Andre Jute wrote:Thanks, Dainty Treasures.
My tools aid and abet what I want to do. Forget what the experts, including those here, tell you: what we know is only the beginning of your journey. Adapt freely.
Here's a concrete example: I have the normal "good" greens, like the phtalos, in my studio kit, which is hardly ever used because even inside I point out of my plein air paintboxes. In my plein air setup I have two convenience (i.e. chemically pre-mixed) greens, Hooker's Green and Sap Green, because those are colors I see every day all around me where I walk and cycle. Sap Green, in particular, is a green that travels extremely well, lending itself to being easily adjusted to virtually any green you can see in nature anywhere in the world. I got the Hooker's from my father-in-law, literally, in that I inherited his paintbox, and the Sap Green from Bruce McEvoy http://www.handprint.com/HP/WCL/water.html whom I'm inclined to trust since we're both professionally in different ends of reprographics.
If you haven't yet discovered the cheap Japanese water brush, look into it. It liberated me. Bless Russ for introducing me to it.
Also, see how the paper I've chosen, the 230g rough that Hahnemuhle uses for their tin of postcards, adds a much desired texture, both surface and color, to my sketch without any extra effort from me or delay (for instance to wait for a cake of watercolor to dry so I can pick up drier paint for dry-brushing).
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