1. Well, unlike some artist I don’t believe in working with a limited palette thus I have a number of yellows: nickel titanium yellow; azo yellow lemon; azo yellow light; cadmium yellow light; cadmium yellow deep; raw sienna; golden ochre… then greens: chromium oxide; and permanent green light (it’s like emerald green)… then blues: Prussian blue; cerulean blue; French ultramarine; ultramarine; cobalt blue; plus black and white… with these colours and I have a store of dry pigments with other greens and blues if needs be… with these colours I can get just about any green I want… but then I rely on accidental effects a lot of the time too; and then the juxtapositions of colours can suggest colour – like if you stick a grey next to a bright red it tends to read as green even though it isn’t… I also like to make my colours ‘dirty’ (not too dirty) maybe to achieve a kind of overall unity or harmony… and I use Roberson’s artist’s oil colours mainly because they haven’t got loads of additives / extenders in them… I used to grind my own colours but it takes too much time. I buy stretchers and stretch my own good quality cotton canvas and prime it with acrylic white… I decided to do this because the stuff that artist’s suppliers (like Winsor and Newton) supply (although it used to be good at one time) is very poor quality… their canvas for instance is more like cheesecloth or muslin! Hope that helps!

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