A Step-by-Step Guide to Soft Atmosphere in Watercolor

from Andy Evansen

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Summary: Andy Evansen paints fog by compressing values, working wet-into-wet, and gradually building darker shapes with thicker paint. The key is soft edges, subtle transitions, and a quick drop-off in value as forms recede into the distance.

Why Fog Is Different From Other Scenes

For Andy Evansen, fog changes everything about how a painting should be approached.

In a typical landscape, artists rely on strong contrast—light lights and dark darks—to define form. But in a foggy scene, that contrast disappears.

Instead, everything shifts toward the middle range of values.

• No bright whites

• No deep darks (at least early on)

• Very subtle transitions

This compression of values is what creates the feeling of atmosphere and depth.

The Core Principle: Value Drop-Off

Andy emphasizes one of the most important ideas in painting fog:

Objects lose clarity and value much faster than in a normal scene.

In clear weather, something far away might still hold its value and structure.
In fog, that same object becomes lighter, softer, and more vague very quickly.

This rapid loss of definition is what creates the illusion of distance.

Step 1: Keep the Drawing Minimal

Andy avoids heavy drawing in fog scenes.

Instead, he:

• Lightly indicates only major shapes

• Keeps edges soft

• Avoids dark pencil marks

Overdrawing can destroy the softness needed for a believable fog effect.

Step 2: Start With a Very Wet Surface

One of Andy’s key techniques is working on very wet paper.

He wets both:

• The back of the paper

• The front surface

And importantly, he does not remove much water.

Because fog requires:

• Long working time

• Soft edges

• Seamless blending

A wetter surface allows all of that.

Step 3: Push the First Wash Darker Than You Think

Because watercolor dries lighter, Andy applies the first wash stronger than it appears in the reference.

He mixes:

• Cerulean blue

• Cobalt blue

• Lavender

• Neutral tint

Then lays a unified wash over the entire surface.

This wash establishes the atmospheric tone of the painting.

Step 4: Subtle Color Shifts Matter

Even though fog scenes are soft, they are not flat.

Andy introduces variation by shifting color:

• Cooler blue in the water

• Slight violet tones near the shoreline

• Muted, cool browns for sand

These transitions are subtle but essential.

They keep the painting alive without breaking the foggy mood.

Step 5: Work Wet-Into-Wet for Distant Shapes

While the paper is still damp, Andy begins adding distant trees.

Key approach:

• Use thicker paint

• Use less water

• Let edges soften naturally

He avoids sharp edges at this stage.

The goal is suggestion, not detail.

Step 6: Build Layers Gradually

Andy works from back to front, increasing strength slightly with each layer:

1. Background trees (very soft, cool)

2. Middle ground shapes (slightly warmer, slightly darker)

3. Foreground shapes (more definition and contrast)

Each layer is added while the paper is still damp or just beginning to dry.

This creates natural blending and depth.

Step 7: Control Water Carefully

Too much water at the wrong time will ruin the painting.

If the brush is too wet:

• Paint blooms uncontrollably

• Edges lose control

• Shapes become muddy

To avoid this, Andy:

• Uses synthetic brushes for control

• Removes excess water with a towel

• Focuses on applying mostly pigment, not water

Step 8: Add Contrast at the End

Fog paintings still need contrast, but only in the final stages.

Andy deepens values in the foreground using:

• Neutral tint

• Burnt sienna

• Payne’s gray

This creates:

• A clear focal area

• A stronger sense of depth

• The illusion of fog through comparison

Without this step, the painting can feel flat.

Step 9: Use Dry Brush and Texture Sparingly

As the paper dries, Andy introduces:

• Dry brush for foliage

• Subtle texture in the foreground

• Light directional strokes in water

This adds interest without overpowering the softness.

Step 10: Final Details With Gouache

Andy sometimes uses gouache at the end to add:

• Driftwood highlights

• Soft foam edges

• Small accents

He tones the gouache down with color so it doesn’t appear too bright.

This keeps everything consistent with the foggy atmosphere.

Common Mistakes When Painting Fog

Andy often sees artists struggle with:

• Too much contrast too early

• Overdrawing details

• Not using enough water at the start

• Adding too much water later

• Trying to “finish” instead of observe

Fog requires restraint and patience.

The Big Takeaway

Andy’s approach to fog comes down to three things:

1. Softness through wet-into-wet technique

2. Subtlety in color and value shifts

3. Timing of moisture and paint application

When done right, the painting feels effortless, but it requires control behind the scenes.

Final Thought

Andy often reminds students that fog is not about detail, it’s about suggestion.

If everything is clearly defined, it won’t feel like fog.

But if shapes soften, values compress, and edges disappear, the atmosphere will naturally emerge.

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Learn more from Andy through his mentoring membership or video series: