How do you bring a delicate, transparent butterfly to life with watercolor? Olga Koelsch loves sharing simple steps that help capture that soft, glowing effect.
In this guide, Olga Koelsch walks you through each stage—from sketching the wings to adding the tiny details that make the painting shine.
Whether you’re a beginner or just want to try a fresh, relaxing approach, this process feels easy, fun, and beautifully rewarding.
Let’s dive in and create something beautiful together!
Contents
- 1 Step 1: Prepare the Drawing and Painting Surface
- 2 Step 2: Apply the First Glazing Layer
- 3 Step 3: Add Soft Shadows and Color Accents
- 4 Step 4: Create Soft Wing Textures
- 5 Step 5: Paint the Lower Front Wing
- 6 Step 6: Define Shapes and Add Edges
- 7 Step 7: Paint Veins with Pulled Color
- 8 Step 8: Paint the Upper Front Wing
- 9 Step 9: Add More Wing Details
- 10 Step 10: Refine Wing Shape and Balance
- 11 Step 11: Final Adjustments and Body Painting
- 12 Step 12: Add Optional Elements
- 13 Final Thoughts
Step 1: Prepare the Drawing and Painting Surface
Before painting begins, the artist plans how the butterfly will look. Since the goal is a transparent watercolor effect, the butterfly is drawn with closed or half-closed wings. This shape enhances the feeling of translucency.
Only half of the butterfly is sketched for the front wings. Then, a second pair of wings is added behind, slightly tilted.
The sketch is transferred onto hot-press watercolor paper—300 gsm—which is ideal for this technique.
For colors, the artist selects shades of blue and prepares watery mixes of cerulean blue and ultramarine blue.
Step 2: Apply the First Glazing Layer
Now the butterfly begins to take form with the first glaze. Even if the drawing looks detailed, this step simplifies the painting process.
A very diluted mix of cerulean blue is applied over the entire butterfly shape—covering both the front wings and the slightly hidden back wings. The full area is coated evenly.
Key focuses during this step:
- Distribute the water evenly
- Avoid puddles
- Dab puddles gently with a paper towel
- Move the brush along the direction of the wing shapes—follow those long lines
Step 3: Add Soft Shadows and Color Accents
With the first glazing dry enough, soft shadows and color hints are added to create depth and interest.
Add Ultramarine Blue Around the Body
As the paper absorbs moisture, a small amount of ultramarine blue is dropped around the body and near some wing tips. These are shadow areas, so no intense details are needed.
The brush is dried regularly on a paper towel to stay in control, and extra water is lifted with the brush like a sponge.
Outline with Bold Cerulean Blue
Switching to a smaller brush, a bolder cerulean mix (straight from the tube) is used to outline the wings while the surface is still damp.
Blooms may appear, but they will be softened shortly.
Soften the Edges and Add Wing Shapes
After finishing the outline, the artist cleans and dries the brush. Then, the edges are gently softened using only the brush tip. If any blooms remain, they are blended out.
Sometimes, the artist allows the watercolor textures to show naturally, letting the flow create its own beauty. But in this piece, a bit more detail is added. While the paper is still wet, soft shadows are dropped in.
These subtle shadows suggest delicate wing folds—light, airy, and understated.
Step 4: Create Soft Wing Textures
At this stage, the artist wants to suggest wing shapes without making them too bold. While the paper is still wet, the brush tip is used to paint the visible wing parts.
Because the surface remains damp, the pigment spreads softly, creating a dreamy, delicate texture.
Only a gentle hint of the two wings is added—avoiding excess detail to keep the painting clean, light, and uncluttered. Once this step is finished, the first layer is left to dry completely.
Step 5: Paint the Lower Front Wing
Next, the front wings are painted, beginning with the lower one. This lower wing sits beneath the upper wing, so it requires a bit more working time.
The entire petal area is glazed with clean water, covering both visible and partially hidden sections. The water is kept even, avoiding puddles.
Paint the lower front wing
After waiting about 30–60 seconds for the water to settle into the paper fibers, a very diluted cerulean blue wash is applied.
Hot-press paper can be challenging, so working slowly and allowing proper absorption helps maintain smoothness and control.
Step 6: Define Shapes and Add Edges
With the base layer dry, the artist begins defining shapes and building soft, beautiful transitions.
Add a Bold Mix Around the Body
A stronger mix of cerulean and ultramarine is added around the butterfly’s body. Using the brush tip, the darker mix is gently guided outward into the wing area.
This strengthens the center without blending all four wings together.
To avoid muddying the painting, the wings are not overmixed. With only four wings, controlling the transitions is manageable.
Blend and Soften With a Graded Wash
A touch of ultramarine blue is added to the wing tips. This color is blended into the cerulean to form a smooth graded wash, with the blending happening directly on the paper.
If a puddle forms, the brush is dried on a paper towel, then used to lift excess moisture—just like a sponge.
Outline and Adjust Wing Edges
The artist grabs a bolder, drier mix and begins outlining with cerulean close to the body, then switches to ultramarine at the tips. Dots and drops are left where the future wing sections will appear.
If mixing colors feels overwhelming for beginners, choosing just one color—such as pink or violet—can also create a beautiful butterfly.
To finish this stage, the artist dries the brush, runs it gently along the edges, softens the lines, and corrects any shape irregularities. This moment allows the butterfly to be refined and prepared for the next step.
Step 7: Paint Veins with Pulled Color
With softened edges and clear wing forms, the artist begins working on the delicate veins.
Using a clean brush, the tip is used to pull out a bit of blue from the stronger painted areas. No new pigment is added here—the artist simply borrows color already on the paper.
This technique creates soft transitions that hint at the underlying wing structure.
If the pigment feels insufficient, a small amount of the dry mix can be picked up from the palette. Because the paper is still damp, everything settles smoothly and softly.
The goal is gentle gradients and subtle lines.
The brush tip is also used to soften or correct any areas as needed. Additional shading is added to the wing tips to build contrast.
Once the details look balanced, the entire layer is left to dry completely.
Step 8: Paint the Upper Front Wing
With the lower wing taking shape, attention shifts to the upper front wing—an important step for creating depth and elegance.
Prepare the Paper and Base Glaze
As before, the artist begins by glazing the upper front wing with clean water. This prepares the surface and ensures smooth pigment flow.
A very diluted cerulean blue wash is then applied and gently spread with the brush tip. Light pressure is used to keep the surface even, especially over areas already painted.
Add Color and Shape
A soft touch of ultramarine blue is added to the wing tips, and the edges are softened with the brush tip to create smooth, seamless transitions.
It’s easier to build up color later than to lighten an area once it becomes too dark.
More color is added near the body—this area tends to appear thicker and heavier, similar to the base of a flower petal. A slightly drier ultramarine mix adds extra weight and texture.
Outline and Blend Colors
Cerulean is used to outline about one-third of the wing closest to the body. The artist avoids abrupt stops to keep the painting fluid and natural.
where veins will be added later.
Since the paper remains damp, this is the perfect moment to explore textures and enhance depth.
Step 9: Add More Wing Details
The artist connects the painted areas and cleans the brush. After drying it on a paper towel, only a third of the brush tip is used to soften edges where needed.
A hint of blue is dragged into the veins in the opposite direction. If the paper has already begun to dry, the artist still adds veins or placeholders—they will be refined later.
When lines appear too sharp, they are softened by washing and drying the brush, then gliding it gently over the edges.
A fine synthetic brush is used to paint thin lines with precision. Slightly more pressure is applied near the body, where the wing structure thickens.
Missing small details is not a problem—additional refinements will be added after the layer dries.
Step 10: Refine Wing Shape and Balance
The artist continues refining wing shapes using both cerulean and ultramarine—cerulean near the body and ultramarine at the tips. Painting in smaller sections provides better control.
Working in large areas at once increases the chance of errors caused by unintended hand movements.
The artist ensures a comfortable hand position, sometimes rotating the paper for a better viewing angle. Reference images guide the form, but correctness is less important than capturing the feeling and flow of the wings.
The goal is to suggest the wing structure, keeping it graceful, harmonious, and true to the butterfly’s character.
Step 11: Final Adjustments and Body Painting
Now, the artist adds a bit more thickness next to the body to give the wings a heavier feel and to separate the wing borders from the veins.
Attention is placed on the top wing—this small refinement helps the wing stand out more clearly.
Add more thickness next to the body
Additional ornaments could be added at this stage, but the artist is satisfied with the simplicity and balance. It is now time to paint the body.
Burnt sienna from the palette is mixed with a touch of Berlin green to create the body tone. The body remains simple, with just a few fine lines to suggest antennas.
The intention is to convey the feeling of a unique, transparent butterfly illuminated by bright sunlight—delicate, intricate, and quietly beautiful.
Step 12: Add Optional Elements
The artist often enjoys enhancing the scene with soft touches of grass around the butterfly. Since the palette is rarely washed clean, leftover colors are conveniently available, keeping the workflow smooth.
Using the tip of the brush, soft washes of varied hues are painted to resemble light, airy grass. A warm tone is introduced for contrast, balancing the cool blues of the butterfly.
Finally, tiny details are added to refine the butterfly—just a few subtle lines. A flower could be painted beneath it, or the butterfly can remain suspended in open space.
And with that, the butterfly is complete.
Final Thoughts
Painting a transparent butterfly in watercolor relies on patience and gentle layering. Soft shapes, subtle shadows, and restrained details create a glowing, delicate effect that feels alive on the page.
The goal is not perfection but expressing the essence and quiet beauty of the subject. With steady practice and mindful brushstrokes, each butterfly becomes a small moment of watercolor magic.