Personally I prefer the dark pear-wood to the light maple palette ; for on the light yellow surface it is hard to recognise the real nature of the colour which you are mixing.
Flatted round brushes, coming to a blunt point, are sometimes called Leighton brushes. With them, the drawing of detailed passages can be effected, and fewer small brushes will be needed. Avoid the use of many small brushes in life-size work, and get used to large ones of an inch or more across. Try all kinds—flat and round of
a medium thickness. There is no resilience in a thinly haired hog-brush, and a fat one absorbs more colour than it places.
Let your palette knife be fairly long—you will see the reason for this recommendation later on —and let it be trowel-shaped.
When painting large surfaces, you will find a painting table, very useful. It can be easily moved, lowered, or raised ; and it offers a much larger area for the mixing of quantities of colour Ethan any palette you could hold with comfort.
With the same object a number of shallow saucers, which can be filled with colours mixed
to the approximate tones required with medium, are serviceable.
Charcoal is used for the initial drawing on canvas.
The wire plush mat which I have already men
tinned is quite the best kind of scraper. With it you can erase the paint, particularly when dry, until the canvas is bared ; and at any stage it can be used to restore a texture that may have been lost. The wire plush mat can be purchased at tool shops, and is sold in lengths. The shop
assistant will cut up the lengths into shorter ones for you, a six-inch length being what you will find most handy