Painting Winter Berries: A Simple Two-Color Watercolor Tutorial
Finding Inspiration in Everyday Moments
Hi, I'm Valerie Englehart, and today I want to share with you one of my favorite winter painting projects—a loose, atmospheric watercolor of berry bushes using a complementary color scheme.
The inspiration for this painting came from my daily drive after dropping off my daughter at daycare. I'd pass these beautiful berry bushes and think, "Those are really pretty. I wonder if I can paint something like that." Instead of pulling over to take a reference photo, I committed the scene to my mind and decided to paint from imagination and memory.
I highly recommend trying this approach every so often. There's something liberating about painting without the constraint of copying a photograph—it lets your creativity flow naturally.
The Power of Just Two Colors
For this entire painting, I used only two colors: Daniel Smith jadeite genuine and Daniel Smith permanent red pigment. That's it. No complex palette, no overthinking color mixing.
Why Jadeite Genuine?
I absolutely love this color for winter foliage. It's a beautiful, cool green that granulates wonderfully, creating these gorgeous black granule textures that add depth and interest to the wash. It's become one of my go-to colors for this time of year.
The Complementary Color Challenge
Green and red are complementary colors, which means they can create muddy grays when mixed. But here's the key: I chose these two specific paints because they mix fairly well for complements. The trick is knowing when to let them mingle and when to keep them separate.
For the berries, I wanted pure, vibrant red. For the foliage, I wanted that brilliant green to shine through. So when I placed the red, I put it down and left it alone—no fussing, no overworking.
Creating an Atmospheric First Wash
I started this painting on a 7x10 block of Academy paper—it's fairly inexpensive but handles water and paint very well. I use these blocks for studies and experiments.
The Tilted Board Technique
I had my board propped up at an angle, but here's something different: instead of tilting it straight up and down, I positioned it at a diagonal. This allows the water to flow from one corner to the other, creating a more dynamic wash. I made the upper right corner much darker and let it gradually lighten toward the lower left.
Building the Foundation
I went in nice and dark with the jadeite genuine, keeping in mind that watercolor always dries paler than it appears when wet. Then I started adding water and lifting out the impression of leaves with a mostly dry brush.
This lifting technique does two things: it creates a roadmap for where I might place elements later, and it introduces more water that pushes the paint around, creating even more of that beautiful granulation.
Adding the Star of the Show: The Berries
Once my initial wash was in place, I went in with very strong, fresh permanent red pigment and dotted in berries here and there. This is where restraint becomes crucial.
The Placement Strategy
Because green and red are complementary colors, I had to be careful. I placed the red and left it alone. If I started messing with it or going back over it, the two paints would mix and create that muddy effect I wanted to avoid.
Creating Dimension
While the paint was still wet but starting to set, I used a dry brush to lift circular shapes from some of the berries. This created highlights and suggested the roundness and shine of the berries. I didn't do this with all of them—some remained hidden within the foliage, which created a more natural, varied appearance.
Timing is everything here. You really need to pay attention to the wetness of your paper. If an area is too wet and you try to lift it, the paint around it will flood right back in. If it's too dry, you won't be able to lift anything at all.
The Magic of Negative Painting
After my wash dried completely, I moved into the detail phase. This painting is very much a "go painting"—I do a big atmospheric wash, let it dry, add my details, and that's it.
Bringing Shapes to Life
The detail work is all about negative painting. I used little triangles throughout the composition to separate leaves and define shapes. But here's the important part: I didn't do this everywhere. Some areas I left alone because the initial wash had already created enough separation.
I love lost and found edges—the interplay between hard and soft, defined and undefined. I also stayed away from putting too much detail around the outer edges. I want the viewer's eye to flow naturally through the painting and stay within the composition.
The Two-Brush Method
For this phase, I worked with two brushes: my size 8 Silver Black Velvet round brush (which has natural fibers) and a size 8 Mimik synthetic brush. I'd load the Black Velvet with pigment to create the dark shapes, then use the synthetic brush to blend and soften the edges.
Understanding Value is Everything
One of the most important principles I used in this painting is understanding value—the lightness or darkness of a color. By placing darker values, I made the surrounding lighter areas pop forward. It's a lovely little illusion that brings dimension to a flat surface.
I find this especially freeing when working without a sketch. I can discover shapes as I go, imagine forms, and make them happen by adding darks around them.
Keeping It Simple and Loose
At one point, I considered adding some permanent alizarin crimson—a cooler red—to give more shape and definition to the berries. I tried it in one section and immediately knew I didn't like it. This painting wanted to stay incredibly loose, borderline abstract.
I also didn't add any gouache for highlights or corrections. This whole painting is done with just the red and the green. You really don't need a ton of colors to make a fantastic work of art. What you need is an understanding of shapes, values, and a genuine interest in what you're doing.
The Joy of Painting Small
This painting idea had been in my head for a while, but I didn't want to commit to a large, full-scale piece. So why not pull out a small block and just enjoy myself? Have fun exploring?
At best, I'd come out with a frameable piece. At worst, I'd get to paint—and any day I get to paint makes the day just a little bit better. It really does help my mood.
Taking Time for Yourself
This time of year is incredibly busy with so much going on. That's exactly why I encourage taking a few minutes for yourself to sit back with a couple of pigments, a couple of brushes, and a paper towel. It doesn't have to be complicated or elaborate.
My Recommendations for Materials
Quality Over Quantity
I strongly recommend investing in fewer but higher-quality paints rather than accumulating a ton of colors, especially if you're beginning your watercolor journey. You don't really know exactly what you like yet, and it's easy to fall into the trap of thinking you need every color an artist you admire uses.
Brushes Worth Having
If you can only get one brush, I recommend the size 8 Silver Black Velvet. It's incredibly versatile and holds a fantastic point.
For those who are vegan or prefer not to use natural fibers, the Princeton Neptune series is an excellent synthetic alternative. In fact, I used my size 10 Princeton Neptune round brush for the initial wash in this painting, and it's held up beautifully since I got it back in 2019.
Tips for Negative Painting Success
When you're bringing a subject to life by painting around it using negative painting techniques:
Take your time and enjoy the process
Step back frequently to see the painting as a whole
Try looking at your painting through your phone camera—I don't know what it is, but sometimes viewing it through a screen helps me immediately see what it needs (or doesn't need)
Remember: sometimes a painting is done, and adding more will only hurt it
The Meditative Quality of Repetition
You might notice that much of this painting involves doing the same thing over and over—little triangles, blending them away, repeat. But I'm never bored. There's something almost meditative about the repetition. I'm just in the moment, breathing, being present.
I love that making art can bring me back to the present moment like this. It lets me breathe and just be for a few minutes.
Key Takeaways
To recap the main lessons from this painting:
You don't need a lot of colors to create something beautiful
Do a gorgeous, atmospheric wet wash as your foundation
When using complementary colors, place your color and leave it alone—don't overwork it
Understand and utilize value to create depth and dimension
Take your time and enjoy the meditative process
Do a little triangle, bleed it away. It's that simple.
What's Next?
Now that this winter berries painting is complete, I think I'm going to try painting some poinsettias. It's been a few years since I last painted them, and I loved the results. I even used this same jadeite genuine in that painting. If it goes well, you'll see another video or blog post about it. And if it doesn't? Well, maybe I'll share it anyway—after all, even I don't get it right all the time.