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There is an element of magic to watercolor. Oil is the most "forgiving" medium; watercolor is called the "thinking man's medium" (which I of course extend to include thinking women) The paper chosen is an important factor. The watercolorist must learn to let the paper work with the paint, and to have patience as it dries.Typically, the paint will dry lighter than it looks when it is applied. The magic comes when the paint and paper work together, producing some really extraordinary effects not achievable in any other way. Different papers react in very different ways, and it's only through experimentation that this is learned. Different brands and grades of paint will give different effects also, although perhaps not as dramatically as will different papers. Often, pencil lines will be visible in the finished piece, and these are considered an element of the painting, although this does not put the piece into "mixed media" category.
When I choose to paint on smooth Bristol board I add a bit of opaque gouache white to my paints. This slightly dulls the hue, and in contrast to transparent watercolor, the paint dries slightly darker than when applied. This technique allows me to remove sections, and to paint over sections, much as an oil painter would. A watercolor painting is always framed under glass, with a border (mat board) around it to protect the surface from contact with the glass. I always frame with plain, single-strength glass rather than non-glare, as I prefer to let the colors show their brilliance even though there will be that annoying glare. As with any painting medium, the brushes are key, and expensive. With care they last a long time; I still use my first one-inch flat, purchased 30 years ago.
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