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