Due to this it can be mixed with a large amount of water, without losing the adherence on the paper support.
The main quality of this technique is the transparency of colors, and its greatest difficulty lies in the fact that it is very difficult to correct a fault. His technique is fast, spontaneous and requires great skill and ease. To work the watercolor in an opaque way, it is a better option to work with gouache.
The most usual way to work with watercolor is to respect the white of the paper (by subtraction), where we want that color, and let us paint from lighter to darker, applying transparent glazes.
However, it is a very flexible medium, and, as you can see, works by great artists, the results obtained with watercolor can vary enormously.
The natural support of watercolor is paper.
The papers are manufactured in different thicknesses or “weights”. The larger the size of the work we intend to paint, the greater the thickness of the paper must be.
The color and textures also vary. For watercolor the ideal is a white or slightly tinted background, since the lights in our work will be areas without paint, where the white background can be seen.
As for the texture, there are three:
Hot pressing: smooth surface, ideal for detailed drawings (it is above, in the photo on the right)
Cold pressed. Its texture is semi-rough. It is the most adaptable, it admits delicate brushstrokes, but also large and smooth washings.
Finally, rough or rough paper, with a rougher texture. It is the coarsest, and is not suitable for small details. The painting is fragmented in its surface full of nooks and crannies, so the final effect is that of a slightly “mottled” painting.