Tools of the trade

Tools of the Trade: My Watercolor Essentials

From choosing color to the tools and surfaces I use, each element is placed and organized with intention. Once everything is ready, I can let go and dive into an expressive painting session. Having the right tools for the job makes all the difference. Here’s a peek into my favorites and why I reach for them every time.

Paper: The Foundation of Every Pour

The right paper makes all the difference. I prefer 100% cotton watercolor paper in cold, soft, or rough press. After testing countless brands, I’ve found that each responds differently to wet techniques like pouring. Hahnemühle’s The Collection series is a wonderful all-around choice, performing beautifully with a wide range of techniques. For soft, ethereal paintings, I use cold or soft press paper. When I want to highlight granulation, I reach for rough press paper.

For quick studies, class demonstrations, or plein air sessions, 140 lb paper is ideal because it dries quickly. For larger, more detailed show pieces, I prefer 300 lb paper, which stays flat and resists warping even under heavy washes.

watercolor paper brands I love painting on

Paper & Support Boards

For quarter sheets or smaller, I tape my paper to a Robax or dry erase board. For larger paintings, I use Otto stretcher boards, wetting the paper first and securing it taut with the wooden stretchers to minimize warping. Stretching watercolor paper is a simple step that makes a big difference—once the paper is wetted, secured, and fully dried, it stays perfectly flat, allowing heavy washes to glide on smoothly without buckling.

Otto stretchers are game changers for larger works

Pigments: Bringing Your Paintings to Life

I use Daniel Smith Watercolors. With over 270 colors in the Daniel Smith range, it is an endless library of pigments to study and explore, I love unlocking combinations that seem to paint themselves.

For watercolor pouring, I reach for staining and smooth mixing colors from the Hansa, Phthalo and Quinacridone families. These smooth-mixing, staining hues stay in place once dry, making them ideal for layered pours. The Hansa, Phthalo, and Quinacridone combinations sing without becoming muddy.

For added texture and movement, I love pairing granulating pigments. Some of my favorite “dynamic duos” are Lunar Earth and Lunar Blue, French Ultramarine and Transparent Red Oxide, Bronzite and Kyanite Genuine, and Enviro-Friendly Brown Iron Oxide with Rose of Ultramarine. These combinations react in pours like performance art—their blends and separations create exciting textures, while the merged neutrals bring a beautiful sense of balance.

my Daniel Smith dot card

Palettes: Organized & Personalized

My palette is a 16-well metal palette by Talens. The large wells are perfect for big brushes and custom mixes. My palette is filled with pre-mixed custom blends that save time and help me paint more efficiently during plein air sessions and demonstrations.

I also use plastic palettes. I love that I can fill some wells while still having room to mix small puddles of color in the empty wells. Curating colors and building palettes is a true passion of mine, and I’ll share more about customized palettes in future posts.

Ramekins

Ramekins, or pour cups, are ideal for mixing and pouring colors. In the studio, I use ceramic ramekins from Sawyer Ceramics, set in Richeson muffin palettes. For classes or plein air sessions I prefer melamine ramekins because they’re unbreakable and travel-ready.

Pipettes: Controlled Chaos

Pipettes are a must-have in my practice. I use them to drop in color, guide pours, or create lively splatters. They give me control, directing the color without restricting its natural movement.

When filled with masking fluid, I often “sketch” tree limbs or delicate floral centers with these plastic pipettes. Splattered, it creates an atmospheric effect, as if pollen or dust is floating in the air.

plastic pipettes

Continuous Spray Bottle: Mist, Flow, Rescue

A continuous spray bottle produces a fine, consistent mist that rewets drying edges, softens transitions, and extends the flow of paint. It also serves as a rescue tool, gently lifting pigment so I can correct and rework areas without disturbing the rest of the painting.

I use two jars of water. One holds clean water for mixing pure pigments, while the other contains dirty water for rinsing brushes, adjusting saturation, or wetting paper so I can clearly see which areas are wet.

Angle: Guiding the Flow

I usually slant my board on risers to give it a gentle angle, letting gravity guide the pigment across the paper. Even the slightest shift in angle can completely change how colors dance and settle.

The risers by Acurit are stackable, while the sweet donut-shaped ones are a custom creation by Crochet Carol.

Masking Fluid & Tape: Preserving Whites

Winsor & Newton Colourless Masking Fluid dries clear, letting the underlying layers peek through. To secure or mask paper, I use Blick Masking Tape—it grips firmly without tearing the watercolor paper.

Brushes: Paint Partners

I prefer synthetic brushes for wet-on-wet techniques because they hold paint without flooding the surface, are made without animal sourcing, and are more affordable than natural hair brushes. For large abstract works, I love Rosemary & Co’s Paul Weaver Freestyle Brush, an extra-large all-in-one brush I sometimes use to complete an entire painting.

a good round and flat is all a painter needs to start watercolors

Mark Making: Establish Rhythm and Movement

My go-to mark-making tools include Kakimori dip pens, Daniel Smith Watercolor Sticks, Derwent Inktense pencils, and Neocolor II sticks. I use them for expressive marks throughout my paintings. I also enjoy incorporating a range of media such as inks, acrylics, gouache, and charcoal to build layered mixed-media artworks.

Lifting: Revealing Light

Lifting is a powerful technique in watercolor. Recently, I discovered the Raphael Textura brushes, which have quickly become my favorite for lifting. Their unique bristle design gives precise control and makes detailed lifting much easier, while also being gentler on the paper than traditional toothbrush scrubbing.

Stencil Lifting: Custom Patterns and Highlights

Stencil lifting is a technique for adding subtle patterns and light effects. I custom design and cut my own stencils, which allows me to create shapes perfectly suited to each painting. By placing a stencil over the painted surface and gently lifting the pigment underneath, I can reveal highlights and shapes that enhance the composition. I can also direct paint and spray over the stencils, using both positive and negative effects to add depth and texture.

custom designed stencils

In Closing

Watercolor is about balancing control and freedom. The tools that support my work, quality cotton paper, carefully chosen brushes, pigments, and masking fluids, all play a role in the process. Masking techniques and stencil lifting help preserve highlights, refine areas, and create subtle patterns. Pipettes and continuous spray bottles provide control while still allowing the paint to move naturally. If any of the supplies mentioned in this post caught your eye, be sure to check out the quick links below.

I’d love to hear about the tools and techniques you use, share your favorites in the comments and let’s keep exploring watercolor together.

Quick Links:

Watercolor Amazon *Affiliate Art Page: https://www.amazon.com/shop/watercolorpour

Rosemary & Co. *Affiliate Link: https://www.rosemaryandco.com?u=BUFFY2024

Use code BUFFY2024 at checkout — thank you for supporting my work!

Buffy Brushes - my curated set -Use code BUFFY2024 at checkout — thank you https://www.rosemaryandco.com/wishlist/index/index/wishlist_id/300870/

Otto Stretcher Boards: https://ottoartproducts.com

Robax Board: https://www.robax.com/palettes.html

*Affiliiate links? I earn a small commission if you make a purchase—at no extra cost to you.