Presumably readers will eventually read and work through this guide taking or leaving from it whatever is required to progress. The recommended advice should be used as a starting platform and as contradictory as it may appear, no cast iron rules are made. A hard and fast tight set of rules is not intended. In the realm of watercolour individuals must ultimately find their own way. The technical possibilities are truly without limit.

The world of picture making need not be limited to professionals, art college students and elitist groups, nor does it recognise national and social boundaries. All those who are prepared to practise and accept that discipline and skill are needed to produce even modest watercolours, may share it. An affirmation is once again made that the ability to paint is not inborn. It is less of a heaven sent gift, more the ability to read the view and image before the eyes and to make a simplified drawing of it. Do not be detracted and discouraged if early results fall short of expectations. Dissatisfaction is an indication of learning. Any step towards proficiency is well worth the effort and satisfying. Be open minded, ever ready to receive and consolidate new skills. Master each operation and procedure by generally obeying its laws in spite of some contradictions. In later stages become freer, accepting only that which suits your purpose. In doing so it will open up the field of watercolour to unrestricted possibilities. The aim is to stimulate feeling and loving commitment for this most enjoyable subject.

Brush handling technique and watercolour control is one aspect of painting and the other is creative originality, neither taking precedence. Anyone can learn technical know-how with the aid of books, either by employing suitable methods of copying or by proven conventional means to produce simple pictures. As useful as it maybe as an aid, a book alone is unable to teach anything. It is that which you are able to teach yourself that counts. Any endeavour to explain systematically 'how to do it' by formula and rules, would give rise to a paradox , contradicting much of what has been said previously. It is not 'How to draw and paint', rather 'LEARN how to draw and Paint'.

Reiterating for emphasis. Painting wet into wet is a most favoured method, running colours all over the sheet. Controlling the accidental chance effects along with a mastery of materials will produce quality pictures. It is an elusive knack by the skill of top artists and it remains indefinable

Established artists have had to face the problems that bedevil all newcomers. Be encouraged. The promise of reasonable watercolour pictures will be realised given time. Learn technique, it is of paramount importance in the pursuit of traditional and conventional landscape representation. Develop perception and originality to go with it. Overcome the tendency to see with camera vision. Be selective in the choice of composition. Explore and observe the beauties of nature and be richer and happier for the experience. Although extremely time consuming, learn the predictability of watercolour by constant use and control of brush and paint mixing. Preserve the true qualities of watercolour which are spontaneity and freshness. Self-consciousness will fade and in spite of early floundering, self-doubt and copious wastage, individual skill will eventually develop. Confidence will be gained, replacing doubt and hesitancy with sureness of control.

Skilful proficient technique without artistic vision will only 'take in' the inexperienced and not the professional art critics. As far as I am aware there are two schools of thought pertaining to modern art. One is that highbrow intellectual thought tends to dismiss realism in pictures as illustrative and decorative, commercial and unworthy of serious consideration. On the other hand, the majority of the public appreciate and enjoy recognisable landscape pictures which can remain realistic, as seen and unaffected, stressed at the centre of interest, translated as an impression and modified by the technique of the artist in a unique manner.

How wearisome and boring this complete text must be the to the disinterested. How lyrical and uplifting the subject is to the initiated in truth and action. For myself, mentally tired and exhausted, if I were to proceed further with this project I should scream. In the future, I intend to leisurely carry on watercolouring as long as I am able to do so.

Many believe that incompetence covers up some types of modern art, bowing to the needs of fashionable fads and the 'wayout', perhaps the over-the-top opinions of experts. These days, I am bamboozled by that which passes for art. True art is timeless and unfathomable. A creative mind working as one with a skilful brushhand is the supreme condition attainable. There is no more civilising force in life than art. Finally may I highly commend watercolouring and make a wish that you gain great pleasure and success on a very pleasant adventure. God be with you.

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