Watercolor Landscape on iPad: Step-by-Step Process from Sketch to Finished Artwork
Many artists think watercolor is only about paper and brushes. But modern tablets can produce incredibly realistic watercolor artwork. In this post, I'll show how I created a watercolor landscape on iPad — from the first sketch to the finished piece.
I chose this particular landscape because I currently live in Slovakia, where nature itself is a constant source of inspiration. Every day I notice how the sun gently sets behind the mountains, how the shades of fields change with each season, how fog settles on the hills — and some of these scenes literally stay in my mind, as if asking to be brought to life.
Some images come from real places I see around me, and some from imagination, but they're still based on the impressions that the local landscape provides. I also have Pinterest collections — moodboards with nature, animals, and architecture. Sometimes I take individual details from them to help assemble a complete image.
My Tools for Digital Watercolor
Before diving into the process, let me tell you about my tools and why I chose them.
Tablet: iPad Pro 14. Before the iPad, I had a Huion tablet that I used for vector graphics — it was great for clean lines and technical illustrations but didn't give me the feeling of a "living" brush. When I received the iPad as a gift, everything changed.
Stylus: Apple Pencil 2nd generation, along with several regular styluses that are equally functional.
App: Procreate. It turned out to be so natural to use that for the first time I felt an almost perfect match with the sensation of a real brush. The pen response, textures, and behavior of watercolor brushes — all of this allows me to work more freely and closer to traditional technique, but without the limitations of paper and water.
Screen protector: Yes, I use a matte film with a paper-like texture (paperlike). It creates slight resistance similar to real paper texture, lines become more controlled, and the pen doesn't slide on glass. Long drawing sessions become more comfortable — my hand gets less tired. Strokes look more alive because the brush movement becomes less "digital." The only caveat — the more "paper-like" the texture, the faster the Apple Pencil tip wears down.
Brushes: I use a hybrid system:
- Standard Procreate watercolor brushes — provide a good base, especially for soft washes and underlayers
- Modified system brushes — I adjust grain, shape, and wetness to achieve more natural behavior
- Downloaded brush sets — individual brushes for paper texture, splatters, thick strokes, and dry brush effects
Standard brushes give predictability, modified ones allow me to develop my own "handwriting," and downloaded ones add unique textures. Each brush serves its role: one for the base layer, another for shadows, a third for details, a fourth for texture.
What Changed with the Switch to iPad
More freedom to experiment — you can try dozens of variations without fear of ruining the work. Natural brushes in Procreate make watercolor textures come alive, and layers allow you to carefully build depth. Mobility — you can draw anywhere, especially when there's so much inspiration around. And speed — ideas come to life faster, and corrections take seconds.
Step 1: Canvas Setup and Reference
I usually create fairly large canvases — around 2048×2048px at 300 DPI. The vertical format works well for illustrations and posters. This size provides enough space to develop watercolor transitions, textures, and fine details without overloading the iPad.
Watercolor effects require high resolution so that strokes and washes look natural. A large canvas also allows cropping later for different purposes — from print to social media.
I usually rely on a mixed approach: I take some elements from references and draw others from imagination. I pick individual elements — the shape of mountains, the character of clouds, the color of the sky, the structure of fields. I use photos more as a mood rather than an exact copy. I often combine multiple sources to assemble a complete image.
For light and shadows, I draw on what I see in Slovak sunsets. Color transitions often come from personal observations. References help maintain realism, while working "from the head" helps convey the mood and emotion I want to embed in the landscape. The result is not a copy, but a synthesis of reality and my perception of the nature around me.
Step 2: Pencil Sketch and Composition
First, I outline the large shapes: the silhouette of mountains, the horizon line, the placement of light. Then I add a few reference points — where the accents will be, where the composition "looks." I keep the lines as soft as possible so they don't interfere with the watercolor layers and can be easily covered.
The initial sketch usually takes 5 to 15 minutes — depending on the complexity of the scene. If the composition has already formed in my mind, it happens quickly. If I'm looking for a more interesting angle, I might spend a bit longer playing with proportions and balance.
A light pencil doesn't conflict with watercolor textures. A quick sketch helps preserve freshness and spontaneity. It gives freedom going forward — you can change details without being tied to a rigid drawing.
Step 3: Base Color Washes and Underpainting
I start with large color areas — this helps me immediately see the composition in color and understand where the light will fall. I work with semi-transparent strokes to maintain watercolor lightness and the ability to gradually build depth. First, I cover the background areas: sky, distant mountains, large fields — this creates the atmosphere and sets the overall tone.
Layer principle:
- First layer — as light and airy as possible, almost like a blurred base
- Second layer intensifies shadows and volume but remains transparent
- Third and subsequent layers add accents, texture, and saturation, but only where truly needed
I intentionally leave plenty of air between layers so the colors "breathe." Transparency helps achieve the effect of real watercolor, where lower layers slightly show through and create soft transitions.
Palette for this piece: warm golden-oranges for sunset light, cool blues and gray-blues for distant mountains, olive-greens and grass tones for fields, delicate pinks and lavenders for cloud reflections, and natural earth tones for warmth and realism in shadows. These shades reflect the real colors of Slovak nature that I observe every day.
Step 4: Details and Textures
I add details gradually, moving from large shapes to smaller elements, using different brushes for each type of detail.
Trees and vegetation: modified system brushes with grainy texture for a feeling of foliage. For the background — softer and more blurred brushes; for foreground trees — brushes with a light "dry" edge. Trees require a combination of softness and texture, so I combine brushes for a natural, non-"digital" effect.
Clouds: very soft watercolor brushes with high transparency. Sometimes I use downloaded brushes for haze or fog. Light and shadows on a separate layer so clouds look more voluminous. Clouds need to be airy — softness and the ability to layer thin semi-transparent strokes are key.
Creating watercolor texture digitally: semi-transparent strokes, layering 3–5 thin layers instead of one dense one, blending colors with soft brushes, selective blurring (Gaussian Blur or smudge) for a wet paper effect, and textured brushes for grain and irregularities. A single brush alone doesn't create watercolor — the effect comes from combining transparency, layers, soft blurring, and texture.
For paper texture, I often add a separate layer in Multiply or Overlay blending mode — this makes the work less "digital" and more alive.
I always work from background to foreground to maintain depth. I try not to overload the scene: watercolor loves air and space.
Step 5: Final Touches
At the end, I go through several careful stages to make the work cohesive and truly watercolor-like.
Final accents: I refine the light — soft warm highlights where the sun "catches" on mountains, clouds, or grass. I strengthen shadows with thin transparent layers. I add small details: twigs, thin lines, texture on distant hills.
Color correction: slight overall tone adjustment, a gentle increase in contrast — but very delicately, as watercolor doesn't like harsh transitions. Sometimes I use a light color balance or curves adjustment.
Watercolor splatters: on a separate layer with low opacity. I use grainy brushes for the effect of "spots" and irregularities. Sometimes I slightly blur edges to simulate pigment spreading.
At the end, I add a subtle overall color filter or soft haze so all elements look like a unified whole. The final stage is the moment when the work stops being a collection of layers and becomes a complete landscape with atmosphere and mood.
Process Video
The entire process from blank canvas to finished artwork — in time-lapse format:
The whole piece typically takes about 3–5 hours: sketch — 10–15 minutes, underpainting — about 30–40 minutes, main color layers — 1–1.5 hours, detailing — 1 to 2 hours, final accents and correction — another 20–30 minutes.
What are the best tips for digital watercolor beginners?
Starting to paint watercolor on iPad is easier than it seems, but there are a few things that make the journey much smoother.
1. Work in layers and don't rush. Watercolor is about gradual buildup. It's better to apply three transparent layers than one dense one. This approach gives depth, softness, and natural transitions.
2. Find "your" brushes. You can start with standard Procreate brushes, but over time it's worth customizing them — adjusting grain, shape, and wetness. Add a couple of downloaded sets for texture and splatters. Combining different brushes helps create a unique style.
3. Start with a simple composition. A light pencil sketch is the best way to avoid getting lost in details. It's enough to outline large shapes and the direction of light. This saves time and makes the work more cohesive.
4. Use references but don't copy. References help you understand light, color, and atmosphere, but it's important to leave room for your own vision. Take individual elements and assemble your own landscape from them.
5. Set up a comfortable workspace. A paper-effect screen protector, a convenient canvas size, the right palette — all of this affects the process. The more comfortable the drawing experience, the easier it is to immerse yourself in creativity.
What is the difference between digital and traditional watercolor?
I paint both on paper and on iPad, and for me these are two completely different experiences, even though the technique is the same.
On paper, watercolor has a life of its own: water spreads, pigment behaves unpredictably, and there's a special magic in that. You need to adapt to the material, catch the moment. Paper provides natural texture — grain, absorbency, random spots — all creating uniqueness in every stroke. The process is slower but very meditative.
On iPad, everything is more controlled. You can stop, go back, soften an edge, intensify a color — without the risk of overdoing it. Texture has to be created with brushes, layers, and effects. The process is faster, and you can work anywhere without thinking about water and brushes.
For commercial projects, digital watercolor usually wins — quick revisions, format versatility, predictable colors, and high resolution for printing. For brands, publishers, and marketing, it's almost always more convenient.
Traditional watercolor is more valuable when the uniqueness of the original matters, the living texture, collectible value — for galleries, exhibitions, gift illustrations, and author series.
Both techniques complement each other: traditional watercolor teaches you to feel the material, while digital helps bring ideas to life without limitations.
Digital watercolor on iPad isn't a replacement for traditional technique — it's a new tool with limitless possibilities. If you need watercolor illustrations for a book, brand, or personal project — let's discuss your project.
See also: From 20 Rejections to My Own Design Studio · Sigurd Illustration Process
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