Artist insights, creative techniques, suggested art supplies, and guided exercises for August 2026
by Elizabeth Ragona, with art by Susan Ripp. © 2026 Alabama Art Supply.

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Watercolor rewards attention—not control.

Unlike heavier media, watercolor records every decision: how wet the paper was, how quickly pigment moved, when you chose to stop. It shows hesitation and confidence equally. Because of this, watercolor isn’t just a medium—it’s a conversation between water, pigment, paper, and timing.

This month’s Studio Notes art blog focuses on developing a watercolor voice: learning how color interaction, edge control, and intentional flow shape expressive work. Susan Ripp's watercolor artwork shown in this blog shows us that rather than asking watercolor to behave like another medium, the goal is to work with its nature—and allow its strengths to lead.

Letting Color Speak First

In watercolor, color often arrives before form. A wash establishes mood long before shapes are clarified. This early stage matters more than many painters realize. When the first layers carry intention—through temperature, value, and harmony—the rest of the painting has something to respond to.

Strong watercolor paintings don’t rely on exact color matching. Instead, they use:

• Limited palettes to create unity
• Repeated color families to guide the eye
• Unexpected color shifts to suggest light and movement

Color doesn’t need to explain itself. When allowed to move freely, it establishes atmosphere, structure, and emotional tone all at once.

Edges as Structural Tools

Edges are one of watercolor’s most powerful—and subtle—tools. Hard edges pull attention. Soft edges suggest distance, movement, or quiet. Lost edges allow shapes to dissolve into one another, creating rhythm and flow.

Rather than outlining forms, watercolor painters often design with edges:

• Sharpen where focus is needed
• Soften where space or light dominates
• Allow edges to disappear entirely when detail would weaken the image

Edge decisions are not about finishing—they are about directing attention. When used intentionally, edges can describe form more effectively than line.

Flow Is a Decision, Not an Accident

Watercolor flow is often described as unpredictable, but experienced painters know that flow responds to preparation. Paper choice, moisture level, pigment load, and timing all influence how washes behave.

Intentional flow comes from:

• Understanding when paper is damp, wet, or dry
• Allowing gravity and tilt to participate
• Knowing when to intervene—and when not to

This doesn’t mean eliminating chance. It means inviting it with purpose. Controlled accidents give watercolor its vitality and prevent work from becoming overworked or rigid.

Gesture Beneath the Wash

Even in loose watercolor, structure matters. Gesture drawing—whether visible or hidden—gives washes something to cling to. A confident underlying gesture allows the painting to remain expressive without collapsing into chaos.

Gesture doesn’t require heavy line. It can be suggested through:

• Directional brushstrokes
• Repeated angles or curves
• Value placement rather than outline

When gesture is present, the painting feels alive—even when details are minimal.

Knowing When to Stop

One of watercolor’s hardest lessons is restraint. Because layers interact visually, additional marks don’t always improve clarity. Often, the most successful watercolor paintings stop earlier than expected.

Signs a painting may be finished:

• The main color relationships are established
• The focal area holds attention
• Additional detail would explain too much

Leaving areas unresolved allows the viewer to participate. Suggestion, not completion, gives watercolor its lasting strength.

Suggested Products (August, Weeks 31–35)

Week 31: Water & Color

• Watercolor paper pad (140 lb or heavier)
• Broad wash brush or large round brush
• Watercolor paint set
• Water container

Week 32: Soft & Hard Edges

• Watercolor paper
• Round brushes (small and medium)
• Spray bottle or clean water brush
• Paper towels or sponge

Week 33: Controlled Accidents

• Heavy watercolor paper
• Watercolor paints
• Paper towels or absorbent cloth
• Board and tape (to manage moisture)

Week 34: Intentional Flow

• Watercolor paper or block
• Mixing tray or palette
• Watercolor paints
• Masking fluid (optional)

Week 35: When to Stop

• Watercolor paper
• Limited watercolor palette
• Soft round brush
• Scrap paper for testing color

TRY IT NOW: Watercolor Voice

August 2026 Studio Notes Exercise Guide

Inspired by the watercolor art of Susan Ripp

Watercolor responds to attention more than control. Every wash records timing, moisture, and decision-making. These exercises invite you to work with watercolor’s nature—allowing color, edges, and flow to guide the image rather than forcing precision.

This month is about developing a watercolor voice: understanding how water, pigment, and paper interact, and learning when to act, when to wait, and when to stop.

There is no required outcome and no expectation of a finished painting. Each week offers a way to observe, respond, and build confidence through intentional restraint.

WEEK 31: Water & Color

What

Begin with washes instead of outlines, allowing water and pigment to establish mood and direction.

Why

Early washes carry emotional weight. When color leads, form can emerge naturally without overworking.

How

• Wet the paper before adding pigment
• Let color spread and interact
• Avoid drawing or outlining early
• Observe how water directs movement

Tip: If the wash feels alive, pause before adding more.

WEEK 32: Soft & Hard Edges

What

Use edge control to suggest form rather than defining everything with line.

Why

Edges guide attention. Hard edges attract the eye, while soft edges create space and movement.

How

• Decide where focus should rest
• Soften edges by painting into damp areas
• Allow some edges to disappear completely
• Reserve sharp edges for emphasis

Tip: Fewer sharp edges often make a stronger focal point.

WEEK 33: Controlled Accidents

What

Allow blooms, bleeds, and unexpected marks to remain part of the painting.

Why

Watercolor gains energy from unpredictability. Learning to accept chance builds confidence and authenticity.

How

• Work on wetter paper than usual
• Let colors bleed together naturally
• Avoid correcting every irregular mark
• Respond to accidents rather than removing them

Tip: Not every surprise needs fixing—some are solutions.

WEEK 34: Intentional Flow

What

Build layers that interact with earlier washes, allowing previous decisions to influence the next.

Why

Layering creates depth and visual memory. Watercolor works best when history remains visible.

How

• Let each layer dry fully before continuing
• Add new color with purpose, not habit
• Allow underlying shapes to show through
• Adjust moisture to control flow

Tip: Flow improves when you slow down between layers.

WEEK 35: When to Stop

What

Practice restraint by leaving areas unresolved and allowing suggestion to carry the image.

Why

Overworking weakens watercolor. Knowing when to stop preserves freshness and clarity.

How

• Step back frequently
• Ask whether more detail adds meaning
• Leave quiet passages untouched
• Accept incompleteness as strength

Tip: When the painting still feels alive, it’s often finished.

⭐ Share Your Process

Trying the exercises? Finished or not, your process matters.

We’d love to see what you’re working on. Share your piece on social media and tag @AlabamaArtSupply or use #StudioNotesAAS so we can follow along.

A Final Thought

Watercolor doesn’t reward certainty. It responds to attention, timing, and trust.

Let color lead before form. Use edges to guide rather than define. Allow flow to remain visible, even imperfect.

And remember: when the painting still feels alive, it’s often already complete.

Featured Artist Connection

This Studio Notes art blog is inspired by the work and approach of a featured artist at Alabama Art Supply. Visit the artist’s feature to explore their work, background, and creative perspective in more depth.

→ Meet the Featured Artist: Susan Ripp

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