When artists through the ages appear to have utilised the latest available technologies and pigments for experimentation; to achieve the " desired result according to purpose and intention ", I can see little justification beyond historical reference, for any school to hang on to a notion of a limited palette of  red ,  blue , and  yellow ; especially when a plethora of pigments including the " process " colours,  magenta ,  cyan , and  yellow , are readily available in stable, fully mixable, non-toxic and inexpensive forms.

       I have demonstrated a " scientific " basis, amongst other things, for " process " colours to be universally accepted as the " prime " colours of pigment.   The challenge to the old notion of  red ,  blue , and  yellow  is irrefutable.

        The advent of silicates and UV light reactive dyes, offer the possibility of solutions, unavailable, even 25 years ago.   With regard to the selection of a medium, " the choice is entirely a matter of the individual's purpose and intentions, to be controlled by an understanding of its properties and potentialities after suitable study and relevant experience. "   If it works — then by all means, use it.

     I do not advocate, that we should spend a lifetime, leading sedentary lives in a studio, in front of a canvas or computer screen.   It is essential, to arise from one's seat, and explore a world of colour and light for oneself.   Observing first hand, working directly from life, and being on location, is always a much more valuable and rewarding experience, usually, full of pleasant and challenging surprises.   Irrespective of age, it is important to be able to challenge one's own preconceived ideas and constructs; and maintain good records, of the journey undertaken.