For areas of thick, light-value paint I sometimes use hog bristle brushes for the texture they impart; usually Robert Simmons Signets. I blend with perfectly dry brushes, using a variety of Lang-nickel Royal Sable mongoose-hair blenders, both round and fan.
10 Break out the fine tools
I use a gooseneck magnifier to help me get deep into the detail of my human faces and figures. This is also where my Winsor and Newton Series 7s get their heavy use. Note that the palette of these human figures ranges from dark to mid-tone, because they’re catching only indirect light.
9 Make the circuit of your subjects
The saucer door element catches full sun, so I mix up a light palette modelled on the shades of abalone shells. Once again, the rubber tool comes in handy for creating sharp textural effects. Be sure to obey the ‘darks thin, lights thick’ rule throughout.
8 Background tone and texture
I want a rugged texture for the background. In addition to some improvisational broken colour, I use a rubber tool to create a hatched look, complementing the suggestion of grasses and undergrowth.
Background tone and texture 8