The timid watercolour painter is generally sincere in his regard for the craft;
he is over judicious in the control of the medium, and fondly believes that the little painting so hazardously conceived does actually convey his impression of what he sees.
To foster a broad simplicity of vision, to maintain a restrained and truthful palette, and to aim at a frank, bold, decisive handling are resolutions which should form a valuable antidote to tameness or over-finish, into which many modest students are so easily beguiled.
The courageous student, on the other hand, suffers from too much confidence and asperity in attack.
The rules by which he is guided are of his own devising and are made to suit the twists and turns of fortune. He does not believe that there should be any conventional restrictions, but stands or falls by his instinct. It is a brave creed, but it sometimes leads to a complete sense of frustration, when instinct fails and nothing he does 'comes off'.
Both types of student, I think, can learn from the character who, while never timid, relies on instruction to confirm his initiative and strengthen his resolve. His methods are tentative rather than timorous and tenacious rather than emotional.
Resourcefulness comes to his aid at that crucial moment when the more courageous student's ``bluff has been called`` and the timid one is baffled by lack of courage and faith in himself.
This student does not strive to invent new processes but is conscious that the same language is capable of a variety of expressions. He is content to master the techniques of the past and to borrow from it all that best suits his individuality, so that what he acquires he moulds and modifies to suit his purpose, translating it into a language which is his own, and in the process enlarging it with new and further life.