of the current, create a sense of flow. Darker tones are concentrated in deeper areas and under overhanging banks.

Rapids and waterfalls are depicted using a combination of vertical washes for the falling water and horizontal strokes for the foam at the base. The white foam is preserved using masking fluid or left unpainted. Rocks and obstacles in the riverbed create localized eddies and breakers.

Sea scenes and surf

The sea demands a conveyance of scale and the energy of the water element. Waves are depicted as a layered structure, with alternating light crests and dark troughs. The horizon line is positioned according to the rule of thirds to create a balanced composition.

The surf — the area where the sea and shore meet — is characterized by complex shapes of breaking waves and foam. Masking fluid preserves the lighter areas of the spray and foam. Wet sand on the shore reflects the sky and creates an additional play of tones. The gradation from the deep blue sea to the turquoise shallows conveys the change in depth.

Atmospheric effects over water

Reflection of the sky in the water

The color and tone of the sky directly influence the appearance of the water’s surface. The sky is often painted simultaneously with the water or immediately in front of it to ensure color harmony. The upper portion of the sky is usually darker and more saturated in color, which is reflected in the corresponding areas of the water.

Clouds and their reflections add additional complexity to the composition. Reflected clouds are positioned with respect to perspective and viewing angle. In water, they often appear more blurred and less contrasty than in the sky.

Fog and haze over the water

Misty water scenes are created primarily using the wet-on-wet technique. The damp paper allows the paint to flow and create the soft, indefinite shapes characteristic of fog. Contrasts are minimized, and details are limited to the foreground.

The gradual dissolution of forms into the haze conveys atmospheric perspective. Objects in the background lose definition and contrast, creating a sense of spatial depth. The limited palette of cool gray-blue tones enhances the impression of a damp atmosphere.

Practical exercises to develop skills

Humidity Control Exercises

Creating gradient stretches develops a sense of control over water. The artist applies a rich brushstroke of paint, then, dipping the brush into clean water, draws the color downward, creating a smooth transition from dark to light. This exercise develops an understanding of the relationship between pigment and water.

Working with the wet-on-wet technique on small formats allows you to experiment with varying degrees of paper moisture. Observing how pigment behaves on very wet, moderately wet, and slightly damp surfaces provides valuable experience. Each degree of moisture creates different bleed effects.

Study of glazing

Creating glaze charts helps understand how colors interact when layered. The artist applies samples of various pigments, lets them dry, and then overlays them with other colors. The resulting chart shows the colors that form when glazed.

Comparing colors mixed on a palette with those created by glazing demonstrates the differences between these methods. Glazed colors are typically more transparent and luminous than those mechanically mixed. Granulating pigments on textured paper create particularly interesting effects when applied layer by layer.

Copying the masters

Studying and copying the works of watercolor masters provides insight into their methods and approaches. Analyzing how an artist constructed a water surface, the colors they used, and how they organized tonal relationships enriches one’s own practice. Attempting to reproduce a specific effect or technique develops skills in solving artistic problems.

Regular practice on small-scale projects allows you to experiment without fear of ruining a larger work. Keeping a watercolor exercise book helps you track your progress and document your successes. Gradually increasing the complexity of your tasks — from simple washes to complex multi-layered compositions — ensures steady development of your skills.