Fix Your Watercolor Fails: What Every Beginner Needs to Know

Watercolor looks so magical. It just needs a few soft brush strokes, and it seems perfect. But when I started, it didn't feel magical at all.

Everything went wrong, and I nearly gave up. What was I doing wrong? If that sounds familiar, you're in the right place.

Let me show you the number one mistake watercolor beginners make and, most importantly, how to fix it.

The #1 Mistake Beginner Watercolor Artists Make

So, what's the biggest mistake? It's this: not understanding that in watercolor, we don't paint with paint—we paint with water. I didn't get that at first, and it almost made me quit.

At first, watercolor looks simple and fun. You buy supplies, dip your brush, and expect things to go smoothly. But then everything falls apart.

The colors don't blend, the paper gets messy, and it feels impossible to control. That's what happened to me, too. I thought watercolors were just paint and paper. 

Here's the truth: Watercolor isn't just painting with paint. It's painting with water.

Once I understood that, everything made sense. Water isn't just part of watercolor—it's the foundation. If the water is off, nothing else works.

It controls how the paint moves, how it blends, and even how it dries. When I focused on managing water, not just paint, my work got better—fast.

Understanding Water Management in Watercolor

To paint well, I needed to think about water in three places. If I got these wrong, the painting went wrong.

Let me break it down:

• Water on the palette
• Water on the paper
• Water on the brush

These three things work together. And they're always changing while I paint. I learned to pay attention to them constantly.

Water on the Palette: Get the Paint Mix Right

Let's begin with the easiest place to manage water—on the palette. This is where I start every time I paint, and it sets the tone for the entire piece.

Use the Right Paint-to-Water Ratio

Before I even touch the paper, I activate my pigments with water. The more water I add, the lighter and more fluid the mix becomes. This part is crucial.

I always think about the tea-to-butter ratio:

• Tea consistency: very watery. This gives me a light color and a smooth, even wash.
• Butter consistency: thick and pasty. It creates a dark color but makes the paint hard to spread.

If my mix is too thick, it won't go on evenly. I may not even be able to cover the whole area. But if it's too watery, the color might be too light. So, I aim for a balance that works with my subject.

Mix Enough Paint Before You Start

Here's a mistake I used to make a lot—I didn't prepare enough paint. That caused two problems:

• I had to stop and mix more in the middle of a wash.
• No matter how hard I tried, I couldn't match the first color exactly.

Even worse, if I added a new mix that was more watery than what was already on the paper, I ended up with blooms or cauliflowers.

That happened because the thinner paint pushed the thicker one out.

If I want that effect, great! But if I don't, it's a problem. That's why I never skimp on my mixes now.

Fixing Blooms with the Same Mix

Sometimes, I still get a bloom. When that happens, I don't panic. Here's what I do:

• I take the same paint mix I used before.
• I gently paint over the bloomed area.
• If the paint is still wet enough, it blends smoothly.

This trick only works while the paint is still wet. So, I do it quickly and carefully.

And if I don't use all the paint on my palette? That's fine. I let it dry and reactivate it later with a bit of water.

Managing water on the palette sounds simple, but it makes a huge difference. I always check my mix before painting, and now my washes are smoother and more even.

Bleeding: How Different Mixes React

Another thing I noticed is how different paint consistencies react when they touch.

Here's what I learned:

• Two thin mixes bleed softly into each other. It's subtle and smooth.

• Two thick mixes barely move. They freeze where I place them.

• One thick mix and one thin mix? That's where the chaos begins. The thinner paint bursts into the thick one. It creates an intense bleed that's hard to control.

So now, I always match the consistency when I want smooth transitions. I only mix different consistencies when I want dramatic effects.

Water on the Brush: Using the Right Brush the Right Way

Now that I've sorted out the water on the palette, the next thing I focus on is the brush. Each brush holds a different amount of water, and that affects how the paint behaves on paper.

Brush Type and Water Control Go Hand in Hand

Different brushes give me different results. That's why I pay close attention to both size and type.

Here's what I use:

• A quill (or mop brush): holds the most water

• A large round brush: also holds a good amount

• A small round brush: more precise and holds less water

• A small flat brush: great for edges and sharp lines
• A small filbert brush: has a rounded tip, somewhere between a round and a flat

I usually stick with round brushes—both big and small—because they're the most versatile for me.

Natural brushes do hold more water than synthetic ones. But honestly, I don't think the difference is big enough to matter.

Especially not when I consider the cost or animal use. I'm happy using synthetic brushes.

Watch the Water Drips

Using too much water is easy to do, but there are simple fixes.

• If I see a drip at the tip of my brush, that's a sign I have too much water. I just blot it quickly before painting.

• I never dunk the full brush into the water. If I do, water drips from the handle and floods the bristles. That messes up the flow. So, I only dip the tip of the brush in water.

Choosing the Right Brush for the Job

Knowing how much water each brush holds helps me plan better.

• For big areas, I always grab my quill. It saves time and holds more paint.
• For small details, I use smaller round brushes. They give me better control.

If I try to cover a large space with a small brush, it just takes forever. That's why matching the brush size to the job is so important.

Water on the Paper: How Much Is Too Much?

The last step I think about is the water on the paper. This one affects how the paint flows. The amount of water you use can make or break your painting.

Start with the Right Paper

Before I wet the paper, I think about what kind of paper I use.

• Cellulose paper tends to create puddles. The water just sits on top.
• Cotton paper absorbs water much better.

But today, I'm not diving into paper types. Let's focus on water control instead.

Too Much Water? Let's See What Happens

Now, I test how paint behaves with different water levels on the paper.

• When I start with very wet paper, like a puddle that drips, I have zero control. The paint just floats and spreads everywhere.

• The second attempt is still too wet. The puddle is smaller, but again, the paint explodes across the page. It's pretty but not useful if I want clean lines.

• I dab my brush before wetting the paper. Now, I can control the paint and the edges more easily.

• I try even less water, and it works well too.

• But when I paint almost dry on dry paper, it doesn't work. The paint doesn't flow because we paint with water, not pigment.

Getting that water level right on the paper makes all the difference.

Avoiding and Fixing Water Control Problems

Controlling the water isn't just about smooth washes when I paint with watercolors. It affects all the other techniques I use, too.

From layering to lifting, water control changes how these techniques work.

Controlled Water Helps With Lifting

Now, let's look at lifting. I give it a try with different water mixes. It's easy to see—I can lift paint from the paper with no trouble when I manage the water well.

But lifting becomes hard if the paint is too thick or too wet. I get muddy areas instead of clean highlights.

Better Control, Better Painting

The more I control the water, the easier everything becomes. It's not just about getting clean edges or smooth washes. It's also about ensuring I can layer without losing transparency and lift paint without problems.

When I get the water right, everything flows better—literally and artistically.

Practice: The Best Way to Learn Water Control

No trick beats practice. If you want to master water control in watercolor, the best thing to do is pick up your brush and start experimenting. That's exactly how I keep improving, too.

Simple Exercises That Really Help

I start small. I draw basic shapes and fill them in with paint. I also make color charts and swatches. Even something as simple as a swatch teaches me a lot.

• It helps me control water.
• I learn to create flat washes.
• I practice smooth value scales.

When I paint full-color ranges in my swatches, it gives me a feel for how much water and pigment I need at different stages.

Fixing Water Problems While Practicing

Let's be real—mistakes happen. But practice is also the best time to learn how to fix them. I promised to show you how, so here we go:

• First, I blot my brush before adding paint to the paper. I usually hold a paper towel or cloth while I paint and blot. No worries if I blot too much—I just reload the brush with water and pigment.

• If I have already made a puddle, I lift the extra water. But I don't use a paper towel directly—it can leave patterns. I use a dry brush instead. Sometimes, I dab the full brush, sometimes just the tip, depending on how much water I need to remove.

What If There's Still Too Much Water?

This happens to me often, especially when I use my quill brush. The first time it touches the paper, it floods the area. But I don't panic. I spread the paint and water across the surface.

If the quill is still too wet, I switch to another brush and continue until I even things out and remove all puddles.

Final Thoughts

Water is the real star in watercolor. Everything changed once I learned to manage it on the palette, paper, and brush. Mistakes still happen—but now I know what causes them. And more importantly, I know how to fix them.

What's the biggest struggle you've had with watercolor? Share your story—I'd love to hear it!