Palette management

[Mike McCarty]

Now I'm scheming to build a really big hand held palette

You just can't seem to shake that lawyer thing.

Yunno, there are so many things that I do that I have never thought about. Like the thing you mention:

There's something wonderfully freeing about being able to walk around with all your paints right in your line of vision. When I used my big table easel I used to look down at it to mix the colors and then back up at the painting. I think it somehow broke up whatever good-flow mental state I had worked up

I have a small palette but I tend to leave it on the taboret, looking up, down, up. That makes a lot of sense to be able to hold your paint near your line of sight, and a simple thing to try. Do you always paint standing up?

By the way, if you play music when you paint, your palette becomes your dance partner, but if you let it lead all the paint ends up on your chest.

For the most part I've tried to avoid dancing altogether. We Southern Baptists know full well where that leads. When faced with the prospect, I just claim to be a professional dancer on vacation.

And while we're on the subject of dancing, I understand that in these painting workshops it is customary to have one instructor with multiple students. I'm wondering if it really has to be that way.

I thought if I came to Arizona, I could sign up for a Linda Brandon/Chris Saper workshop just for myself. I know most of you are thinking I'm being greedy, but what can I say?