6 Essential Tips for Painting White Subjects with Watercolor

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How do you paint white objects and animals with watercolor? Is white paint used the same way as in acrylics or gouache? How do we develop realistic form and shadows when painting white objects?


In watercolor, white paint usually isn’t necessary—because the paper itself takes the place of highlights and helps us define the lightest areas.

We rely on the medium’s transparency—combined with the brightness of the paper—to create those light values.

That means we have to plan for these areas before we begin painting and work around them with intention.


So, how do we do this successfully?

​In this post, I’m going to share the six most important tips I keep in mind whenever I paint something white—whether it’s a delicate flower, a fluffy dog, or a pair of ceramic espresso cups like the ones in the demo video below.

These are the same reminders I give myself every time, and they’ve made a huge difference in how I approach and succeed with these kinds of subjects.

But before we dive into the tips, let’s cover a few foundational watercolor concepts—especially helpful if you’re new to the medium.

If you enjoyed this video and found it helpful, make sure to subscribe to my YouTube channel. I share a brand new video every week with art tips, drawing and painting tutorials and mindset/productivity tips for artists. *Subscribe HERE*

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You Don't Need White Paint When Working With Watercolor

I never use white paint in my watercolor work.

The only times I do bring in white are when I’m aiming for a very specific effect—like adding falling snow to a winter scene or reinforcing the tiny highlight in an animal’s eye.

And even then, I reach for white gouache, not white watercolor.

Why? Because white watercolor tends to dry semi-transparent and chalky. It creates a dull, hazy patch instead of the crisp, opaque white I need for those special details.

I know this can be confusing—especially since so many student-grade watercolor sets include a tube of white. But trust me, you’ll be better off without it!

The secret to that light, glowing look watercolor is famous for lies in using the paper itself as part of your painting. That means planning ahead for where your brightest highlights will be—and leaving those areas untouched.

The brightest highlights in a watercolor painting should ideally be the pure white of the paper. If you accidentally paint over those spots—even with the lightest wash—it’s impossible to get them back.

Lighter value areas are created by using watered-down color, allowing more of the white paper to shine through.
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That’s why you’ll often hear watercolor artists say: “Save your whites.”
We plan around them, protect them, and let them shine through to create realistic form and beautiful luminosity.



Planning and Preserving the Whites

Saving your whites takes practice, and I know how easy it is to forget and accidentally paint over them.

But with awareness and practice, you’ll get better at identifying and protecting those areas from the very start.

Some helpful strategies:

• Lightly sketch in highlight areas as part of your initial drawing
• Use masking fluid for very detailed or tricky highlights
• Start your painting with very light washes and gradually make your way toward darker values

In the demo video above, I worked from light to dark in layers, always mindful of where my highlights were.

​Even if you don’t plan on using masking fluid, simply being aware of your white spaces and working carefully around them makes a big difference.


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The Power of Monochromatic Studies

The study above  is a monochromatic painting using a gray made by mixing indigo and burnt sienna—a combo I love because one is cool and the other warm, which gives subtle variation in temperature throughout the piece.
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Monochromatic exercises are fantastic for beginners because they:

• Help you focus on value (light and dark) instead of color
• Build your ability to create 3D form and volume
• Remove the overwhelm of having to choose multiple colors

Once you’ve practiced creating a strong sense of structure with value alone, adding color and temperature becomes much easier later on.
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My Top 6 Tips for Painting White Subjects in Watercolor

Here are the most important things I remind myself of when painting anything white—whether it’s fur, feathers, flowers, or ceramic objects.


​1. Know Your Paper’s Whiteness

Not all watercolor paper is created equal. Some are labeled “Bright White” or “High White,” while others are more off-white or cream-colored.

If your paper isn’t very white to begin with, your highlights and white subjects won’t pop as much—so it’s worth paying attention to this when you're investing in watercolor paper. 



2. Plan and Save Your Highlights

As mentioned earlier, use your initial sketch to map out the lightest areas—and either paint around them or use masking fluid to keep them protected throughout the painting process.

Highlights = untouched paper, and they’re essential for capturing that glowing, realistic light.



3. Work from Lights to Darks

Begin with very pale washes and gradually build up to your darkest values.

Watercolor is all about layering slowly—and going too dark too quickly can overpower the subtle light effects you're trying to preserve.

Be sure to let each layer dry completely before adding the next.



4. Observe Value/Tonal Changes Carefully

White objects are never just white. To achieve realistic results, we need to develop a full range of gray values within them.

Look closely at your reference photo and observe the light grays, darker mid-tones, and areas with the darkest gray.

Recreating these value relationships in your painting is what gives the object a three-dimensional appearance.

If you're painting reflective surfaces like ceramic or glass, pay attention to the color shifts throughout—and try incorporating those colors into your work as well.



5. Keep the Edges Soft Where Needed

Not everything needs a hard edge—especially when painting white subjects. Soft, subtle shadows can help convey delicacy and a sense of roundness.

Try using a slightly damp brush to soften edges while the paint is still wet, or gently lift pigment once it has dried.

Where do you see sharp, defined edges around your shapes? Where do you notice soft transitions or lost edges?

Choose between wet-on-wet and wet-on-dry techniques to create these effects. I explain all about these techniques here. 

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6. Don’t Rely on White Paint as a Crutch

It can be tempting to rely on white gouache or a white paint pen and simply add your highlights at the end of the painting process—but I’d like to advise against it.

This approach is totally fine when you're just getting started, and it is a valid technique that we can use strategically for certain paintings and specific effects.
However, if you never plan for highlights, you'll likely never truly master the medium.

Not to mention, the results are quite different. When highlights are added at the end with opaque paint, the light and glow—so characteristic of watercolor—just aren’t there.

I know it can feel tricky at first, but it gets easier with practice!



Looking for a step-by-step tutorial where I explain my full process for saving white areas? Check out the full class below!
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If you enjoyed this video and found it helpful, make sure to subscribe to my YouTube channel. I share a brand new video every week with art tips, drawing and painting tutorials and mindset/productivity tips for artists. *Subscribe HERE*
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Recommended Supplies

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Arches Cold Press Watercolor Paper 9x12" 100% Cotton

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Winsor&Newton Colorless Masking Fluid

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Derwent Graphic Drawing Pencils Set of 12 Grades

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Winsor&Newton Watercolor Tubes

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For a full list of my favorite supplies, go here. 

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Painting white subjects with watercolor takes planning and patience, but the results are so rewarding! 

​Whether it’s a snowy owl, a porcelain dish, or a white rose, learning to paint “white” without using white paint is one of the most important skills you can develop with this medium.
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If you have any questions, feel free to leave a comment on the video or reach out—I’d love to help.

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