Manual dexterity in brushwork is not involved in this case but it will demonstrate the effects of watercolour at its best. Indiscriminate daubing is not an option. Make a series of experimental tests, specifically dripping paint on to paper. Take a small sheet of stout cartridge paper (with a little surface texture rather than smooth) and with masking tape attach it to a board. Choose two contrasting colour pigments and mix them in separate palettes. Make sure the brush is washed with clean water between the colour changes and free from any tiny amounts of undiluted paint. Gently stir one of the liquid colours until the brush is well loaded with paint. From the held upright fully-charged brush, use thumb and first finger to squeeze drip liquid paint on to the paper. The paper on the board should remain level and horizontal. Working quickly, drip the second colour beside the first, close enough for them to touch. Observe the behaviour of watercolour as the two colours merge. Observe only, without concern for the end results.

Repeat similar tests on suitable prepared paper and this time use three contrasting colours. If you have only one or two large round brushes, work quickly to swish clean and damp dry each one for colour changes. This time dampen the paper all over with a sponge up to the taped edges. Do not over-wet or buckling will occur on thin paper. Squeeze, drip and spatter paint freely for experimentation. These tests will give meaning and expression to the "paint laid-on" phrase. To "brush on thick paint" in the everyday sense, such as painting and covering woodwork and leaving brushmarks is opposed to the transparent medium of watercolour. Make further tests on dampened paper but this time make equal time delays in the operations of paint drips on and between each of the sheets and note the results as the paper begins to dry out. Make more playful tests. Confidently drop-in thicker consistency paint (more pigment to water ratio) into some painted areas whilst the paper stays damp and then leave undisturbed to dry (soft-edged dark cloud effects in skies). The timing, that is the rate at which colour disperses on drying paper has practical use in estimating the speed and spread of soft edging. It has a relationship to atmospheric effects in distant landscapes. The object of these test are to demonstrate that laid on brushstrokes and 'touches' are best indicated featherlight to the paper. They also demonstrate the transparent luminosity of watercolour. Such tests can teach more than words can say. Do not undervalue these or any other experimental tests. They are designed to increase confidence so that you will not be hindered by lack of first-hand knowledge and understanding of watercolour's behaviour before you begin painting pictures.