Why are watercolours considered a difficult medium?

Watercolour painting is widely regarded as one of the most challenging art mediums to master, primarily because it is inherently unpredictable and unforgiving. Unlike oil or acrylic paints, which are opaque and allow for correction by painting over mistakes, watercolours are transparent, meaning errors often show through subsequent layers. This transparency creates a high-stakes environment where, once the white of the paper is covered or a mistake is made, it is often impossible to reverse the process fully, requiring artists to work from light to dark and plan their composition in reverse.

Another major difficulty is the fluid, active nature of the medium. The paint is only truly manageable while wet, requiring a constant, high-speed battle against drying times. As pigment flows with water across the paper, controlling its final position is difficult, leading to accidental blooms or "cauliflowers". Furthermore, watercolour paints dry lighter than they appear when wet, making it tricky to gauge the final value and tone of the painting until it is too late to change.

The technical proficiency required to manage water-to-pigment ratios also demands significant practice and patience. Beginners often struggle with the "wet-on-wet" technique, where paint spreads uncontrollably, or "wet-on-dry," which can look patchy if not executed correctly. To add to these challenges, the quality of supplies - specifically 100% cotton paper and specialized brushes - is critical, as lower-quality materials often buckle or produce muddy, unsatisfactory results. For years, I’ve been using the best materials, i.e., 100% cotton paper, fine quality brushes, and professional artists’ watercolour paints.

Ultimately, watercolour requires a delicate balance of careful planning and spontaneous, loose brushwork. It demands the artist relinquish complete control, collaborating with the water rather than forcing it, which makes the learning curve intimidating yet rewarding.

I’ve been painting in watercolours for over 40 years and still face challenges. I produce paintings that I never show online or in exhibitions because I’m not happy with them.  I’ve taken on commissions and had to start again because of a mistake that can’t be corrected. That’s the bit you don’t see!