The best masking fluid for watercolor should protect clean white areas without becoming difficult to control or damaging the paper when you remove it. Of the options I have used, Pebeo Drawing Gum is my favorite all-around choice. Winsor & Newton Art Masking Fluid is another widely available option, while Schmincke Masking Fluid is worth considering when you want more control for smaller details.
The product matters, but so do the paper, application method, drying time, and how long you leave the masking fluid in place. Even a good masking fluid can tear weak paper or become difficult to remove if the rest of the setup is working against you.
Best Masking Fluid for Watercolor at a Glance
| Masking fluid | Best for | Why consider it |
|---|---|---|
| Pebeo Drawing Gum | Best all-around choice | A reliable option I have used for preserving highlights, lines and small shapes |
| Winsor & Newton Art Masking Fluid | Easy-to-find option | A widely available masking fluid for general watercolor use |
| Schmincke Masking Fluid | Fine detail | Worth considering when controlled application is especially important |
1. Pebeo Drawing Gum: My Best Overall Pick
Pebeo Drawing Gum is the masking fluid I would choose first for general watercolor painting. I have found it reliable for protecting small highlights, thin lines and irregular shapes that would be difficult to paint around by hand.
I especially like having masking fluid available for things such as:
- reflections on water
- small white highlights
- thin branches or grasses
- light architectural details
- small irregular shapes surrounded by a wash
I still test it on a scrap of the actual watercolor paper before using it on an important painting. Masking fluid interacts with the paper surface, so something that releases cleanly from one sheet can behave differently on another.
If you are still choosing your surface, see my guide to the best watercolor paper for beginners.
2. Winsor & Newton Art Masking Fluid
Winsor & Newton Art Masking Fluid is another option I would consider when you want a recognizable, widely available watercolor masking fluid.
It makes the most sense as a general-purpose choice rather than something I would buy only for one specialized technique.
As with any masking fluid, I would test it on the paper first and avoid assuming that the same removal technique will work equally well on every watercolor surface.
3. Schmincke Masking Fluid for Fine Details
Schmincke Masking Fluid is worth looking at when small, controlled areas are more important than covering broad shapes.
Detail work can be easier on smoother watercolor paper because the application does not have to travel across as much surface texture. If that is the kind of painting you do, compare hot press vs. cold press watercolor paper before assuming the masking fluid itself is responsible for every difference you see.
What I Look for in a Good Watercolor Masking Fluid
I care about four things more than the name on the bottle.
Clean Removal
This is the biggest one. Masking fluid is supposed to make the painting easier, not pull the surface apart when the job is finished.
The paper plays a major role here. Stronger watercolor paper generally gives you more margin for masking, lifting and other techniques that physically work the surface.
Application Control
A fluid that works well for blocking a larger white shape may not be the one you prefer for whiskers, tiny reflections or narrow architectural lines.
Think about the marks you actually need to make rather than automatically choosing the thickest or thinnest formula.
Visibility on the Paper
Some artists prefer tinted masking fluid because it is easier to distinguish from the white paper while applying it. That can be especially useful when masking many small disconnected shapes.
Predictable Drying and Removal
I want enough working time to place the masking fluid accurately without waiting unnecessarily long before painting.
What About a Masking Fluid Pen for Watercolor?
A masking fluid pen or fine applicator can be useful when your main concern is line control rather than covering larger areas.
I would consider one for:
- fine branches
- thin highlights
- small lettering or architectural details
- reflections and sparkles
- other narrow shapes that are difficult to apply with a brush
The advantage is control. The limitation is that an applicator designed for narrow lines may be tedious when you need to mask a much larger shape.
Drawing Gum vs. Masking Fluid: Is There a Difference?
When watercolor artists refer to drawing gum, liquid frisket, or masking fluid, they are generally talking about products used for the same basic purpose: temporarily covering part of the paper so watercolor does not reach it.
The terminology on the bottle can vary by manufacturer. Pebeo, for example, uses the name Drawing Gum for its masking product.
Rather than choosing based only on whether the product says “drawing gum” or “masking fluid,” I would pay more attention to how easily it applies and releases from the watercolor paper you use.
Masking Fluid Alternatives for Watercolor
You do not always need masking fluid to preserve a light area in watercolor. Depending on the shape you are protecting, another approach may be easier.
| Alternative | Useful for |
|---|---|
| Watercolor tape | Straight edges, borders and larger geometric areas |
| Painting around the white | Larger highlights and shapes you can comfortably avoid with the brush |
| Lifting | Recovering some lighter areas after a wash when the pigment and paper allow it |
| Opaque white added afterward | Small highlights when preserving untouched white paper is not essential to the look you want |
The best substitute depends on the shape. I would not replace masking fluid with tape when I need dozens of tiny reflections, just as I would not use masking fluid to create a simple rectangular border if tape could do the job more efficiently.
For a more direct comparison, see masking fluid vs. tape for watercolor.
Masking Fluid Works Better on the Right Paper
Paper is one of the biggest variables in how masking fluid behaves.
If the sheet pills or tears easily before you add masking fluid, removing dried masking fluid can make the problem worse.
I would be especially cautious with unfamiliar paper. Before starting the painting:
- Put a small amount of masking fluid on a scrap or unused edge.
- Let it dry.
- Paint a wash over the test area.
- Allow the paint to dry completely.
- Remove the masking fluid.
- Check for staining, torn fibers or residue.
If you are comparing watercolor surfaces, my guide to types of watercolor paper explains the broader differences.
How to Remove Masking Fluid Without Damaging the Paper
I wait until the watercolor is completely dry before removing masking fluid.
Then I start gently rather than aggressively rubbing the entire masked area at once. A clean finger or rubber cement pickup can help lift the material once an edge begins to release.
If the paper begins to tear or pill, stop rather than forcing it.
I also try not to leave masking fluid sitting on the sheet longer than necessary. Follow the instructions for the particular product you use and test unfamiliar paper and fluid combinations before committing them to important work.
How to Apply Masking Fluid Without Ruining a Brush
Masking fluid can quickly damage a good watercolor brush, so I do not use my favorite brushes to apply it.
Depending on the mark I need, I may use:
- an inexpensive old brush
- a silicone applicator
- a dip pen
- a ruling pen
- a fine-tip masking fluid applicator
When I do use a brush, I wet it and work a little soap into the bristles before applying the masking fluid, then wash it immediately afterward.
For the complete application process, see how to use masking fluid.
When Masking Fluid Is Better Than Tape
I use masking fluid and tape for different jobs.
Tape works better for straight borders and larger geometric areas. Masking fluid becomes more useful when the protected shape is irregular, tiny, curved or scattered across the painting.
Examples include thin branches, whiskers, water reflections and little points of light that would be frustrating to cut from tape or carefully paint around.
If buckling is making either masking or removal difficult, my guide to stopping watercolor paper from buckling covers that problem separately.
Best Masking Fluid for Watercolor: Questions
What is the best masking fluid for watercolor?
Pebeo Drawing Gum is my preferred all-around choice based on my own use. Winsor & Newton Art Masking Fluid is another option to consider for general watercolor painting, while Schmincke is worth looking at when controlled detail application is a priority.
What can I use instead of masking fluid?
Possible alternatives include watercolor tape for straight edges, painting around the white of the paper, lifting color where appropriate, or adding an opaque light highlight afterward. The best alternative depends on the shape and effect you are trying to create.
Is drawing gum the same as masking fluid?
Drawing gum is a term used for products that perform the same basic masking function. Pebeo calls its product Drawing Gum, while other manufacturers may use terms such as masking fluid or liquid frisket.
Can masking fluid tear watercolor paper?
It can damage the surface, particularly if the paper is weak, the masking fluid has been left in place too long, or removal is too aggressive. Testing the combination of paper and masking fluid first reduces the risk of ruining a finished painting.
Should I use a brush or masking fluid pen?
A brush can be useful for irregular shapes and larger areas, while a fine-tip applicator or masking fluid pen can provide more control for narrow lines and small details. Avoid using a valuable watercolor brush because dried masking fluid can damage the bristles.
My Pick for Most Watercolor Artists
If I wanted one masking fluid for general watercolor work, I would start with Pebeo Drawing Gum. It has worked well for the kind of highlight and shape protection I want from masking fluid without making the process unnecessarily complicated.
More important than chasing a perfect bottle, though, is testing your masking fluid with the actual paper you use. Apply it carefully, let the surrounding watercolor dry completely before removal, and do not leave it on the paper longer than necessary.
For the broader medium, continue with my watercolor guide.