Yeah I've been interested in hearing more about techniques too. So far when I research, especially for watercolors, I end up just coming across landscape and flower painters. Still they have some awesome ideas that could be easily applied to sequential art.
Currently I use more Dan Brereton's technique of laying down washes of bright cool and warm hues first. His thought is using watercolors only leads to them getting dingier and muddier as you go along, so preserving the brights as much as as possible is a priority. This is sound to me, especially if you really plan out the panel. However, there's Tony DiTerlizzi's simpler technique of unifying everything with a brown underpainting, which also gives it it warmness and life. Thinking about trying that out since it leaves things a little more spontaneous and saves time (plus I love his colors). There's third technique too I'm very interested in, which involves a very specific way of priming the paper with a yellow underpainting. I can't remember the artists name, but her work glows like an oil painting. The only thing though is her method relies on using translucent and semi-translucent hues exclusively. I paint with student colors and so far I can't find info on the brand I use saying which is which. So there's more research and testing to be done before I try that out.
