Watercolor is unique because you work from light to dark, building values through transparent layers. Planning your values before you start is essential.
The white of the paper is your lightest light. Once you paint over an area, you can't get back to pure white. Plan where your lights will be before you start.
Why Watercolor is Different
- You can't add white: The paper is your lightest value
- Light over dark doesn't work: You must build from pale washes to deep shadows
- Each layer shows through: Previous layers affect the final value
- Planning is crucial: You must know where lights go before painting
How Layers Build Value
Each transparent wash adds value. Most watercolors use 3-4 layers:
First Wash
Very pale and watery. Establishes lightest mid-tones. Your first wash should look almost too light.
Second Wash
Once dry, add a second layer over areas that need to be darker. Layers combine optically.
Third Wash
Add to darkest areas—deep shadows, dark objects. Three layers create rich darks while staying luminous.
Final Darks
For deepest darks, you might need four or more layers. Use less water and more pigment.
Planning with the App
- Analyze your reference: Load it into Value Study and simplify to 3-4 values.
- Map your layers: White areas stay unpainted. Light areas get 1 wash. Mid-tones get 2 washes. Darks get 3+ washes.
- Paint light to dark: Work in stages across the entire painting. Let each layer dry completely.
Keep a simplified value study next to your workspace. Refer to it constantly to avoid going too dark too soon.
Two Main Techniques
Glazing
Apply a wash, let it dry completely, then add another. Maximum control over values with crisp edges.
Best for: Controlled studies, architectural subjects, detailed work
Wet-in-Wet
Apply wet paint onto wet paper. Colors blend and values merge softly with organic transitions.
Best for: Skies, soft backgrounds, atmospheric effects, loose styles
Most paintings use both techniques combined.
Common Mistakes
- Going too dark too soon: First washes should look almost too pale. You can always add more layers.
- Not preserving whites: Mark your whites with pencil or masking fluid before starting.
- Muddy mid-tones: Let each layer dry completely. Use clean water and brushes. Limit to 3-4 layers in most areas.
- Harsh value jumps: Build gradually. Create transition zones with medium values.
Take a photo of your painting and load it into Value Study. Use the eyedropper to see if your values match your plan. If an area is too light, add another layer.
Last updated: