The thought behind wet-in-wet is to smooth the material with a slick substance which will permit the paint to spread and mix a lot more straightforward than by wet-on-dry which a great many people use. Ross was shown this method from another television craftsman, Bill Alexander, however it is positively generally connected with Ross.
The main issue was; to make the material smooth, Weave utilized his specially crafted paint which he called 'Fluid White'. It was only after later that I understood there was a comparable to Weave's Fluid White; white oil paint and linseed oil. This blend makes a foul, watery, white paint which ought to be spread daintily over the prepared material. It is a touch of experimentation to get the right blend of paint and linseed oil however I utilize a pea estimated measure of paint and generally twofold that in linseed oil, when blended that is sufficient to effortlessly cover an A4 and assuming that applied daintily sufficient will cover an A3 estimated material. The way that it is oil paint combined with linseed oil implies that underlying coat will consume a large chunk of the day to dry so you have a lot of opportunity to blend and spread colors on your material.
Through much experimentation (and disappointment) I figured out the most difficult way possible that a portion of Sway's procedures require his remarkable thick paint. However, it is feasible to imitate a portion of his straightforward mixing and range blade slyness to make lovely skies, fleecy mists and rough mountains.
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