The flat wash technique is one of the more basic and common of the various techniques. The flat wash technique is usually used when large areas of the canvas need to be covered. You will want to lay out the watercolor wash evenly and uniformly. First you will need to dampen the area of your canvas where you will be applying the watercolor wash. Make certain to have an adequate amount of water and pigment available before your start. If you should have to stop for any reason, it will be difficult to match your layers.. It is better to have more than less available. The angle at which you apply the watercolor wash is important. If the angle is too steep your wash will run down the paper. If the angle is too level, then you won’t have enough movement. Use a large brush for this technique and start your first stroke at the top of the paper. Continue applying the watercolor wash going down the paper, but alternate sides as you move down.

With the dry brush technique, your paper is completely dry. You then apply a fairly dry pigment with very little water to the paper. The dry brush technique should only be used where you want to draw focus or create texture in your painting. It’s always a good idea to use various watercolor brush techniques in a single painting. This results in a more interesting painting. The glazing technique is when you apply a thin transparent color over a completed dry layer of color. This technique creates some very interesting blends of new color. You will need to use a non-staining, transparent color for this watercolor technique. You should use a soft brush and don’t apply that much pressure. Wet in wet is simply applying a wet wash over a wet surface. You start by evenly wetting the paper with a brush or spray bottle. Have a sponge handy to absorb any excess water. You want your paper to be evenly saturated. Then apply your watercolor.

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

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