Learn to draw by Tissa Hewavitarane:

Combining techniques provides textural contrast

We have looked at basic watercolour techniques of wash, wet-into-wet and dry brush strokes. They all have their strengths and weaknesses. Wash, for example, is the most positive way of indicating shapes. Its strength lies in its simplicity, but it can get a bit monotonous.

Wet-into-wet is the most spontaneous and exciting, but too much of it can be vague and look like candyfloss. Calligraphy is decorative and descriptive but can look fussy if overdone. A dry brush when used with restraint can provide sparkle. All these techniques when combined in one painting provide a whole armoury of textural contrasts.

The combination overcomes the inherent limitations of each and they all complement one another. In my own paintings I endeavour to contrast the stroke made by each of the three types of brush that I use - the enforced simplicity, softness and directness of the brush against the crisp hard-edged precision of the flats and the fine delicacy of the rigger.

One could say it is rather like an orchestra with the big, bold, rich brass contrasting with the mellow strings and the clear tones of the reed instruments to form a complete and satisfying all-over sound.

Wet-into-wet is particularly useful for putting in a line of distant trees. I paint the sky down to the horizon and while it is still wet. Usually a fairly light blue up into the sky from the horizon. Never use wet-into-wet for foregrounds, they must at least be crisp and sharp, otherwise it will look as if you are wearing glasses. Looking at many paintings, I find that wet-into-wet techniques have formed an important part in most of them, perhaps because they always seem to sell well.

You should experiment to discover all the many techniques available. Push, stroke, or even pat the brush on the paper, so that the hairs barely graze it. The dry brush has many uses - to suggest the bright shimmer of the sun on water, the texture of pebbles on the shore, the rough bark on the tree trunk or the weathered surface of a plaster wall. Do practise these techniques, although it probably won't come off at first.