Draw four 2 to 3 inch circles or squares (approximate) numbering them from 1 to 4 and brush over them with clear water. Immediately spot in a deep intensity rich tube paint with the point of a damp brush in the centre of square 1 and observe the paint as it runs away in all directions. Repeat this on 2, 3 and 4 squares at regular intervals, merely touching the brush in the centre of each area. Note the diffusion. It will be greatest on circle or square one. The amount of runaway paint will decrease with time on each area. It can be so time spaced, say 1 or 2 minutes equally, that by the time area 4 is reached, the paper is dry and the dispersion nil. Draw up to 10 circles and observe runaway paint employing this principle.

There is a precise moment for paint laid on wet paper when it is in a certain state of drying to bring about a required result. It should be the endeavour of a water-colourist to study every phase of the medium to foresee the results of every condition as it is worked, checking the accuracy of the results that follow each method of laying on colour. These are not the tricks of the trade but a necessary part of the practical knowledge and skill of the painter. What may appear as a 'fluke' in the quality of a fine painting is rarely a chance blending and running together of liquid paint, rather the result of knowledge and careful study. This knowledge, although not an exact science, will prove invaluable in the long run. There is no need to delve too deeply into the subject so that it becomes tiring and boring. Apart from the materials and handling, there is neither a definite beginning nor an end to technique, nor is technique an end in itself but a means to eventually express original ideas. Each aspect becomes an integrated part of the whole of picture production. As a complete beginner, try to assimilate the included practical knowledge a little at a time. With application, progress will be made. It will soon become evident from the results of random and other tests on textured paper, because of their resemblance to landscape appearance, they can be used advantageously to represent skies, trees and light on water. If there are no buildings to be portrayed any random runs of paint may be incorporated into the picture. View other artists' original paintings and figure out their methods of handling to achieve particular effects.