The subject matter of traditional and conventional watercolour is built upon the compounded knowledge and experience of many generations of past and contemporary artists and teachers sharing similar persuasion. It contains a vast wealth of treasured but fragmented information, mostly to be obtained in bookshops, libraries and artist suppliers. By its very nature, the commonly held knowledge of watercolour can never be found within the covers of any one book. This guide, albeit downloaded from the Internet is not an exception, nevertheless an attempt is made to tie up some loose ends and bridge a few gaps of vital information that are occasionally overlooked.

Considering the project overall.

is primarily a reliable self-paced tutorial for complete beginners.

Remain patient. Read the lengthy introduction. It should not be missed, for it contains significant words that give essential understanding to the subject of watercolour before any attempt is made to begin. Thoughtful processes are involved, saving time in the long run which otherwise would be wasted. It is a critical issue.

As a tutorial, it has been designed to meet the essential needs of aspirants, most favourable for those who are seriously but light heartedly contemplating the adoption of watercolour picture making as a pleasurable hobby. Most people, regardless of age and social background, possessing average intelligence are able to cope and become effective watercolourists provided the guidance is sympathetic and easy to follow. The initial proposed methods of working are commonplace and deal chiefly with preparation and procedure. This approach to the subject will prove helpful to all those anxious to begin but show reluctance and timidity in making the initial effort. Obviously, a practical guide such as this cannot be considered as complete, nor can it be written in a purely objective manner for it would ignore all other methods. For this reason, it would be unreasonable to point out a particular technique and say, this is the way to paint in watercolour.

The best way to benefit from this tuitional aid is to read through it, a few pages at a time. Dip into it here and there, bit by bit. Read it carefully and then use it for reference until no longer required. Absorb into the mind the meaning and understanding of watercolour and in your own time learn to control the medium, that is the actual means of applying paint to paper. The ultimate aim is the creation of mainly sea and landscape pictures and in so doing remove any mental barriers that may deflect from this purpose. The very act of observing the various sizes, shapes and colours of trees and buildings and whatever else appears in a broad landscape can be awe inspiring. Any first attempt to translate such a complex panorama by means of liquid paint to a white sheet of paper, would be unsuccessful.

Unfortunately many would-be watercolourists suppress the anticipated pleasure to paint for a variety of unfounded reasons. In addition to a general lack of confidence, the main reasons for not painting are either the fear of failure, or not knowing how and where to begin or the thought of looking foolish, being held to ridicule by family and friends. These sentiments, commonly shared by all beginners are usually expressed by an unwilling attitude rather than inability. Countless people protest in similar words as the following, "For the life of me, I wish I could paint, but I'm not able to draw a straight line." This will be proven to be invalid, without foundation. Artists are not required, nor is it possible to draw perfectly straight lines. A predominant but mistaken belief held by the public at large is that the ability to paint is either a "natural inherited gift" or a "God-given talent". This is simply not true. Very few people have natural aptitude. Paint mixing and brush- handling technique is a skill and craft to be learned. Strictly speaking it has to be learned. It cannot be taught. Nevertheless, simply acquiring a high standard of skilled technique is not enough. It would remain useless to the painter if the individual concerned did not have the foggiest idea of what to do or make of technical skill in actual picture creation, which is the ultimate purpose. Imagine the chaos of a learner car driver, having read the Highway Code, even with experience at the controls , venturing into the rush hour traffic of a city centre. In a similar manner, imagine the chaos of a painting beginner, expecting to perform as a creative artist, failing from the word go, finding it a hopeless impossibility. The cultivation of any new form of interest of this nature is not really an activity that can be entered into lightly or quickly by whim or command of the will. Neither has a brush any magic power of its own to create pictures, although it may appear to be so in the hands of an expert. Acquiring the skill of brush handling and especially the art of composing pictures, even with a willing attitude, takes diligent practice. It has to be regularly worked at in one's own time and speed until it becomes second nature.

It is not a question of thinking you can do it. You can and I know it, provided that you are prepared to follow the given instructions and apply them. The validity of this statement may be attested. The very fact that you are continuing to read this text is proof of interest. Once again, materials and methods are described and the art of creating pictures is explained as far as it is possible to do so. The downside is when theory goes at a faster rate than the execution, that is the 'doing' of the painting. Theory is not enough.

With respect and without condescension, an assumption is made that the reader is amongst the many for whom this book is written - inexperienced and without previous knowledge of watercolour. Approaching the subject for the first time, possibly believing it to be shrouded in mystery, it is only natural to feel apprehensive, inhibited and despondent, especially when operations do not go according to plan. With few exceptions, they do go wrong in the early stages. A dangerous reaction may result from it and painting could well become tiresome. These setbacks can be overcome as part of the learning process. At the outset therefore, it is advisable to clear the mind of preconceived ideas and misconceptions, otherwise painting may be prevented in the first place. It is important to adopt an attitude that generates a feeling of warmth appropriate for self-teaching, sustained by will to take up the challenge of watercolour. Contrary to popular opinion, painting with watercolour is not so difficult when a few elementary procedures are observed and carried out first. Problems only begin if the subject is rushed into without forethought and pre-planning before paint is laid to paper. Despite doubts of capability and fear of failure, adult beginners often retain an underlying desire and keenness to learn when it becomes evident, at least as far as sea and landscapes pictures are concerned, they can be produced with minimal or without the constrictions of pencil drawing. Never grind away struggling with pencil and brushwork in painstaking exactness.

From the standpoint of a beginner the purpose of painting is the mastery of technique so as to advance and enjoy it without the retarding handicap of repeated failures. It would be illogical to waste time and mental energy misusing materials and misdirected procedures for which there is no practical use in picture composition, but it is a common occurrence. Beginners may fail through lack of preparation in the expectation of achieving good results quickly. Practise and patience is the only guarantee of success to ensure added pleasure. In discovering the world of watercolour it is advisable to reduce the risk of repeating errors by resisting the temptation not only to skip over pages of vital information but also to withstand any attempt to paint impossible, over-ambitious and detailed subjects. Keep them simple to avoid disappointments and to reduce future wasted time and effort. Approach the subject in as simple and unattached manner as possible

The aim is to spotlight and clarify the principals which govern chiefly the creation of sea and landscape pictures, furnishing and recycling information regarding the tools and materials required with suggestions on how best to use them. There are no cast iron rules or formal treatment. Rules are found to be full of contradictions that may be broken provided that they are understood in the first place. Everything written is not necessarily gospel. Self-teaching is ultimately individualistic, having an advantage over other forms of teaching, inasmuch as it can be practised in one's own time and convenience. It does require critical self-assessment. Each painter develops his or her own style, which is easily recognisable and as autographic as handwriting.

If your are isolated from painting classes by self-imposition or some form of handicap, there is within these pages sufficient non-exclusive information to learn an overall system of picture making, simple in design and execution. It has no pretensions beyond basic principles or claims to finality, nor can there be any final words. It is not intended as a hobbyhorse for theories and methodologies, for there are no set definite standards. Nonetheless, the well-proven methods proposed throughout relate to traditional concepts without frills and gimmicks, neither mind-stretching nor infallible. They are not modern or trendy but they do form a sound basis for all systems of painting and this is the prime concern. Whilst imparting my own stamp of presentation and style upon them, they cannot be original in the absolute sense of the word for every artist shares, borrows and owes something to the commonly held knowledge of the past. I hope it is immediately intelligible. The bulk of the material may be found in both relatively new and also half forgotten out of print books. Apart from personal experience I have leaned on the work of numerous artists, writers and their publications to whom and for which I acknowledge with respectful gratitude.

Laid down rules, if accurately followed would not be truly helpful, in fact it would be a drag on progress and induce self-consciousness in the beginner. All knowledge relating to the creation of pictorial art, landscape or still life, (bowls of fruit, flowers in vases and so on) must become as second nature before it is really helpful, otherwise it would not be progressive. However by using the proposed advice with discretion to suit personal needs, progress will be made. Obviously a tutorial or any similar book of this kind, no matter how comprehensive, can never fully cover every aspect or explain and teach watercolouring. Only paint mixing and brush handling, the act of "doing" will achieve competence until it becomes a sub-conscious action, as easily as writing your own name. Words and illustrations, limited as they are, can only hope and suggest a union of vision between reader and text. It must be experienced, nevertheless the path to proficiency will be made easier with guidance. It is remarkable how much practical insight can be gained by first reading up on the subject before picking up a brush. To simply try one's hand at watercolour is, at best, a very chancy "hit and miss affair." Mishandled, it is by repute perverse and wayward. On occasions it will run into an area where it is not required to create an unsightly mess. Brushstrokes have to be planned in advance to ensure their exact placement, the shape they should be and as near as possible to the colour intended. However, provided certain practices in brush manipulation and paint handling are employed, the desired results will be fairly predictable. Be resolute in resolve to control watercolour. The time factor related to the speed of drying paint on pre-wetted paper is both its charm and difficulty. Provided there is a willingness to follow the proposed guidelines, it can be convincingly proven that developing skill to competency can be steadily attained. The application of the suggested methods should greatly reduce any problems encountered in the early stages of learning. To this end it is hoped that guidance will prove helpful regardless of age and without formal training in art. As a self-taught amateur watercolourist I am acutely aware of the many stumbling blocks which need to be counteracted and overcome. Useful information is offered and suggestions have been given without wordy padding, sifting only the essentials. The subject of watercolour is so vast its coverage is, of necessity, superficial. Neglecting early stages of study arrests development.

If your are truly looking for a satisfying hobby, perhaps disenchanted by some aspects of the ready-made entertainment of modern society, especially television, anaesthetised by pop music or fashion, you will find freedom in the gentle activity of watercolour painting. It is a totally absorbing exercise for the mind, neither childsplay nor a "dry as dust" subject nor does it require a 'museum' attitude to art. Whether young and fit or of senior years, perhaps invalid or housebound, painting is a rewarding occupation which I personally find to be extremely therapeutic, promoting health for mind and body. Creative art is one of the best medicines for sicknesses of the mind. It is not simply a time-taking pastime but a recreation which generates a feeling of well-being, the most fruitful of all hobbies. Certainly it is a peaceful activity in a troubled world.

The task ahead is to guide and to put a finger on the pitfalls which prove to be the most troublesome, answering the questions most likely to be asked. An attempt is made to express much that one would expect to receive from an art teacher on a one-to-one basis. Interests will be well served by first reading through the text religiously and returning to it from time to time as the need arises. Each section is interdependent and together they form a whole, always at hand, acting as a ready source of reference. There are no distinct demarcation lines between the various elements comprising watercolour in fact they interweave and to a certain extent are fragmented. The noticeable repetition of essential information is planned as an aid to memory. Advisory hints and suggestions should be accepted as an incentive to experiment and stimulate further interest. Self-teaching comes from each new experience. It is emphasised that the best way to benefit from this tutorial is to make the effort to read and absorb the gist of it, a few pages at a time. Learning by reading is not experience, nevertheless guidance will greatly reduce "trial and error" testing times. Everything needs to be tested and proven. Memorise and build a reserve of knowledge to call upon whenever required.

When reasonably adept and comfortable with brush handling, the door opens to the creation of simple pictures. This involves considerable time observing, thinking and contemplating the subject to plan an approach before brush is laid on paper. During the painting process mishaps will be made. They are unavoidable. The answers and remedies to these problems will be stored in memory ready for the next attempt where similar conditions prevail. Over a period, a series of paintings should be made of the same subject, improving each time, relying on the stored memories of fault finding and correcting experiences. Common errors are described and corrective measures are explained.

An 'unthinking approach' is generally unsatisfactory to say the least.

Pleasure comes when all the observing, thinking and struggling extensively with experimentation come together and when the last painting, either in a series or alone appears to be effortless. And so it goes on. A continuous learning curve, taking pleasure and extreme satisfaction in the gradual attainment of skilled ability. This rounds out the significance of patience and the willingness to work.

Impatience to get ahead is the greatest enemy. A real hazard in the self-teaching of watercolour is to tackle it in spasmodic disorganised rushes. The exercise of patience and self control will help to overcome setbacks. Mistakes are inevitable. By making mistakes, learn to avoid them. The person who never made a mistake never made anything. Everyone is bound to make mistakes so do so cheerfully and learn something from them. Repeat, forego any early attempts to paint impossible full-blown watercolours until the trial tests have been made. The painting experience is an activity requiring discipline. By any standards, success must be slowly won. I have assumed that the majority of readers are uneasy in mind but truly desiring to learn and develop reasonable painting skill, a requirement before tackling the composition of simple pictures. I have also taken for granted that they would be willing to undertake a few useful exercises. The suggested tests should not be side stepped if you want the most rapid development. Seemingly unrelated tests will fall into place, contributing to a complete picture, whatever it maybe, provided the tests are practised and understood. Without the will to work, nothing of value comes into existence anyway. From the start, try to understand the fundamentals by systematic trial and investigation, a constant theme throughout. The root of all good painting lies in the basic and broad principles of conventional watercolouring, the elements of which always remain constant May I venture to say that in a small way the contents of this tutorial should teach as much of what painting is as well as it is not. Hopefully, at least it will benefit some uncertain beginners in familiarisation with the subject, lessening any vague thoughts that may be held regarding watercolour. Much is left unsaid. More would create confusion. Make the effort, a little at a time and gain insight into a new world that can last a lifetime. Maintain interest - not discouraged by failures. This guide is concerned with technical aspects of watercolouring as well as gaining an all important 'eye' to create land and seascape compositions.

Overcome any lingering doubts. Practise and improvement will surely bring success. By accepting reasonable advice, effective and interesting pictures will be created. Overcome scepticism, using knowledge as it accumulates to give your ability a chance to develop. The passage of time and dedication will ensure passable watercolours. Consistency and flow will improve without stumbling on. The ultimate aim is to enjoy painting as an end in itself and by regular practice to become reasonably proficient. Creating pictures is an inherent part of our civilisation and an important aspect of culture. It is not escapism from everyday life but rather a voyage of discovery. May I also offer encouragement and good luck to help you on the way.

For the benefit of the ever-increasing number of amateurs who follow popular watercolour tradition, there are many excellent books on sale containing step-by-step demonstrations. Produced by highly rated and credited artists, these books are of invaluable assistance. Monthly magazines such as The Artist and Leisure Painter are also highly recommended reading. In riding and pursuing a hobbyhorse of self-education, I have tried to keep a controlled rein and hopefully evaded the danger of riding the watercolour subject to its death. Most of the following text is instructional and requires the reader to focus the mind and attention on the subject of materials and the non-exclusive methods of working. Develop an attitude and aptitude that takes thoughtful heed of the recommendations and act upon them to gain substantial success.