In simple terms, watercolouring may be defined as laying 'brushstrokes and marks' on white or a very light coloured paper. Unlike a writing pen or pencil, a brush may be held either high, midway or low on the handle in a variety of ways.

For an all-over-paper coverage, a large brush should be held near the top of the handle with the arm extended from the shoulder to make the initial broad strokes, a sweeping movement steadily across the full extent of the sheet, varying the slope of the brush where and when necessary. Hold the brush midway on the handle, bending the elbow slightly for lesser sized areas to be painted. Finally, holding the brush low on the ferrule, move only the wrist and fingers for the final detailed finishing 'touches'.

Experiment and experience regular brush handling and paint mixing as soon as possible before making an attempt to paint pictures. Observe the results of slow and fast action strokes, varying the angles and holds. Employ round and flat brushes, paint single strokes in all directions, just touching but not over-lapping the strokes. A large, well-pointed round may be used for fine and subtle outlines. Fill in small, odd-shaped outlined areas, not straying over the edges. Using a large round, draw thick, thin and tapering lines with the side and point of the brush. Particular strokes related to specific paint consistencies will always react in a predictable manner and they should be employed advantageously to create pictures. There are so many variables in watercolour it is near impossible to repeat desired effects exactly and this is another aspect of the originality and fascination of the subject. Habitually test for the correct tonal mixture on scrap paper before applying it to a final painting. Keep the brush moving without faltering in whatever direction is needed. A single sweep action rather than several. These operations need to be well thought-out in advance, backed by sureness of control. Any delay during the sweep will cause an unwanted spoiling 'blob' releasing extra paint runs from the hairs on to the paper. Lower and lift the brush clear without hesitation at the beginning and end of a stroke for the same reason. A brush should not be allowed to run dry, with the exception of 'dry brush technique' used as a finishing process (discussed later).

A VARIETY OF BRUSHSTROKES made with the heel of the brush low on the paper. Move only the wrist and fingers. The tip of the brush should form a sharp edged line on dry paper, pressing on the heel to create a variety of dark or light graduated tones. Turn the paper around where awkward or clumsy strokes are involved, rather than twisting the brush hand. Rest the underside of the hand on the paper to steady the shorter strokes.

The manner in which a flexible soft-haired brush is held and the consistency of the paint mixture it holds, the way it is delivered and moved over the surface of the paper gives each stroke individual effect. Patiently practise on a regular basis if possible.

1. A bone dry brush will not pick up water
2. A saturated full-charged brush will not pick up water
3. A damp brush that touches water will allow water to flow up into it

Anytime a paint-charged brush touches paper, the water in it is either going to move from the brush to the paper or from the paper to the brush. It will move into the drier of the two. However in the use of non-staining liquid colour (fine particles suspended in water), the pigment will be deposited on the paper whichever way the water flows. The practical application of this happening is so very important. A damp dry brush on wet paper is often used to remove unwanted paint.

With a moderately charged flat brush held low by the ferrule, almost parallel on the paper, a slanted brush will skip across. The paint is applied to the paper by the broadside of the brush, not the tip. The not too liquid paint has little chance of settling in to the indented surface of the paper. The paint only catches the high points giving a textured effect depending on the patterned texture of the paper surface and resembles glistening sunlight on water. It is the result of a brush being dragged quickly over the surface of paper that has 'tooth'. Vary the slope of the brush from vertical to low on the paper to change from a solid stripe of paint to a textured stripe and vice versa. Try different rhythms and speed, altering the slope of the brush handle without lifting it off the paper. Turn a flat brush gradually through 90 degrees or less to widen or narrow the width of a stroke. Repeat these trials with a large round brush.

This must be carried out whilst the paper remains wet. Paint away and from the area in question. Speedily rinse the brush in clean water and then wipe it on a clean rag to remove excess water. Carry the damp dry brush along the wet edge to be diffused. Continue to rinse the brush and extend the weakened blend until it has lost its crisp edge. Do so quickly. A hard, unwanted edge will form if it is allowed to dry. Blending too slowly will create hard edges (breaklines). Edges will set and not be extendable. 'Backruns' or 'flowering', all undesirable effects may easily happen.

However helpful it may be to observe professional artists at work, demonstrating actual paint mixing, brush handling and producing simple pictures, in the final analysis is the best way to learn is by constant practise. Make these tests and the most commonly used brushstroke marks for they are the very fundamentals of watercolouring and a suitable introduction to painting. Development of skill may be assured provided time is given to patient practise.