``As for materials, I use the best available. I work on a watercolor easel in the field, and frequently resort to a large garden umbrella to protect my eyes from undue strain. In my studio I work at a tilt-top table, but leave the paper unfixed so that I can move it freely to control the washes. I have used a variety of heavy-weight hand-made papers, but prefer an English make, rough surface, in 400 -- pound weight. After selecting a sheet and inspecting it for flaws (even the best sometimes has foreign 'nubbins' on its surface), I sponge it thoroughly on both sides with clean, cold water. Then I dry the sheet under mild pressure so that it will lie flat as a board.

``In addition to the usual tools, I make constant use of cleansing tissue, not only to wipe my brushes, but to mop up certain areas, to soften edges, and to open up lights in dark washes. The great absorbency of this tissue and the fact that it is easier to control than a sponge makes it an ideal tool for the watercolorist. I also use a small electric hand blower to dry large washes in the studio.

``My brushes are different from those used by most watercolorists, for I combine the sable and the bristle. The red sables are 8; two riggers, 6 and 10; and a very large, flat wash brush. The bristles are a Fitch 2 and a one-half inch brush shaved to a sharp chisel edge.

``My usual palette consists of top-quality colors: alizarin crimson, orange, raw sienna, raw umber, burnt sienna, sepia, cerulean blue, cobalt blue, French ultramarine blue, Winsor green, Hooker's green 2, cadmium yellow pale, yellow ochre, Payne's gray, charcoal gray, Davy's gray, and ivory black.''