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Paint boats directly with the brush, skipping the pencil entirely and building each one from a few simple shapes.

A wet-in-wet exercise in which a single bold silhouette holds a free blend of colours.

Practise water and pigment consistency by working wet-in-wet with just two colours, watching how they mingle and bloom on damp paper.

Use complementary colours to paint luminous shadows in watercolour. Yellow and violet are paired to explore how mixing and glazing complements produce different shadow effects.

Design your painting before you touch the paper. Sketch four thumbnail compositions from the same reference to explore cropping, value structure and focal point.

Paint boats directly with the brush, skipping the pencil entirely and building each one from a few simple shapes.

Paint convincing ocean waves using preserved white paper and dry brushing for movement and foam.

Suggest convincing figures using only confident brush marks — without ever trying to draw a person.

Paint five miniature ACEO cards — each just 2.5×3.5 inches — on a single theme across one week.

Load your brush with two colours at once and create expressive marks where the colours blend naturally in a single stroke.

A wet-in-wet exercise in which a single bold silhouette holds a free blend of colours.

Practise water and pigment consistency by working wet-in-wet with just two colours, watching how they mingle and bloom on damp paper.

Paint watercolour reflections loose and suggestive on still water. Two simple rules — the mirror rule and the value rule — cover most of what you need to know.

Paint two skies that sit at opposite ends of the same skill: a smooth sunset and a dramatic storm cloud.

A loose, experimental wet-in-wet painting to test unfamiliar colours and discover how new pigments behave on paper.