Table of Contents
This sea watercolor painting collection gives you thirteen seascapes built from big, simple shapes, so there is no drawing guesswork before the fun part starts. Each one comes as a finished example to inspire your colours and a clean black and white outline you can print and use right away.
Print the outline at the size you want to paint, then transfer it onto watercolor paper by taping both sheets to a sunny window or a light pad, or by slipping a sheet of graphite transfer paper between them and tracing the lines. Once the shapes are on your paper, prop the finished example beside you and work through the washes in the order described for each one.
Using these images: free for personal projects such as printing, coloring, cards, journals and gifts. Handmade items that include them may be sold up to 30 pieces per design. More than that is commercial use and is not permitted, and neither is selling or sharing the images themselves or passing them off as your own. Please ask before any other use.
Small Sailboat on Waves
Paint the sail last and leave it white or wash it the palest grey so it stays the brightest shape on the page. Start with a flat sky wash of pale cerulean blue above the waterline, then drop in ultramarine for the waves in loose, horizontal strokes that get darker toward the bottom of the page. Let the boat’s hull dry fully before adding a thin line of burnt sienna along its edge. The one touch that finishes it: a few short white wave crests scraped out with the tip of a dry brush while the blue is still damp.
Palette: Cerulean Blue,Ultramarine Blue,Burnt Sienna,Payne’s Grey
Lighthouse on Rocks
Wash the sky first in a light wash of cerulean, then let it dry while you mix your red. Paint the lighthouse body in alternating bands of white (left as paper) and cadmium red, keeping the lines straight with the edge of a ruler if your hand feels shaky. Mix Payne’s grey with a touch of burnt umber for the rocks below, pressing the brush down hard in places so the pigment pools and gives texture without any actual texture work. Finish with a tiny dab of yellow in the lamp room to suggest the light is lit.
Palette: Cadmium Red,Payne’s Grey,Burnt Umber,Cerulean Blue,Cadmium Yellow
Rowboat on a Calm Sea
Keep the water nearly flat and calm: one thin wash of pale turquoise across the lower half, broken only by a few long horizontal strokes of a slightly darker green-blue to suggest the faintest ripple. Paint the boat in warm burnt sienna, letting the colour pool a little deeper along the base for weight. Add the oars in a dry, thin line of Payne’s grey once everything else is dry. The finishing touch is a soft reflection of the boat’s colour dropped straight below it into the still-damp water.
Palette: Turquoise,Burnt Sienna,Payne’s Grey,Sap Green
Big Curling Wave
Work from light to dark in one continuous session so the colours blend while everything stays wet. Lay pale cerulean along the top curl, then pull ultramarine and a touch of Payne’s grey into the lower body of the wave, letting the colours merge softly at the edges. Leave the curling lip and the base completely white for foam. Once the blue is dry, flick a loaded toothbrush of white gouache toward the base of the wave for a fine spray of sea foam that makes the whole thing feel like it is moving.
You Will Need
- white gouache or acrylic for splatter
- old toothbrush
Palette: Cerulean Blue,Ultramarine Blue,Payne’s Grey,Titanium White
If the splatter feels risky, practice the toothbrush flick on scrap paper first until you can control how much white lands where you want it.
Fishing Boat
Build the boat in two clean colour blocks: cadmium red for the hull below the waterline, and white left bare or washed very pale grey for the cabin above it. Paint the water in loose horizontal bands of cerulean and turquoise, darker near the hull so the boat reads as sitting in the water rather than floating on top of it. Add a thin mast line in Payne’s grey once dry. A small round porthole window, painted as a tiny circle of sky blue, gives the boat its most charming detail.
Palette: Cadmium Red,Cerulean Blue,Turquoise,Payne’s Grey
Cliff Over the Sea
This is the one landscape in the set, so keep it to three big shapes: sky, cliff, and sea. Wash the sky pale and soft first, dropping in a little grey at the horizon while it is still damp. Paint the sea in flat cerulean below the horizon line, then let the cliff face dry separately in warm raw sienna with a strip of sap green along its grassy top edge. The whole picture feels finished the moment the three bands sit cleanly against each other with no overlap.
Palette: Raw Sienna,Sap Green,Cerulean Blue,Payne’s Grey
Pier Into the Water
Start with the water in a flat wash of pale turquoise, keeping it lighter near the horizon and a touch deeper near the shore. Paint the pier’s wooden planks in warm burnt sienna once the water is bone dry, using confident single strokes rather than fussing over each board. The posts below the pier get a slightly darker wash to suggest they sit just under the surface. For beginners worried about the straight lines, a ruler held lightly against the paper keeps every plank edge clean.
Palette: Turquoise,Burnt Sienna,Payne’s Grey
Buoy
Because this subject is just one shape, let the painting carry itself on colour contrast alone. Paint the buoy’s stripes in cadmium red and leave the white bands as bare paper, then add a small grey metal ring on top with a quick dry-brush stroke. The water gets a simple flat wash of cerulean with one or two darker ripple lines curving gently around the base of the buoy to show it floating rather than resting on the surface.
Palette: Cadmium Red,Cerulean Blue,Payne’s Grey
Harbor With Two Boats
Paint each boat in its own flat colour first, red for one hull and a soft blue for the other, so they read clearly apart even before the water goes in. Keep the harbor wall behind them to a single flat band of warm grey stone colour, no bricks or texture needed. Wash the water in calm turquoise, adding the two boats’ reflected colours straight down beneath each hull while the wash is still wet so they bleed softly into the water.
Palette: Cadmium Red,Cerulean Blue,Turquoise,Warm Grey
Sea Arch
Treat the arch as one big rock shape with a hole left bare for sky and sea showing through. Wash the stone in raw sienna with a shadow side of Payne’s grey mixed in while damp, so one edge of the arch reads darker than the other. Paint the sky through the opening a shade paler than the sky above, which is the small trick that makes the hole look like it goes somewhere. Finish with a simple flat sea wash around the base.
Palette: Raw Sienna,Payne’s Grey,Cerulean Blue
Ship on the Horizon
This is the quietest piece in the set and the easiest for a first attempt at a seascape. Lay one soft graded wash from pale sky blue at the top to a slightly deeper blue at the horizon, then paint the sea below in the same blue family but a touch more grey so the two halves stay distinct. The ship itself is tiny: paint it as one small, flat, dark grey silhouette sitting right on the horizon line, with maybe one thin mast line. Less really is more here.
Palette: Cerulean Blue,Payne’s Grey,Charcoal Grey
If you enjoy this quieter, minimal approach, the horizon studies in the easy landscape painting for beginners guide use the same trick.
Rocky Island
Build the island from one solid rock shape in burnt umber and Payne’s grey, pressing extra pigment into the base where it meets the water so the bottom edge reads darker and heavier than the top. A few small, loose dabs of sap green along the rock’s crown suggest wind-bent trees without needing any branch detail. Surround it with a calm, flat turquoise sea, letting a thin ring of slightly deeper blue hug the shoreline so the island looks anchored rather than pasted on.
Palette: Burnt Umber,Payne’s Grey,Sap Green,Turquoise
Sailboat at Sunset
Mix your sunset first: a graded wash moving from soft cadmium yellow near the horizon up through orange and into a dusty pink, blended wet into wet so the colours melt into each other with no hard lines. Let it dry fully, then paint the boat and its reflection as one flat, dark silhouette in Payne’s grey, the shapes mirrored above and below the waterline. The reflection gets one quick horizontal streak pulled through it with a damp brush to break it into soft, wavering ripples, which is the detail that sells the calm water.
Palette: Cadmium Yellow,Orange,Dusty Pink,Payne’s Grey
For more warm-sky blending practice before tackling this one, the sunset washes in summer watercolor painting ideas use the same wet into wet technique.
What to Do Next
Pick one seascape that pulls you in, print its outline, transfer it onto your watercolor paper, and start with the first wash described for that piece while the finished example sits next to you for reference.
Frequently Asked Questions
What size should I print the outlines?
Print them at standard letter or A4 size to match a typical watercolor pad page, though any size works as long as your paper is large enough to hold the full outline with margin around it.
What paper works best for these paintings?
Use cold press watercolor paper of at least 140lb weight, since it handles multiple wet washes without buckling or pilling under the brush.
How do I transfer the outline without being able to draw?
Tape the printed outline and your watercolor paper together against a sunny window or a light pad and trace the lines through, or slide graphite transfer paper between the two sheets and trace over the lines with a pencil.
Can I use coloured pencils or markers instead of watercolor?
Yes, every outline works just as well with coloured pencils or markers, simply follow the same colour placement described for each piece and build up pressure gradually for pencils.
Do I need to copy the finished example exactly?
No, treat the finished example as a guide for where colours sit and how they blend, then feel free to shift the palette toward colours you love more.
Have any thoughts?
Share your reaction or leave a quick response — we’d love to hear what you think!
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