@rudayo I like the oiling out idea mentioned above. I use refined linseed oil. I'd only oil out the area that you will paint over in one sitting--not the whole canvas. If you oil out the whole canvas, you will probably be doing so repeatedly for the next few weeks. I've learned that repeated oiling out causes the oil to permanently attach to the canvas in between the brush strokes and paint lays on top of this muck instead of the paint layer. This should work very well for you. Summer
I don't know. I'd test it. At least you know where the problems will be if there are any. Maybe Mark or his staff will respond. Good question. I'm very happy with the glass palettes that I purchased from Geneva Fine Arts store so I won't be making any more.
Just thought I'd mention that hardened ruined brushes of all shapes and sizes can be used for the same purpose as these neat slick crafts and painters chisels because they have the added benefit of maintaining abstraction in certain passages because of their awkward configurations.
I like your painting very much. But, if you continue to use Ivory Black, Mark Carder has said this about it: “Under a bright
light when compared side by side ivory black is slightly
darker. But ivory and mars blacks tend to "charcoal up" or
gray up your color. And also by mixing your blacks with burnt umber
and ultramarine, it allows you to mix it warmer (more burnt umber) or
colder (more ultramarine)."