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A flower study becomes more interesting when each petal has a deliberate colour role. Thunderlordpower Light Purple practice ink, 30 ml, gives you a purple option for petals, decorative motifs and colour-filled shapes on synthetic practice skin. Choose it to practise how a purple area sits within the outline and alongside the rest of your training palette.
Training ink for synthetic practice skin and models only. Not for use on human skin.
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YOUR WORKING SETUP
Pair your selected practice product with cartridges for local fill, broad colour and gradients, then add stencil and dispensing supplies. Select only the items your study needs. Practice inks are for synthetic surfaces only.
This product · follows your selection above
Two five-sheet packs: ten blank 3 mm surfaces for fill studies.
1003RS: 20 cartridges for compact colour areas.
1005M1: 20 cartridges for broader colour packing.
1007RM: 20 cartridges for soft-edge gradients.
White 30 ml practice ink for tonal studies on synthetic surfaces.
20 A4 thermal sheets to prepare practice outlines.
30 ml transfer gel for placing the practice outline.
100 cups to keep black, white and red separate.
Black practice ink gives outlines and dark shapes a clear comparison on synthetic surfaces.
Start with one enclosed petal and work in short sections along its shape. Compare the boundary of the colour with the outline, then repeat the petal beside it. Once the individual study is familiar, build a small flower and inspect the spacing between coloured areas. The exercise grows from one controlled shape into a composed motif.
Use Light Purple when your next study calls for purple petals or decorative colour areas. Keep the outline consistent while changing where those areas sit; compare the arrangement before adding more colours. For line-first exercises, begin with True Black and add purple when colour placement becomes the focus.
Start an outline study with True BlackSelected to ATTO’s highest professional quality standard for training use.
Choose this 30 ml practice bottle for your next colour study.
Use the same motif and practice surface, placing the attempts side by side. Compare the colour boundary and arrangement before changing another part of the setup.