Tone is any tint (relative lightness) or shade (relative darkness) of any similar colour. Liken tone to weak tea without milk (light) through varying strengths to strong tea (dark) tones. Theory and practice are keyed to understanding the varying depths of tone that will enable one colour to represent nature's landscapes (similar to black and white photographs through shades of grey). When an impression of a viewed landscape is portrayed on a flat sheet of paper, the introduction of light and shadow (shading) will appear to turn a flat pattern of coloured shapes into the depth and realism of the three dimensional natural world. This important factor achieves unity and contrast to a picture. The most highly finished and elaborate landscape pictures in colour are but conventions at best as they are the representation on a flat surface of paper, drawn or painted to appear as if they were solid. Line drawing is even more a matter of convention and the most simple method of depicting ideas and objects. Regarding technique- line is essentially a convention because lines do not exist in reality. They must be depicted as the boundaries between different tone values, the edges of adjoining areas of light and dark tones. Tone for the painter is the art of making clear painted statements in flat toned areas, co-ordinating them and using this capability to see nature in terms of lightness and darkness. Tone is able to give depth to a painting and generally pull it together overall. Shadows are an important element of composition and it is best to establish their limits in pencil from the start. Shadows can be in different light or dark tones or colours. Differentiate between them.

Multicolouring without previous experience of monochrome painting will inevitably cause colour disharmony and unsatisfactory results through lack of tone control. Obviously colour harmony is not a problem in one colour painting.

Practise and experience painting in half tones. Any dark colour will give adequate contrasts. Half tones are not literally midway but any depth between white and not reaching the limit of black. More than one colour can only add and confuse to the trials of learning.

There are an infinite number of vertical planes associated with aerial perspective from near to a far horizon. A well-trained human eye can only see up to seven or eight distinct variations. In practise, two or three half (mid-tones) are enough to cope with, increasing to three or four in addition to the white of the paper with increasing experience. 

Construct a tone chart of two distinct half tones between the deepest dark of a liquid colour and the white of the paper. Make ready the three required wash mixtures in separate palettes and test them first on scrap paper for their correct depth of tone before using to create a one colour painting. The basic quality of watercolour is directness of statement, therefore try to establish flat, even washes through each consecutive tone. Aim to establish the correct depth of tone the first time for each of the three washes. Excessive correction tends to muddiness and destroys pristine freshness.

TONE CONTROL of the lack of it can make or mar an otherwise good painting. The eventual making of passable watercolours will depend on the ability to represent colour and tone correctly the first time. When observing landscape for the purpose of creating a picture try to dismiss that you are considering colours, whereas they should be regarded as stages in a scale from white to black. Colour in nature is very fleeting. Tones are hard and fast.

One of the most difficult problems for the amateur is to obtain light and dark tones without losing the colour for the reason that the subject of tonal colour is seldom understood. Often the attraction of colour diverts attention from the tonal scheme that should be given priority before attempting multicolouring. Impatient beginners often fail to analyse correctly the tonal and colour aspects of a landscape to be portrayed.

COLOUR INTENSITY relating to a watercolour means brightness or dullness.Nature's landscapes presents a tonal and a colour scheme of intensities. Constantly changing illusory light and shade, more so than colour are essential to create a look of reality to a painting. Be sure to experience lots of monochrome painting before tackling colour. It is advisable to have a clear-cut idea of a viewed landscape so as to translate its natural appearance into a possible and suitable colour palette scheme. The way colours work together can either make or break a painting. Colour for colour, an amateur cannot copy exactly nature's colours in the medium of watercolour. Think and translate nature's colours to tonal light and shade ranging from the most brilliant 'whiteness' to total darkness 'blackness' through an infinite number of shades of grey. The fundamental factor of nature's 'light and shade' is the tonal scheme and it is the colour scheme that has to be accommodated to be the tonal scheme. Experience will teach the possibility of obtaining dark and light in most of the colours employed. It is impossible to imitate nature's colours with any degree of accuracy in watercolour since her range of tones and intensities start with the brightest sunlight through to complete pitch-blackness. Work well within these limits. It is vital to judge the varying tones and intensities of a colour in a viewed landscape. Within the limits of the watercolour medium match nature's colours to the picture to be painted. The concept of tones and intensities should be given thoughtful consideration in partnership with progressive practise.

Handling and expressing tonal colour, although light and dark tones dominate in realistic picture creation, there is no reason to reduce colour by overmixing to muddy greys and washed out lights. Do not be afraid to use strong colour, distinct and fresh especially at the centre of interest. Concentrate on the right tonal colour without concern for details. See pure colour as tone. Each colour (hue) has a specific name, tone and intensity as it leaves the tube neat. Although they are distinct from one another, they are so bound up together they are best treated as a single subject.

In the simplest terms, getting the right tonal relationships is more important to the success of painting than getting the right colours. If the tone relationships are correct it means that a painting will be better than if the colours are correct and the tone relationships wrong.

Develop the habit of considering tone values in landscape paintings before thinking about colour. Paint postcard or slightly larger size tonal trial sketches without detail to strike the right degree of tone for a final painting.

Practise often to gain skill and confidence remembering watercolour dries several shades lighter than the darker wet look that it had when it was first laid down.

Do not overlook the importance of tone by the distraction of the more obvious appeal of colour, otherwise it may result in an underlying lack of pattern of light and shade.