There is not a necessity to delve deeply into colour theory. Nevertheless an intimation is suggested of the advantages of using 'Artist's Quality' paint pigments in preference to 'Students' paints that usually appear flat and lifeless in early attempts at picture making.

No matter how little overpainting is required on single process washes, students colours, containing chalky filler tend to lose their luminosity and glow as soon as the paper dries. Expensive Artists Quality paints of pure pigments present a beautiful stained glass window appearance, glowing and fresh when correctly mixed and lightly brushed on paper. The behavioural character of each, such as the degree of staining, luminosity, intenseness and ability to mix etc., are really beyond the scope of this guide.

Quality tube colours are a good investment and recommended as soon as a degree of facility is acquired.

These 3 colours are transparent, non staining and remain clear when combined are free from mud, allowing light to be reflected back from the surface of the paper. Chalky opaque colours appear dull without vibrancy. They should be well diluted or used as a minute additive to slightly change another colour.

Are very intense and stain the paper in seconds. Use them well diluted. If a combined mixture is required, add a tiny amount of staining colour to the non staining colour, not the other way round

Winsor Green combined with Alizarin Crimson, depending on their proportional amounts will give warm or cool lustrous Blacks. Such combinations are preferable to lack lustre Lamp Black and Ivory Black.

Combine Yellows and Greens in preference to using a Green direct from a tube. Try various combinations such as Aureolin (a Yellow ) and Viridian, (a Green), and a little Red will make a deep rich Green.

TRANSPARENT BROWNS Free from mud making sediment.

Burnt or Raw Umber and Siennas do not mix well because unlike the primary colours, they are already a combination of 3 colours. Burnt Sienna, lively and bright when wet on the paper, tends to dry out dull when another colour is added. Raw Sienna is chalky in the darker tones.

These approximate to Burnt Sienna and Raw Sienna appear lively and glowing. The best pictures are usually limited to 3 or 4 colours. Most Artists Suppliers freely supply Colour Charts.