Ican clearly remember being a young student of painting at art school during the early 1980s and having the problem of muddy colours in my painting. In my mind’s eye I can see my palette, which by the end of the morning always seemed to end up as a mass of olive green. I felt demoralised by this and realised I needed to do something about it as soon as possible. I saw that the root of my problem was my terrible impatience, where I was in too much of a hurry with my work. I then began to dedicate the time necessary to learning about colour mixing.