Noa Begum

As a beginner, aim for artist grade paints with clear lightfastness info. Look for ASTM I or II and favor single pigment colors since they mix cleaner and tend to last longer on paper. A compact palette that stays bright over time would be ultramarine blue PB29, phthalo blue PB15, quinacridone rose PV19 or a permanent alizarin substitute, pyrrole red PR254, a transparent yellow such as PY150 or PY97, plus earths like burnt sienna and raw umber based on PBr7 or PR101. Skip dyes and fluorescents including opera and the traditional alizarin crimson PR83 since they fade, and be wary of convenience mixes that hide fugitive pigments. If you already own a set, use the pigment codes on the labels to sort the keepers for finished pieces, and save the rest for studies. Keep finished work out of direct sun for extra insurance. Easy win.

Dry wiping tends to smear oils and grind in dust. First get loose particles off with gentle puffs of air and then lightly wipe with a clean lint free material slightly moistened with a touch of clean water and working from the center outward with minimal pressure. Finish with a dry pass and let it sit for a minute to dry. Check for fogging. If it went from cold to warm or humid, leave it uncapped in a dry room so haze can evaporate. I had this happen after a damp shoot and it looked hopeless then an hour later it cleared up. Test again in good light at a middle aperture such as f5.6 to f8 with a quick shutter and a high contrast target. If the corners smear or the whole frame has a veiled look even after a careful clean and acclimation, you may be dealing with internal haze or misalignment and a service visit is the answer.