How to Draw Tunisian Art

What You'll Need

• •A4 or A3 heavyweight watercolor paper, mixed-media paper, or smooth illustration board
• •Graphite pencil, ruler, compass, set square, fine waterproof pen, and kneaded eraser
• •Watercolor, gouache, or acrylic paint in cobalt blue, turquoise, ochre, warm white, terracotta, and a dark blue or brown
• •Small round and flat brushes, a larger wash brush, a mixing palette, water container, and paper towels
• •Colored pencils or paint markers for crisp tile outlines and small ornamental corrections
• •Digital alternatives such as Procreate, Krita, Photoshop, or Affinity Designer with vector shapes, symmetry guides, textured brushes, and separate color layers

Step by Step

1. 1

   1. Choose a focused composition

   Use a horizontal or square format and decide on one main subject: a courtyard opening toward the sea, a tiled fountain, or a row of arches framing waves. Keep the focal area large and reserve a border around it for geometric ornament. Make a quick thumbnail with three values only: dark arch openings, middle-tone tile fields, and bright sky or plaster. A simple value plan will prevent the final pattern from becoming visually flat.

2. 2

   2. Build the architectural framework

   Lightly draw a horizon line and place one large horseshoe arch or two smaller arches using a central vertical axis. For a horseshoe arch, begin with a semicircle and extend the sides slightly inward before they descend, creating a gently curved, rounded opening rather than a pointed Gothic shape. Add a courtyard floor with receding tile lines, but keep the perspective modest and graphic. Use a ruler for wall edges and reserve freehand irregularity for the decorative surfaces.

3. 3

   3. Plan the mosaic tessellation

   Divide the arch surround, floor, or fountain rim into a repeatable grid of squares, diamonds, triangles, and small stars. Draw the main divisions first, then vary a few tile widths so the surface feels hand assembled instead of mechanically printed. Make neighboring shapes interlock and avoid placing identical colors directly beside one another too often. Leave narrow pale grout channels between groups; these gaps clarify the pattern and make the colors appear brighter.

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   4. Add marine and floral motifs

   Place a band of stylized waves in the distance or across the lower third, using stacked curved lines that alternate in direction. Create fish, shells, or small boats from simplified silhouettes, and repeat them at different scales so they support rather than compete with the architecture. Add flowers with almond-shaped petals, curling leaves, and rosette centers inside selected tiles or along the border. Keep each motif within its tile boundary and use contour lines sparingly for a clean ornamental effect.

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   5. Establish the Mediterranean palette

   Paint the largest areas first: warm white or pale ochre plaster, cobalt for deep shadow and outlines, and turquoise for sea and selected tiles. Use ochre or terracotta to suggest sunlit stone, sandy grout, and warm reflected light. Reserve the strongest cobalt for arch interiors, wave accents, and a few repeating geometric shapes so it acts as a visual anchor. Let some of the paper or underpainting remain visible, since complete opaque coverage can remove the sun-bright atmosphere.

6. 6

   6. Paint the tile groups

   Work one mosaic section at a time, filling adjacent tiles with contrasting colors while keeping the grout lines clean. In watercolor, paint each tile with a controlled amount of water and allow slight tonal variation; in gouache or acrylic, use thin opaque layers and soften only occasional edges. Add a darker side to a few tiles near the arch recess or floor edge, but do not shade every piece equally. A mostly flat color treatment with selective tonal changes preserves the graphic character of the style.

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   7. Clarify depth and light

   Deepen the inner arch and courtyard recess with cobalt mixed with a small amount of dark brown or violet, leaving a narrow warm rim where sunlight strikes the masonry. Place brighter turquoise and pale yellow-white accents on wave crests, tile centers, and sun-facing edges. Suggest cast shadows with broad, transparent shapes rather than detailed realism. Check that the brightest area is near the focal subject and that the border remains slightly quieter.

8. 8

   8. Finish with borders and controlled irregularity

   Create a frame from repeating chevrons, interlocking squares, eight-point stars, or leaf forms, using a consistent outer width. Reinforce only the most important contours with a fine pen or a small brush, especially the arch, fountain edge, and major wave shapes. Introduce a few handmade imperfections such as slightly uneven grout, small color shifts, or asymmetrical flowers, while correcting accidental tangles that interrupt the pattern. Step back frequently and remove details that do not improve the overall rhythm.

Going Digital

In digital painting software, separate the work into layers for architecture, tile grid, motifs, color fills, shadows, and texture. Use vector or selection tools to construct the arch and repeatable geometric tiles, then apply a slightly grainy brush or mask so the edges do not look sterile. Turn on symmetry or snapping while building the framework, but disable it for a few hand-placed floral and marine details. Add a low-opacity paper, ceramic, or plaster texture above the painting using Multiply or Overlay, and keep the palette limited so the image retains cobalt, turquoise, ochre, warm white, and sunlit Mediterranean contrast.

Common Mistakes

FAQ