Prepare the paper, immersing and saturating it in a bowl of water. Remove, drain and tape it securely to a board. Leave it to dry flat. Mix the colours. Then brush clean water over the paper evenly with sweeping strokes. Take care to prevent the formation of puddles. Alternatively, wet paper laid flat will cling to a water-repellent surface for a long period of time, not requiring tape. Bend low to the paper and observe the water gloss shine against the light. When the water stops running it is time to start painting.

An undesirable 'blossom' is effected when excess water invaded a darker stroke. The paint fights back as the paper dries around the blossoming slivers of paint, not to be confused with tide mark back-runs. Take care not to allow it to happen. Should the paper begin to dry, there is also a danger of backruns. Leave it until it is completely dry and then re-wet the paper to finish the painting. Do not sweep the brush back and forth over the same area twice so as not to disturb any under-painting. Wet one section at a time and blend and soften any unwanted hard edges. When creating pictures, spend 95% or more of the time considering methods, the why and how and 5% in fast action brushwork.

1. There are also two ways (differing from wet in wet) of delivering paint to paper. They are as follows: Wet brush on dry paper (complete control)
2. Damp brush on dry paper (speckled broken finish - a little control)

Direct painting is also commonly employed for part or all over flat, graded or varied washes on either a varied sloping or a flat board depending on requirements. Occasionally for small areas having definite boundaries.

Another method for the composition of final sea and landscape pictures is a varying combination of the direct and wet into wet approach, first indicating the centre of interest in strong tones on dry paper. Pale loose wet washes in local colours are then painted around the focal point, centre of interest, and completed with finishing 'touches' on dry paper.

The most popular technique of working a picture is to set out deliberately to suffuse and blend the painted edges, preventing the formation of hard-edged divisions. When the paper begins to dry, distant hills and woodland can be over-painted to give them a little shape. Timing is all-important, learned largely by trial and error. Allow the painting to dry. Finish off at the 'centre of interest' whatever it may be by the direct method. The choice of approach and style rests with the individual. There are no hard and fast rules.

Pencil drawing can be and end in itself, an artistic medium of expression and not simply a convenient instrument for the preliminary outlining of a landscape impression to be painted. Lines should vary, thick and thin, light and dark. Shading added to represent tones. Lines of character, not mechanical, it cannot be explained. There is no connection between outlining in preparation for painting and drawing as an end in itself. There is an unteachable difference.

The subject of drawing is beyond the scope of this tutorial.

A soft-haired flat, a fat bellied round and on occasions a flat bristle brush may be employed, mainly as a finishing process to a painting a little before the final dark accents.

The pigment does not fully cover the surface of medium or rough textured paper as the dry brush is stroked across the dry paper. The brush should be laid low, more so than the side view shown. For slow action strokes the mix needs to be syrupy. If a faster speed is required then it can be soupy. Logically watery paint gives all-over covering to stripes with well-defined edges. On rough paper especially, an edge can look ragged and very effective on the outer silhouette of summer trees in full leaf. No absolute control. On a scale of ten, liquid paint dries three to four tones lighter than the paint laid down. It is important to remember to refrain from going into a painted area whilst it remains wet.

Dry brush is really a misnomer. It is never used dry. Dry brush is ideal for showing the sparkle of sunlight on calm or rippled water, broken shadows, furrows in ploughed fields, leafy or fine twigs in trees. It is also effective for spring foliage when the tress are not too far distant and also the surface texture of rough walls and woodwork. The broken speckled effect produced by this technique is most effective on rough textured paper, good on medium and impossible on smooth cartridge paper. The correct method of handling is to lay the brush starved of paint sideways and low on the paper. A sweeping movement will only allow the peaks of the textured paper to catch the paint, not the hollows. The paint mixture should remain sparse unless fast strokes are called for. Dry brush working requires much time judgement. It is most applicable to a painting as a localised finishing process requiring much judgement.

Practise on scrap paper.

In discussing various methods of watercolouring there is a danger of being dogmatic, of laying stress on one particular system to the exclusion of all the rest. The means are only justified by the end results and any method is right and legitimate that attains that which it sets out to accomplish.

When viewing a completed painting it leaves many oil, acrylic and some water colourists puzzling on how the artist obtained the desired effects. It can be devilishly tricky unless techniques are fully understood. Remember that a painting is most vulnerable to spoiling when it is almost dry. In this situation, leave it alone until it is completely dry. Re-wet the area if it should need correction or alteration and begin again.

For camera enthusiasts, it is interesting to note that in the hands of an expert, a camera film will record a scene faithfully in colour but the resultant prints are as mere patchwork stains in a gloss or matt finish compared with the beauty and subtlety of watercolour. Most people, even with good eyesight, are not aware of how very limited the actual radius of vision is when looking at a panoramic landscape. Many regard photography as the most truthful representation of what they think they see. Truthfully, the camera lens creates an absolutely false impression of solid form. When amateur painters copy a colour photograph they tend to do so slavishly, dulling their sense of perception. We tend to become camera-sighted, although our eyes never pick up the minute details as a camera lens, nor as indiscriminately. Make centralization, a centre of interest the aim, a truthful focus of the eye. Farm buildings in a mid distant landscape for example. Each of us to a degree depend on an accustomed and pre-conceived idea of a scene instead of observing instinctively and recording only that which we see. In truth, our eyes have a narrow angle of vision, roughly 20 degrees to left and 20 to the right.

Wet on dry as shown. Mix a strong deep colour in a deep palette. Lay any suitable paper, not too absorbent that is able to retain the paint on a board laid flat. Stand up to it. Use either a 1/2" or 1" flat brush with a sharp chisel edge.

For a new experience, try the many possible variations of flat brush strokes, knife-edged, radial and compounded. Practice to improve handling and then use medium textured watercolour paper. Wet on dry is the only way to retain a sharp edge.

When brushstrokes are applied to wet paper it will give a misty effect over a wide area. A few more on drying paper will give less colour dispersion, a contained blurring. Finally, strokes wet on dry will be sharply defined and result in a three-dimensional look to whatever is portrayed. Vary the strokes slender to wide depending on the near subject (can apply to distant woodland and hills).

It is the principle that needs to be understood for the saving of future time and effort. Method:

1. Lightly pencil outlines only for complicated subjects
2. Prepare clean water and mix colours
3. Wet the paper. Whilst the shine is on the paper there will be maximum dispersion.

Two different colours and clean water are often used. Two brushes require quick cleaning between colour changes to prevent hard setting lines and backruns as the paper begins to dry.

Note: Pale toned leaves are an example of aerial perspective.

Obviously a three-dimensional open landscape cannot be produced with total realism to give them a solid effect on a small, flat piece of paper. The brushwork must at once satisfy the depth of vision into the distance and, at the same time, imitate the various colours and tones appearing in nature which in truth is reflected light.

To achieve the required illusion of space a combination of two main methods are generally employed. They are the 'wet into wet' and 'direct' techniques.

'Wet into wet' spontaneous watercolouring. With this particular method, paint is delivered to paper either by:

1. Wet brush into shiny, glistening wet paper (no control) or
2. Damp brush on to silky appearing damp wet paper (part control)

Watercolours attraction lies in its translucent freshness making it the ideal medium for the representation of atmospheric clouds, mist and fog. The very nature of its wetness on varying dampness of paper allows a wayward free rein of its movement enabling soft-edged diffusions of colour to develop, not possible in other paint mediums. Compared with thick oil paint on canvas which will stay where it is put, there is always a tendency for watercolour to burst away in all directions on wet paper. There are no certain predictable effects in its behaviour. Delicate patterns form of its own accord, exciting to watch, each time unpredictable. Control need not be a problem when 'laying' paint on wet paper provided there is sufficient knowledge and understanding of the subject on the part of the practitioner.

'Wet into wet' painting technique is particularly suitable in the early stages of picture making. A process which means either laying wet paint on to a wet paper surface or using two or more colours side by side, also on wet paper so that they merge into one another (a varied wash.) This treatment is exciting on account of the inter-mingling of rich colour and it is closely identified with wet-in-wet technique. A broad band or spread, similar to a varied wash will result when two or three colours are used of equal consistency. The colours will blend and mix freely as the water begins to evaporate.

Where there are small buildings in landscapes or white sails in seascapes, block them out first either with masking fluid or masking film and/or paint around the larger areas to be left white or light toned. Wet the surface of the paper all over except for the white or light areas. Rich colours can then be laid on allowing them to suffuse and overspread to an extend depending on the saturation or dampness of the paper. Allow the colours to blend and mingle freely without any attempt to define objects in the scene. Always paint from light to dark areas in spontaneous painting (with very few exceptions). Paint the lighter tones of sky and ground all over in the early stages of painting. Add darker tones and some definitions progressively. Maintain soft edges as long as possible. Continue to add or lift off paint passages with a damp brush as the painting proceeds. Resist the temptation to define objects in landscape painting until the last possible moment. Then do so when the paper becomes dry.

For soft-shaped areas, certain skies for instance, the paper is very wet and the paint runny. Water and pigment will flow from the brush by gravity out of control. Wonderful effects can be achieved.

DRY ON WET. The best procedure to obtain a narrow band of diffused colour is to use neat pigment and damp paper. Slightly damp for a narrow band, increasing the wetness of the paper for a broader spread of a desired soft-edged colour.

There are two approaches. The 'direct' and 'wet into wet' techniques, although a combination of these two methods are generally used. It is not in the nature of watercolour to apply thick pigment and this will be understood when all the elements of watercolour are considered in relationship.

Normally preceded by a well-prepared pale outline pencil drawing and then each area is colour painted. For landscapes a single wash process is laid for all flat wash areas, a once-and-for-all covering requiring some added final brushstrokes. Use the largest round or flat brush that is practically possible. Care must be taken not to allow a painting to develop merely as a coloured drawing. Direct, single process painting is a legitimate approach, that is simply painting in separate areas and objects but it approaches mechanical draughtsmanship and is much less artistic than the 'wet into wet' technique. Leave small gaps between adjoining dry and damp areas. Where they accidentally touch, should they both be damp, a small burst of colour will fan out giving a free quality to the painting. Overdone, the gaps can look fussy and restless. Paint up to but never over an adjoining dry area. If it does accidentally happen it will cause ugly lines that do not appear in nature.

First, block out small buildings and walls with rubber masking cement only if they are to be left white and/or paint around the larger areas to be left white. Wet the surface of the paper all over with clean water using either a clean brush or sponge, except for the white areas. Rich colours can then be laid on to the paper allowing them to suffuse and overspread to an extent depending on the dampness or saturation of the paper. Allow the colours to blend and mingle freely without any attempt to define objects in the landscape. The patterns created by the fluidity of watercolour are its very essence and beauty. Always paint from light to dark areas with few exceptions. Paint the lighter tones of sky and ground all over in the early stage of the painting. Add darker tones and some definitions progressively. Maintain soft edges as long as possible. Resist the temptation to define objects in landscape until the last possible moment. Continue to add or lift off passages of paint with a damp brush as the painting proceeds.

It is used to portray the surface texture of walls and woodwork etc. in the foreground. The best effect is shown on rough textured surface paper, tricky on medium and impossible on smooth paper. Lay a semi-dry brush with a thicker consistency paint low on the paper and in a sweeping movement pass it over the area concerned. Only the peaks of the textured paper catch the paint. It is a good method to show the sparkle of sunlight on rippling water, certain shadows, furrows in ploughed fields and leafy tree effects when they are not too distant. It is most applicable to a painting as a localised finishing process requiring much practice and judgement. 

Be advised to learn basic and indispensable comprehensive colour washes as a functional skill. Also to experiment and become comfortable and confident in brushstroke manipulation before attempting to paint full-blown watercolour pictures.

The brush hand to be held clear of the paper for broad washes.

The little finger of the brush hand to be supported by the paper for detail finishing.