How Do You Paint White in Watercolor?

(Hint: It's Probably Not What You Think!)

If you've ever started painting with watercolors, you've probably asked yourself this question:

"How do I paint white?"

The answer surprises almost every beginner...

Most of the time, we don't paint white at all.

Instead of reaching for a tube of white watercolor, we preserve the white of the paper and let it become part of the painting. Then, we paint the shadows around it to create the illusion of form, light, and volume.

Learning this was one of the biggest turning points in my watercolor journey.

It completely changed the way I look at the world. Instead of simply seeing "a white shirt" or "a white dog," I started noticing the subtle blue, violet, and gray shadows that give those objects their shape. Suddenly, I was paying attention to the direction of the light, the tiny shadows under leaves, the folds of fabric, and the reflections on animals' fur.

Watercolor taught me to observe before I paint.

White Isn't Really White

Take a look around you.

Clouds aren't completely white.

Snow isn't completely white.

Even a white flower is filled with tiny shadows and reflected colors.

Those shadows are what make the white areas feel alive.

Instead of painting them with black, I almost always reach for Payne's Gray. It's one of my favorite colors because it has beautiful bluish undertones that feel much softer and more natural than black. Depending on the subject, I may also mix in soft blues, violets, or neutral grays to create delicate shadows.

These subtle color shifts are what give watercolor its beautiful luminosity.

Dalmatian and Lady in White

Recently, I painted an illustration that relied heavily on preserving the white of the paper: a Dalmatian and a lady wearing a white jacket and shorts.

The interesting part?

I did not use any white paint.

Almost all the "white" you see is actually the watercolor paper itself. I simply painted the shadows underneath the jacket, around the folds, and along the dog's body, allowing the untouched paper to shine through.

That's the secret.

The shadows define the subject—the paper provides the light.

Does the Paper Matter?

Absolutely!

If I know I'm going to paint a subject with lots of bright whites, I often choose a naturally white watercolor paper, such as Legion Stonehenge.

Other papers, like Arches, have a warmer, creamier tone. They're wonderful papers and still produce beautiful results, but the whites won't appear quite as crisp.

That doesn't mean you can't achieve luminous whites on cream-colored paper—you absolutely can! It's simply something I like to consider when planning an illustration where bright white areas play an important role.

What About White Watercolor?

Here's another fun fact...

When you mix white watercolor with another color, it usually creates a pastel version of that color rather than making it "lighter" in the traditional watercolor sense.

White watercolor certainly has its place. I sometimes use white gouache or a white acrylic pen for tiny highlights or finishing details, especially in botanical work or mixed media.

But for traditional watercolor painting, preserving the white of the paper remains one of the medium's most beautiful secrets.

What If You Forget to Leave the White Paper?

Don't worry—it happens to all of us!

One of the most important principles in watercolor is that we generally paint from light to dark, so preserving the white areas takes a little planning.

If you know you'll need small white details, such as flowers, highlights, or reflections, you have two main options:

• Masking fluid: Apply it before painting to protect the white paper, then remove it once everything is completely dry.
• White gouache: Paint the white details at the end of your painting.

Personally, I almost always choose white gouache. While masking fluid can be very useful, I don't enjoy waiting for it to dry, and if it isn't removed carefully, it can sometimes damage or tear the surface of the paper.

For example, in this month's Puffin tutorial, the tiny white flowers were painted with white gouache after I had finished the blue background. It was a simple and effective way to add those final details without worrying about preserving every tiny white shape from the beginning.

Remember, watercolor is all about planning ahead—but it's also about finding the techniques that work best for you.

Practice With This Month's Free Puffin Tutorial

This month's free watercolor project is a charming Puffin, and it's the perfect opportunity to practice painting white.

If you look closely at the puffin's body, you'll notice that the white feathers aren't painted with white paint. Instead, they're created by leaving the paper untouched and adding soft Payne's Gray shadows to define the shape.

Sometimes the best way to learn is simply by painting!

You can download the free Puffin tutorial from this month's newsletter and follow along. I'll also be sharing a full video tutorial on Instagram during July, so don't forget to follow me there if you'd like to paint together.

I'd Love to Hear From You!

Now I'd love to know...

When did you discover that watercolor artists don't usually paint white?

Or, if you're just beginning your watercolor journey...

Was this a surprise to you?

Leave a comment below and tell me! I'd love to hear about your experience, answer your questions, and chat with fellow watercolor lovers. Or upload any watercolor white subject you painted and tell us your experience!