I have made an earth shade and I apply beneath the baseline using the paint thicker while the paper is damp.

I have mixed all three colours and keep mixing to achieve the muted dark base line colour which looks almost monochrome. Apply beneath the base line while the paper is moist and run your brush all the way across. Then tip the paper for 4 to 5 seconds and lay flat.

I sweep the paint across the moist watercolour paper with my Chinese brush and I can see that the colours have divided, separated along the baseline or bleed away.

While the paper is wet and I have made a dark earthy green I run my brush beneath the base line, then tip the paper for 4 to 5 seconds then lay it flat. Watching again the pigments evolving into natural shapes.

As I run my brush full of paint that I have made with the three colours and achieved a muted, earthy, dark green colour. The paper is wet and I tip the paint to release the pigment, watch how the natural shapes of the landscape start to evolve.

Watching the pigments take shape and then deciding what to do next is part of the process.

I have made a muted earthy pine green with the three colours on my plate, using a Chinese brush I apply below the baseline all the way across the paper while the paper is wet. I then tip away from me for 4 to 5 seconds then lay the paper flat on the table.

I have made a deep Prussian blue colour with the three colours and then I apply over the base line while the paper is wet. I tip the paper away from me for 5 seconds then I lay it flat. Just notice how the pigment divides gradually after this experimental process.

I am using my Chinese brush and applying the colour that I have made with the three colours, creating a dark brown. I run my brush along the base line while the paper is wet. Just focus on the line it’s great practice for your brush control.

I have achieved the grey shade that I need mixing the three colours and I apply the clouds using my Chinese brush in a scrubbing and spiral technique. Make sure the paper is wet.

I am using my Chinese brush and have mixed all three colours together to achieve an earthy brown. I then apply with confidence the horizontal line all the way across the paper while the paper is wet. Observe the feathering where the pigment releases.

I am using my Chinese brush and I mix the three colours together to make grey. Crimson, cadmium yellow and Prussian blue.

I am starting a new watercolour demonstration in a series of shorts. I am using a very special large bushy hogs hair brush from Barcelona it is wonderful for expressive washes plus it holds lots of paint so you can paint larger, I mixed a cadmium yellow and dropped some water into the paint to loosen the pigment, then I wet the extra rough textured watercolour paper 425 gsm 200 lb bockingford. Big sporadic sweeps with the brush all over the paper.

I have just adopted my new doggy who is 2 yrs old a Patterdale terrier and loves to have a walk at Grovely woods in West Wiltshire. I filmed this scene as I was very much inspired to use this view overlooking the woodland beyond and the yellow field I think it was either mustard or rapeseed. I will demonstrate how I create this scene bit by bit in a series of short watercolour demonstrations coming soon.

I have enjoyed creating this step by step guide to watercolour techniques. I hope it helps you in your art journey with some of the tips and tricks you can achieve using watercolour inks with watercolour paint.
I look forward to showing you soon my new series of watercolour techniques of my inspiration in nature.

I am using turquoise watercolour ink and applying with my Chinese brush in areas where I want to enhance and illuminate by going over some of the white.

I am using my bushy Chinese brush spiked out and press the colour into the brush not dripping and apply over wet on wet washes across the vertical markings that I have done previously. This is a lovely way of creating reflections expressively.

I am using my Chinese brush and applying the colour by dragging the paint in a repetition. Feel the brushstrokes and enjoy being expressive.

It was a sunny blue sky day at Fovant lake and I filmed this scene after a steep hill walk to the Fovant badges in Wiltshire. It has given me a wonderful composition for a painting.

I am using my bushy Chinese brush make sure you separate the bristles slightly and on damp paper I drag with a similar colours that I used for the pine trees. Drag downwards or upwards over the blue pool and beneath the golden grasses.

Using my nail I etched or scratch out the wet paint where the golden mounds are for the grasses by the blue pool. Make sure you do this while the paint is wet. Etch using your finger nail in an upwards stroke be precise.

I feel an inspirational moment for a new watercolour painting as I take in the ancient woodland of Grovely woods in West Wiltshire a quiet area of natural habitat and Wiltshires largest woodland.

I am using my medium size Chinese hake brush and I apply the deep turquoise I have made with watercolour ink and watercolour paint and I apply using the brush flat dragging across the dry watercolour paper. Just notice when you run out of paint and reapply and go over the dry washes beneath the golden mounds.

I am using my Japanese mop squirrel hair brush and using the tip I run my brush under the golden mounds using a monochrome colour that I have made with all of the colours on my plate and while the paper is wet. This will achieve some depth.

You spike out the bushy Chinese brush and apply wet paint and ink. Then lightly drag the brush over the wet watercolour washes to connect the patterns of the forest. Just observe the way the washes are drying and you can move the paint .