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.

“Washing” is a technique commonly used with watercolors. You start by wetting the area of the paper that will be covered with the wash. Then mix up enough pigment to fill the area and apply the pigment starting at the top and overlapping on any horizontal bands. The wash is then left to dry. Don’t work it as it will even itself out as it dries. The technique called “dropping in color” is a process where an additional color is added to a wet area of the painting which is then allowed to naturally bleed without any interference by the artist. The results are unpredictable with interesting color gradations.

“Glazing” is a technique similar to a wash, but instead of application to a wet surface a thin layer of pigment is applied to a dry surface over washes that already exist. It is used to adjust tone and color on a wash, and it is applied in layers until the desired affect is reached. Just be sure that each layer is dry before applying the next layer. Auroline, cobalt blue and permanent rose are good transparent pigments to glaze with. The “wet in wet” is a technique where you fill your brush with a very wet pigment that is then applied to a wet paper. It can be applied on top of existing washes that have dried. Just dampen these areas with a large brush. This technique provides soft subtle marks that are great for background areas. The “dry brush” is opposite to the “wet in wet” technique. The brush is filled with pigment with the use of minimal water and then it is dragged across the dry paper, producing a very crisp mark with a hard edge. It is an excellent technique for front work and points of interest. “Lifting off” is an interesting technique where the pigment is dissolved and lifted off after it has dried. Just wet the area you want to lift and then use a tissue to blot the pigment off. Reds, yellows, and blues can be more difficult to lift.