Soft and dreamy, watercolor paintings have an ethereal quality to them. If creating a watercolor masterpiece seems like an impossible task, don't fret: it may be easier than you imagine. Admittedly, the sheer number of watercolor tools—paints, markers, pencils, and more—can be intimidating for a beginner. To help narrow down the choices, we're introducing some of our favorite watercolor supplies and throwing in some tips and tricks too.

These paints have a lot of similarities to watercolors, but they aren't exactly the same. We recommend two types of water-soluble paints below. For an in-depth look at the different water-soluble paints we offer, check out our guide on The Difference Between Watercolor, Gouache, and Poster Color Paints.

Gouache: M. Graham Artists' Gouache Tubes

M. Graham Artists' Gouache Tubes offer opaque coverage.

Gouache is very similar to watercolor paint but is designed to be opaque. Because of this, gouache is often referred to as opaque watercolor. It handles very similarly, especially when diluted, though not without subtle differences; for example, watercolor looks the same wet and dry, while gouache darkens slightly as it dries. White gouache also doesn't have the dreamy luminosity of paper showing through watercolor. However, opaque gouache is far more forgiving of mistakes and changed plans than any transparent paint could be.

These M. Graham Artists' Gouache Tubes contain vivid paints that use honey as the main binder for pigment.

The honey helps keep the paints soft so they resist hardening. They're easily diluted even after months of disuse, though if you let them dry out, it will be harder to pick up pigment from the dry paint and they'll lose some opacity. Because this high-quality gouache is free of chalk and other whiteners, you can mix and create colors as soft or vivid as you want.

Poster Color Paint: Nicker Poster Colours

Nicker Poster Colours are used for background paintings by some Japanese animation studios.

"Poster color" does not refer to a specific kind of paint: it is a general term for opaque water-soluble paints meant for scanning and reproduction rather than display. Nicker Poster Colours are known for their use by Studio Ghibli and other Japanese animation studios, which use them to paint backgrounds. They’re different from typical poster colors in that they are made with gum arabic, like most gouache and watercolor. As a helpful resource, Nicker also lists the paints’ lightfastness, opacity, pigment codes, and tendency to bleed into colors layered over them. This chart is available on the product pages. To learn more about these paints, watch our Nicker Poster Colour video.

As we mentioned in the Considerations section, a heavyweight paper is the best choice for pairing with watercolors. Textured papers are good for beginners to start with as they allow for both fine detail work and even color blends, but we also have a smooth paper recommendation below.

Light Choice: Maruman New Soho Series Sketchbook

The Maruman New Soho Series Sketchbook is filled with lightweight paper.

A light wash of paint shows the New Soho page texture.

This 126.5 gsm sketchbook is great for the casual watercolor hobbyist who mostly uses markers or brush pens. The paper has a beautiful semi-rough texture that is perfect for light washes as it holds water reasonably well. Heavier washes will likely warp the pages.

Heavy Choice: Stillman & Birn Premium Sketchbook - Zeta

The sturdy Stillman & Birn Zeta Premium Sketchbook can handle wet washes.

Smooth Zeta paper easily takes an even wash of paint.

For a smooth, weighty paper, this Stillman & Birn Premium Sketchbook fits the bill. The Zeta series features a silky white paper that is perfect for watercolors and mixing media. If you prefer a textured paper, we recommend the Beta series.

Brushes come in a variety of shapes and sizes, each with their own function and specialty. We dive deep into the differences in our guide to watercolor brushes. The scale one likes to work at will inform the best brush, but generally speaking, small round brushes are good for details, while large flat brushes are useful for full color washes. Many artists prefer natural hair brushes for their elasticity and ability to hold water, but synthetic brushes have come a long way and are a fraction of the price.

A synthetic brush that was made specifically for watercolor use is the water brush. This revolutionary tool has a reservoir of water in its hollow handle, eliminating the need for a separate water container. It's convenient, easy to clean, and possibly our favorite watercolor tool.

Natural Bristle Brush: Winsor & Newton Series 7 Kolinsky Brushes

The Winsor & Newton Kolinsky Watercolor Brush - Series 7 - Round 2 is a great size for most applications.

While it's useful to have a range of brushes, if we had to pick one, it would be this Winsor & Newton Kolinsky Brush. This natural hair brush is springy, maintains a nice point, and holds a surprising amount of water for its small size. With proper care and maintenance, this brush will last for years.

Pocket Brush: Escoda Reserva Travel Brushes - Series 1214

The handsome Escoda Reserva Kolinsky-Tajmyr Travel Brush - Series 1214 - Round 4 blends portability with springy natural bristles.

If you want a natural hair brush in a convenient format for on-the-go painting, this sleek travel brush is the perfect choice. To use it, simply take the cap off and post it on the end of the brush to transform it into a full-sized tool. It performs just as well as its full-sized counterparts—the luxurious Kolinsky hair holds plenty of water and keeps its shape admirably.

Synthetic Bristle Brush: Royal & Langnickel Zen Watercolor Brushes

The Royal & Langnickel Zen Watercolor Brush - Series 83 - Round 6 is great for painters on a budget.

This synthetic brush looks and behaves like a high-end brush without the high-end price tag. The synthetic bristles are soft and absorbent, well-suited to beginner and experienced watercolorists alike. Round 6 is a great size for general painting, but there are many other sizes available for various uses.

Water Brush: Kuretake Water Brush - Medium

The medium Kuretake Water Brush offers ultraportability.

Kuretake offers many sizes and shapes of these convenient brushes, but if you can only choose one, we recommend this medium brush. It is able to draw details as well as color large areas. This is another great choice for travel and plein air painting as you don’t need an extra water cup. For more on water brushes, see our guide to the Best Water Brushes.

If you take proper care of your brushes, they can keep their shape and functionality for a long time. Here are some accessories we recommend using with watercolor brushes.

Empty Palette: Yasutomo Porcelain Palettes & Dishes

The charming 7 Wells Yasutomo Porcelain Palette helps keep colors separate until you mix them.

Empty palettes are useful for holding paints from tubes, blending colors together, or diluting paints with water. Yasutomo Porcelain Palettes & Dishes feature wells for easy mixing. The smooth porcelain material and rounded edges of the pans are easy on delicate brush hairs. It comes in single dish, 7-well, and 9-well versions.

Brush Soap: Escoda Artist Brush and Hand Soap

Escoda Brush Soap will help you give your brushes a soothing bath.

Escoda is a premier maker of brushes and they know a thing or two about keeping brushes in tip top condition. Brushes should be cleaned regularly (ideally after each use) to prevent them from losing their shape. Escoda uses 100% natural extra virgin olive oil in their soap to give brushes a deep clean but still be gentle on the hairs and your hands.

Here are some basic watercolor techniques to follow if you're just starting out. For more advanced techniques, check out our Introduction to Watercolor Techniques Guide, or see all of our Watercolor Beginners' Guides here.

Paper Prep

Preparing your paper helps with painless painting.

Even the heaviest paper will inevitably warp if it touches too much water. To keep art pieces nice and flat, be sure to prep the paper before painting. Taking a large brush, lightly wash over the whole paper (front and back) with water. Dab it lightly with a paper towel to take off the excess water, then lay out to dry. To prevent the paper from shrinking, tape the edges down while it dries. Once it's completely dry, you can start painting!

If your piece somehow curls or warps despite these preparations, you can smooth out watercolor paper by lightly dampening the back and ironing with an iron set to medium low. Be sure to iron your piece face-down, and always test on scraps first.

Mixing Colors

Primary colors with different undertones can create a wide range of muted or vivid secondary colors.

Mixing colors can get trickier than it seems at first glance. Paints often have undertones or different color temperatures that affect how they mix. If you want to create the searing green of an unfurling spring leaf, you’ll need a cool-toned yellow and blue; a warm orangish yellow or purplish blue would create a quite different, less vibrant green.

Some strategies to get around this include picking a warm and cool pair to have on hand for each primary, selecting primaries based on the CMYK colors used in printers, or just buying all the individual colors that are time-consuming to mix. Some artists call the latter type “convenience colors.” Making a chart of all your paint's potential combinations is a good way to get a feel for all your possible color schemes, and it's fun, too.

Light to Dark

Start with light (left) then add dark (right).

As a general rule, work in layers from light to dark. A light wash of a color helps to tone a drawing, providing the overall look and feeling to a piece—though be aware that unlike more opaque paints, watercolor can only go darker, not lighter, and use care or masking fluid to preserve your highlights. Build up the color gradually for a seamless blend, and use a clean wet brush to blend unwanted hard edges.

Large to Small

Paint large areas first (left) then details (right).

It's best to start with large areas of color washes before moving on to small precise details. That way, lines and details are crisp and don't get washed away when you're coloring. Allowing each layer to dry slightly will also help keep details clear.

Overworking

Pilling on overworked paper is a sign to step away.

If the paper begins to pill (when its surface tears up and small clumps begin to form on the paper) or feather excessively, you've overworked the paper and need to stop painting. This happens when the paper has been oversaturated with water and the bonds between the fibers begins to break down. Unfortunately, there’s no fix for pilling, so stay alert and don’t be overenthusiastic with your water.

• Introduction to Watercolor Techniques
• The Difference Between Watercolor, Gouache, and Poster Color Paints
• How to Choose and Care for Watercolor Brushes
• How to Use Watercolor Pencils
• How to Use Masking Fluid
• The Best Watercolor Brush Pens
• The Best Waterproof Pens and Inks for Watercolors
• The Best Fountain Pens for Drawing
• The Best Sketchbooks For Every Medium