Negative Space Painting in Watercolor

Two meanings of negative space

The phrase is used in two related ways, and it helps to separate them.

1. Negative space as a compositional idea. It is the area around and between the main subjects, while the subjects themselves are the positive space.
2. Negative painting as a technique. You paint the space around a shape, instead of the shape itself, so the shape is left behind as a lighter area. Layers are built up this way to create depth.

Both ideas ask you to look at the shapes between things, and they work well together.

Negative space in composition

Empty areas are not wasted space. They give subjects room, create rest for the eye and help shape the overall design. A subject surrounded by plenty of quiet space tends to feel calm and important, while crowded paintings may feel busy.

Negative space also shapes the way we see objects. In a painting of a vase of flowers, the shapes between the stems and petals help define the arrangement. Painters sometimes study these gaps to correct drawings, since looking at the shape of the space can be easier than judging the object directly.

Examples include a bird against a pale sky, a tree whose branches are defined by the sky showing through them, and a white flower left as bare paper against a darker background.

For layout guidance, see composition in watercolor painting. You may hear a “70/30” guideline, suggesting a dominant area and a smaller contrasting one. It is only a rough guide, but quiet space often takes the larger share.

The negative painting technique

Negative painting builds a picture from light to dark. The usual steps are:

1. Draw lightly the main shapes, such as leaves or petals.
2. Paint a light wash across the area, in one or more colors. Let it dry completely.
3. Paint around the shapes you want to keep light, using a slightly darker mix on the background. The leaves are now visible because they are left in the lighter color.
4. Let it dry, then choose shapes to keep at this value and paint a darker wash around them.
5. Repeat with progressively darker layers, so shapes recede into the dark background and new shapes appear in front.
6. Add final details, such as veins, edges or accents, with a small brush.

The result is a sense of depth created from simple, layered shapes. The technique is often used for foliage, forests, grasses and bird feathers. It also works for clouds; see how to paint clouds in watercolor.

Materials and pigment choice

• Transparent pigments layer more cleanly, because the earlier layers show through. Opaque or heavily staining pigments may behave differently, so test them first. See transparent vs opaque watercolor.
• Good paper that tolerates multiple layers helps. Cotton watercolor paper usually handles layering and lifting better than thin paper.
• A small pointed round brush gives control around edges.

Mixing clean colors matters because several layers can quickly turn muddy. See mixing colors in watercolor for tips.

Tips for better results

• Let each layer dry fully before starting the next, to avoid disturbing the layers underneath.
• Plan value steps. Use three to five values and keep them distinct. Our guide to value in watercolor explains how.
• Vary your edges. Some should be crisp and some soft so the result does not look cut out.
• Overlap shapes to suggest depth.
• Use fewer, simpler shapes at first.
• Keep the brush light so you do not scrub up the dried layers.

Common mistakes

• Making each layer almost the same value, so the shapes do not separate.
• Painting before the earlier layer is dry, which causes bleeds.
• Making all shapes the same size and orientation.
• Choosing very staining or opaque colors without testing.
• Overworking until the colors are dull.

Practice exercise

Draw three or four overlapping leaf shapes on a small piece of watercolor paper. Paint a pale yellow-green wash over the whole area and let it dry. Paint a medium green around the leaves, leaving them pale, and dry again. Choose two leaves to keep, and paint a darker green around the rest. Finish with a dark mix in a few small gaps. Look at how the pale leaves seem to come forward.

If you plan a larger piece, think about how the colors you choose relate, using our color theory guide. Using the same approach with buildings and roads can also support depth; see perspective in watercolor.