To develop a heuristic of watercolor, a device for acquiring its knowledge, we propose:

1. To expand the baggage with which watercolor is argued today, concentrating on traditional naturalistic figuration. To do this, enrich the exercises with the cross-sectional study of modern painting, taking references from the artistic avant-gardes from 1830 to 1960, and by extension, from japanism, primitivism and other alternative cultural expressions that nurtured this period. Examples: the audacity in the drawing of Picasso or Miró, the informalism of Tápies, the ornamentation of Klimt, the mathematical impressionism of Seurat, the naive character of Rousseau, the anthropophagic primitivism of Tarsila do Amaral.

2. The famous musician and humanist Shin'ichi Suzuki performed a violin training method founded on the natural way in which people acquire the mother tongue. It is an emblematic method of music education throughout the world, and maybe it can serve as a reference for the elaboration of this program, even if it is only partially.

3. While improving the distribution chain and consumption that will make materials cheaper, we need to design a training level that takes care of the student's economy. For example, the purchase of two studio quality tubes should be enough, or to use a mix of walnut and arabic gum, or charcoal and arabic gum

4. To design exercises with which the student acquire the ability improvisation, expressive freedom, loss of control and dialogue with water in all its magnitude.

5. Articulating with the rest of the didactic material, we propose the writing of a specific dictionary or technical terms glossary which considers possible synonyms and regionalisms.

6. We need to analyze the language of watercolor and discriminate its cells or minimal grammatical units that we can call 'graphemes'.

7. With each grapheme we should design small, stepped and accessible pyramids where a good base is strengthened before leveling up.

8. According to the hunger and satisfaction of the stomach, we must ingest healthy quotas, and once we have eaten we must digest. The same way, short steps progressive exercises allow the student to quantify, measure, orient their energy, retain information, and above all, stay motivated.

9. We propose to use ALL our creativity so that the first steps allow to obtain excellent results with minimum effort. Shortening the time and the distance between effort and result guarantees a persevering and motivated student.

10. The human being is potentially born an artist, but our current restrictive educational system reduces that ability as he grows. That is why we propose adopting other pedagogies for an inclusive environment where, in addition to the talented student who seeks to professionalize, are considered those who do not have previous skills or those who seek painting as therapy or enjoyment. So that each one grows from their particularities.

11. It is a useful and interesting creative challenge to find ways to promote bonding in the classroom through cooperative painting or something similar.

12. We propose to Allow and promote the multiplicity of routes and the exchange of pieces. Linearity and disconnected islands are inefficient in learning processes.

13. We propose a heterodox approach that enables experimentation and expressive permissions without the permanent claim of traditional naturalist watercolor that demands knowledge of academic drawing, perspective and foreshortening as unavoidable prerequisites.