Watercolor painting offers a wide range of possibilities, but choosing the right paint can make all the difference.
There are several types of watercolor paints, each with its own characteristics that affect how your artwork turns out.
Whether you’re working with transparent watercolors for delicate layering, or gouache for bold, opaque strokes, understanding the variety available is crucial for any artist.
This article will guide you through the different paint options, from granulating watercolors to staining colors, helping you decide which is best suited for your style.
By the end, you’ll know what to look for in artist-grade paints, how to manage student-grade watercolors, and which paints will achieve the specific effects you want. Let’s dive into the essential details every watercolor artist needs to know about their materials.
Different Types of Watercolor Paints
Transparent Watercolors
These are the most common artist-grade paints. When you apply transparent watercolor, it allows light to pass through the paint and reflect off the watercolor paper, creating a luminous effect.
This characteristic makes them ideal for layering watercolors. The thin, delicate nature means they require precision but give you control over light and shadow. You’ll find professional watercolor paints and student-grade watercolors both available in this category, with different levels of pigment load.
Opaque Watercolors (Gouache)
Gouache is another type of watercolor but with an entirely different behavior. It’s opaque. It doesn’t let light through like transparent watercolors, giving you a matte finish.
This is useful when you need solid coverage, and it works great for illustrations or areas where layering isn’t the goal.
The ability to create vibrant watercolors with dense color saturation is one of its main appeals.
Just don’t expect the blending watercolors technique to work as seamlessly here as it does with transparent paints.
Staining and Non-Staining Colors
Watercolors are either staining colors or non-staining colors. The difference? Staining colors sink into the paper fibers, making them harder to lift, while non-staining colors sit more on the surface, meaning you can lift them off or rework the area even after drying.
If you’re aiming for the wet-on-wet technique, non-staining paints are typically easier to manipulate. However, for watercolor blooms or deliberate color retention, staining colors might be what you want.
Granulating Watercolors
Granulating paints have a grainy texture. You’ll notice that when you apply them, the pigment particles tend to clump together, especially on cold-pressed paper.
This gives a rough, textured look that can be a fantastic tool for landscapes, rocks, or any area that needs a little extra grit.
Not all watercolors granulate; it depends heavily on the pigment itself, which makes understanding natural pigments versus synthetic pigments key when choosing your colors.
Watercolor Tubes vs. Pans
When talking about types of watercolor paints, you’ll come across two main formats: watercolor tubes and watercolor pans.
Tubes contain liquid paint that can be squeezed out and mixed on your watercolor palette, offering more vibrant color straight out of the tube.
Watercolor pans, on the other hand, are solid cakes of paint. You activate them with water and can easily carry them around.
Portable watercolor sets with pans are popular with artists who sketch or paint on location.
Lightfastness and Permanence
The longevity of your work depends on the lightfastness of the watercolors you use. High-quality pigments that are lightfast will resist fading over time, especially when exposed to light.
Most artist-grade paints focus on color permanence, making them a better investment for long-lasting pieces. Always check the lightfast rating if you’re concerned about how your artwork will hold up in the long run.
Pitfalls of Lower-Quality Watercolors
While student-grade watercolors are more affordable, they often have lower concentrations of pigment and less color permanence.
This results in weaker color intensity and staining properties that might not behave as predictably.
When choosing watercolors, especially for professional work, it’s best to invest in artist-grade paints for better control, vibrancy, and durability.
Choosing the Right Watercolor Paper
Cold-Pressed Paper
Cold-pressed paper is the go-to choice for most watercolor artists. It has a slightly textured surface that provides enough grip for the paint to sit well but still allows for smooth watercolor techniques like washes and glazes.
When working with transparent watercolors or layering multiple colors, this paper helps control how much water is absorbed, which affects drying time and the overall watercolor texture.
The slight texture also works well with granulating watercolors, as the texture can enhance the granulation effect.
This paper is flexible for both detailed work and broader strokes, making it a versatile option. It’s a solid pick whether you’re using staining colors or non-staining colors, as the texture holds up with different paint opacity.
Hot-Pressed Paper
If you prefer smooth surfaces, hot-pressed paper is where you’ll land. It’s almost completely flat, giving you a surface perfect for fine details and clean edges.
The lack of texture means watercolor pigments sit on top more than they absorb, which can be great for techniques requiring precision, like the wet-on-dry technique.
However, it’s less forgiving with large washes or textured effects. If you’re a fan of bold strokes or granulating paints, this might not be the best choice. But for those who focus on intricate designs or combine watercolor with ink, hot-pressed paper offers that polished look.
Rough Paper
Rough paper is, as the name suggests, the most textured option. This is for those who want the texture to be part of the artwork.
Pigment granulation and textured washes really stand out on this surface, and it’s great for creating dynamic effects with wet-on-wet techniques.
The rough surface makes your brushstrokes visible and adds a whole new layer of complexity to your work.
This type of paper is perfect for those who enjoy bold, expressive strokes. But it may not work for more detailed, delicate styles or when working with non-staining colors that require frequent adjustments, as the texture makes lifting paint harder.
Paper Weight
Paper comes in different weights, which affects how much water it can handle before buckling or warping.
The most common weights are 140 lb (300 gsm) and 90 lb (190 gsm). Heavier paper, like 300 lb (640 gsm), absorbs more water without warping, ideal for heavy washes or watercolor techniques that use a lot of water.
Student-grade watercolors can often pool on lighter paper, making it harder to control paint dilution.
Heavier paper minimizes warping, but it’s also more expensive, so there’s a balance to strike depending on your style and how much water you use.
Pitfalls of Lower-Quality Paper
Lower-quality paper, often found in student-grade watercolor sets, tends to be thinner and less absorbent.
It doesn’t hold up well under multiple washes, and the colors can appear dull due to poor pigment load.
If you’re working on detailed layering or using artist-grade paints, this paper won’t do them justice.
Warping, uneven drying, and paint lifting are common issues with these papers, making it harder to control the final outcome of your work.
Essential Watercolor Brushes

Round Brushes
Round brushes are your go-to for versatility. They’re ideal for both detail and broad strokes, depending on the pressure you apply.
The bristles taper to a fine point, which makes it easy to shift from thin, delicate lines to thicker strokes in a single movement.
A well-made round brush holds a good amount of water, allowing for smooth applications in everything from wash techniques to detailed work with granulating watercolors.
It’s a favorite among artists who like to switch between wet-on-wet technique and wet-on-dry technique seamlessly.
When you’re working with transparent watercolors or experimenting with pigment granulation, round brushes offer the control you need.
Whether you’re using artist-grade paints or student-grade watercolors, this brush will serve you well in almost any scenario.
Flat Brushes
Flat brushes are perfect for broad, sweeping strokes. They’re the tool of choice for large washes, especially when you’re working on cold-pressed paper and need to cover a wide area quickly.
The straight edge also makes them great for creating sharp lines and defined edges. They hold a fair amount of water but distribute it more evenly than round brushes, which makes them ideal for paint lifting and smoother washes.
These brushes work well when you’re using watercolor sets that have a higher pigment load, allowing you to cover large areas without losing vibrancy.
They’re also useful for non-staining colors when you need to rework a section of the painting, as the even distribution of water helps with lifting and blending.
Mop Brushes
For large washes and watercolor gradients, nothing beats a mop brush. These brushes are round, but much thicker and fluffier than traditional round brushes.
They can hold an enormous amount of water, making them perfect for creating soft watercolors or covering the entire surface with a smooth wash in a single motion.
Mop brushes are particularly useful when you’re dealing with vibrant watercolors that need to be laid down quickly and evenly.
But because of their size, they’re not suited for detail work. You won’t use a mop brush for fine lines or intricate shapes—this is strictly for coverage and fluid transitions between colors, like in water-soluble paints when creating expansive sky or ocean scenes.
Detail Brushes
Detail brushes are what you grab when precision is everything. These brushes are typically much smaller, with extremely fine points that are perfect for intricate lines and tiny details.
Whether you’re adding texture to a subject or working with non-staining colors, detail brushes give you full control over every stroke.
They’re essential when you’re working on delicate watercolor techniques like glazing or fine linework.
The small size makes them ideal for adding the last touches to your piece, especially when you need to highlight the finer elements of the painting without disturbing the broader strokes made by larger brushes.
Pitfalls of Using the Wrong Brush
Choosing the wrong brush can make a significant difference in your workflow. A mop brush is not going to give you the control you need for details, just as a flat brush won’t work well for intricate linework.
Lower-quality brushes also tend to fray or lose their point after a few uses, making them difficult to control, especially when working with types of watercolor paints that require precision.
Setting Up Your Watercolor Palette
Choosing the Palette
First, think about the type of watercolor palette you’re using. For me, a basic plastic palette with multiple wells works, but I know others prefer porcelain or enamel for a smoother surface.
Whatever you use, make sure there’s enough space for mixing. Some people love the small watercolor sets with pans; they’re convenient, but the lack of mixing area can be limiting.
Larger palettes give you more flexibility, especially when you’re blending different watercolor pigments. You’ll want to keep room for both individual colors and a space for mixing them together. Too cramped, and it’s hard to maintain clean colors.
Arranging the Colors
When setting up, arrange your watercolor tubes or watercolor pans logically. I tend to organize by the color wheel—warmer tones like yellows, oranges, and reds on one side, cooler tones like blues and greens on the other.
Having your colors arranged like this helps avoid wasting time searching when you’re in the middle of painting, especially if you’re layering transparent watercolors or working with staining colors.
For granulating pigments, I keep them in their own section. Granulating watercolors behave differently, and when mixed with other paints, they add texture and depth that might not work for every situation. Grouping them together keeps things straightforward.
Mixing Areas
The best palettes have multiple wells for paint dilution. You need enough space to experiment with different water-to-paint ratios without muddying the other colors.
Non-staining colors tend to lift easier, so having a separate area for them can make a huge difference if you want to lift paint later or adjust a wash.
You don’t want to be halfway through a wet-on-wet technique and realize you’ve overmixed in the wrong spot.
A separate mixing area also helps with managing lightfast watercolors. Colors that fade over time can be less predictable in mixes. Keeping their mixes in a designated spot helps you monitor how they dry and behave.
Pitfalls of Poor Setup
Without a well-organized palette, you risk muddy colors and chaotic mixing. The biggest problem I’ve run into is overloading my mixing wells. Not enough space to properly mix your paints can turn vibrant watercolors into dull, lifeless washes.
Fundamental Watercolor Techniques

Wet-on-Wet Technique
The wet-on-wet technique is one of the first things you try with watercolor. You’re
basically applying wet paint onto a wet surface, which results in soft, unpredictable blends. This technique is perfect when you’re working with transparent watercolors because it allows for subtle transitions between colors.
One of the best uses of this is when you’re creating skies, water, or anything that requires a watercolor gradient.
The paint spreads on its own, almost like it’s doing the work for you, but you still need to keep an eye on it—too much water, and you’ll lose control completely. I tend to use this technique with non-staining colors because I know I can lift or adjust them later if needed.
Wet-on-Dry Technique
For more precision, the wet-on-dry technique is what you want. You’re applying wet paint onto dry paper, which gives you more defined edges.
This technique is great for adding details after laying down your initial wash. The colors stay more vibrant and concentrated compared to wet-on-wet.
I usually use this for subjects that need clear shapes, like leaves or architectural elements. You can control the pigment granulation better here, especially if you’re using granulating paints and want to highlight the texture.
Plus, if you’re working on cold-pressed paper, this technique helps you utilize the paper’s slight texture without losing control of the paint.
Dry Brush Technique
The dry brush technique is less common but incredibly effective for texture. You use a barely wet brush with minimal paint, dragging it across the paper’s surface.
It creates a broken, rough effect, which is excellent for creating textured details like grass, wood, or fabric.
On rough paper, the effect becomes even more pronounced because the texture of the paper works with the dry brush strokes.
I find this technique works best with opaque watercolors like gouache, where you want a more solid, less fluid application.
Lifting Paint
Lifting is all about removing paint from the paper, either to lighten areas or to create highlights.
This works best with non-staining colors since they don’t sink as deeply into the paper. You can lift paint while it’s still wet or even after it’s dry, depending on the effect you want.
Using a flat brush is ideal for lifting broader areas, but for small highlights, a tissue or detail brush works well.
This technique is useful for creating highlights in water, reflections, or even adjusting mistakes without having to start over.
Glazing
Glazing is layering a transparent wash of color over a dry, previously painted area. The key is using transparent watercolors because they allow the underlying colors to show through.
This technique adds depth and richness to your work, and it’s especially effective when building up shadows or adding subtle color shifts.
When working with artist-grade paints, glazing can help you get that luminous quality by building up layers without muddying the colors.
You just have to make sure each layer is fully dry before adding the next, or you risk lifting the underlying paint and ruining the effect.
Pitfalls of Overworking the Paint
One common mistake is overworking your washes. The more you go back and try to adjust, the muddier the colors get.
Vibrant watercolors can quickly turn dull if you keep reworking them, especially if you don’t allow enough drying time between layers. If you’re constantly lifting and reapplying, your paper can also start to break down, especially if it’s not high-quality archival-quality paper.
Caring for Your Watercolor Supplies

Cleaning Brushes
Take care of your brushes, and they’ll take care of you. After each session, rinse them thoroughly in clean water, especially if you’ve been using granulating watercolors or any paints with heavy pigment load.
Pigments can get trapped in the bristles if left too long, affecting your future work. Use lukewarm water—not hot—since heat can damage the bristles, especially on natural watercolor brushes.
If you’ve used staining colors, get them out of the brush as quickly as possible. Stains left in a brush will eventually start contaminating your other colors.
A gentle soap made for artist brushes can be helpful here, but never scrub harshly. Reshape the brush tips with your fingers while they’re still wet, so they dry in the right shape, maintaining their fine point or flat edge.
Storing Brushes
Brushes should dry bristle side up. Lay them flat on a towel first, so the water doesn’t seep into the handle, which can weaken the glue holding the bristles.
Never store them bristle down in a jar—over time, it will bend the bristles and ruin their shape. If you have round brushes or flat brushes, get a brush holder that suspends them, especially if they’re the expensive artist-grade brushes.
Keeping Paint Fresh
If you’re working with watercolor tubes, squeeze out only what you need. Once dried on the palette, the paint can be reactivated with water, but it won’t have the same vibrancy or smoothness as when it’s fresh.
Keeping your palette sealed helps a bit, but air is inevitable. For watercolor pans, make sure to let them dry out completely before closing the lid. This prevents mold, especially in humid environments.
Maintaining Watercolor Paper
Even the best archival-quality paper can suffer if stored improperly. Keep it flat in a dry place. Any exposure to moisture will warp the sheets, and trust me, painting on warped paper is frustrating.
If you’ve got a lot of paper stock, place heavier books or objects on top of the pile to prevent buckling over time.
Paper edges can get worn out if handled too much, so store them in a portfolio or wrap them in acid-free tissue paper if they’re not in use. For large sheets, hanging them on a clip or storing them upright in a large flat file works well to prevent creases.
Pitfalls of Neglecting Your Supplies
Neglecting your tools means poorer results, plain and simple. Brushes that aren’t cleaned or stored properly lose their ability to hold water and paint evenly, which ruins blending watercolors or precise line work.
Your colors get muddy faster, your textures become unpredictable, and your results are inconsistent, no matter which types of watercolor paints you’re using.
FAQ on Types Of Watercolor Paints
What’s the difference between artist-grade and student-grade watercolor paints?
Artist-grade paints have a higher concentration of pigment load, making the colors more vibrant and longer-lasting.
Student-grade watercolors use more fillers and less pigment, leading to weaker colors. If you’re serious about color intensity and longevity, artist-grade is the way to go.
How do I know if a watercolor is lightfast?
Look for the lightfastness rating on the packaging. High-quality brands like Winsor & Newton and Daniel Smith will indicate how resistant the colors are to fading over time.
The more lightfast the paint, the better it will hold up to light exposure without losing vibrancy.
What are transparent watercolors?
Transparent watercolors allow light to pass through the layers, creating a luminous effect. These paints are perfect for layering watercolors and creating soft gradients.
They’re often used in techniques like glazing, where multiple layers build depth without obscuring the underlying colors.
Can I mix different types of watercolor paints?
Yes, you can mix various types of watercolor paints, but be mindful of their properties.
Gouache, for instance, is opaque and might not blend as smoothly with transparent pigments. Keep a test palette handy when mixing, especially with granulating paints, to see how they interact.
What is granulating watercolor paint?
Granulating watercolors have pigments that separate and settle into the texture of the paper, creating a grainy effect.
This texture can add depth and character to your paintings, especially on cold-pressed paper. They’re great for landscapes or subjects where texture adds to the overall feel.
What are staining colors in watercolor?
Staining colors penetrate the paper fibers deeply, making them difficult to lift once dry.
These paints are ideal for bold, permanent washes but less forgiving if you need to make corrections. You’ll want to handle them carefully, especially when using the wet-on-wet technique.
Are watercolors permanent?
Watercolors can be permanent, but this depends on their lightfastness and the surface they’re applied to.
Non-staining pigments are easier to lift and manipulate, while staining colors tend to be more permanent. Proper care of the finished piece—like framing under glass—helps preserve it long-term.
How do I prevent watercolor paper from warping?
Use heavier watercolor paper, like 300 gsm or above, to prevent warping. For thinner paper, stretch it by wetting and taping it to a board before painting.
Properly preparing your surface ensures that the watercolor pigments dry evenly without unwanted buckling or texture changes.
What are the best brushes for watercolor?
Round brushes offer versatility for both detail and broad strokes. Flat brushes are great for large washes, and mop brushes hold a lot of water for smooth gradients.
Choose brushes made with natural bristles for better water retention or synthetic ones for budget-friendly options.
Can I use watercolor on surfaces other than paper?
Yes, but paper is ideal. Watercolor pigments work best on absorbent surfaces like cold-pressed paper or hot-pressed paper.
Some artists experiment with wood, canvas, or even fabric, but these surfaces may require priming or special treatment to hold the paint properly.
Conclusion
Understanding the different types of watercolor paints is crucial for achieving the results you want in your artwork.
Whether you’re working with transparent watercolors for delicate layering or exploring the textured possibilities of granulating paints, each type has its strengths.
Staining colors offer bold permanence, while non-staining colors give you the flexibility to make adjustments as needed.
Choosing the right materials, from artist-grade paints to the proper watercolor paper, impacts how well your techniques perform, whether you’re using the wet-on-wet technique or lifting paint to create highlights.
By knowing how these various elements interact, you can better control the outcomes of your work and experiment with new approaches.
The key is selecting paints that match your goals, whether it’s bold washes or fine, controlled details.
Ultimately, it’s about understanding your tools to unlock their full potential in every painting.