It has already been established that the reader is not presupposed to have had any real drawing experience, therefore short cutting methods are offered. Many established artists may disagree with some short cutting devices, disregarding the fact that most amateurs approach drawing and painting not too seriously, as a fun activity. To have an opinion without dogma is a healthy sign. If you have neither drawing experience nor any idea of where and how to begin, do not be afraid to copy other artists drawings and paintings as a means of getting started. The principle of using various elements from the works of different artists to form one picture, known as 'pastiche' is well established in the history of the art world. Copying by pencil tracing and transferring it to a watercolour sheet is relevant and acceptable in the pursuit of painting for pleasure. Avoid disillusionment. Only venture outdoors to compose pictures from nature when you have sufficient working knowledge of drawing and painting and feeling confident of holding a pencil or brush in an unselfconscious manner. Ideally this is when the hand is self-taught to perform whatever is determined by the mind so handling will be free and without constraint.

The use of devices and 'tricky dodges' that are able to overcome some of the difficulties presented by nature are liberties that may be taken. They should not be ridiculed but beware of their overuse. Far better to draw naturally than depend on contrivances and slick methods.

Tracing is a legitimate method of getting started, not to be ridiculed even if frowned upon, provided it is not practised indefinitely. Choose a simple landscape picture from a countryside picture calendar, sports magazine or any suitable scene that you are able to trace in main outline. Overlay the chosen scene with a sheet of transparent tracing paper and seal down the corners with adhesive tape to prevent movement. With a sharp pointed HB pencil and even pressured strokes, trace the main outlines freehand, to be used as guidelines for the final painting. For instance, natural divisions such as horizons, woodlands, lakes, walls and buildings. Defining the main outer edges is sufficient. Omit all insignificant items and details. When completed, reverse the tracing paper and scribble over the pencilled lines with a softer 2B pencil. Turn the tracing paper right side up to cover and transfer these skeletal outlines to the sheet of watercolour paper. Retrace the outlines, using just enough pressure to effect the transfer of the pencil graphite but not enough to indent or bruise the delicate surface of the 'Bockingford' paper. Finally, remove the tracing paper. Avoid messy carbon paper. Lightly and neatly pencil in more construction lines where they prove helpful, ready for the painting to begin. Minimal construction and direction lines should be drawn with one movement of the arm, from one point to another, not dragged along in a hesitant way. Draw with equal pale consistency throughout. The main weak pencil boundary lines enclosing areas and such forms as buildings cease to exist in the finished tonal painting. Simplicity is the keynote.

It is an easy matter to fit an irregular size picture to a watercolour sheet. Simply extend or shorten the pencil guidelines. An exact copy is not essential. Aim for originality as soon as you are able. Outline drawing only and paint in three tones of one dark colour and the white of the paper. The picture in monochrome will be surprisingly effective, far more so than if masses of colours are used. Draw freehand and from nature as soon as you are able so that you do not become dependant on any one easy system of drawing.

A table lamp, top left of centre in the photo through a strong contrasting shadow on my boots to give an in depth look rather than a flat cut-out appearance.

Especially in the morning and late afternoon, the parallel rays of sunlight are most helpful for the portrayal of sunlight and shadows appearing in landscapes and will best establish the representation of undulating landforms, giving life to a painting that otherwise might appear dull in comparison.

A waterproof Indian ink outline over a tonal wash is a technique employed where clear, dark outlines are desirable. Dark pencil outlines are not suitable. The marking graphite of the pencil greatly reflects light from certain angles of viewing and is apt to smear at the time when the final colour washes are 'laid-on'.

First pencil in the complete drawing, not overmuch so preventing loss of impact in the finished painting and then loosely brush on the tonal wash.

Finally pen-line over the wash, sepia or black Indian ink, varying the line in thickness and intensity (diluted by water) weaving the pictured landscape into a harmonious unity. These varied lines, light and dark, add expression and life to this style of working. It also reduces the tendency of pen lines to produce a hard-looking wire framework appearance. Permanent ink ballpoint pens are inclined to gum up and fail to work at crucial times. Most satisfactory are flexible dip pen nibs using black or sepia ink. There are no set rules. Ink outlining over a colour wash is preferable to filling in areas between boundary lines, as a result, a colour tinted drawing.

All the principles and elements apply which go to make up landscape composition such as balance and perspective. Style is a matter of personal choice. Style and inventive vision, cannot be taught, it must be cultivated.