His Scottish origins were essential to him. Abroad and in Scotland, he was proud to wear his kilt. and his typical chequered waistcoat, all year round. He was not interested in money, but painted for the love of his art. Although he had many commissions and was regarded as Edinburgh's best portrait painter, he mostly lived from hand to mouth or from commission to commission. It must be stated that, while his brother Cowan had the benefits from the commercial talents of his wife, Phyllis Bowyer, Raeburn could rely on anybody to promote him or his talents. In addition to his quite casual lifestyle, Raeburn refused to have anything to do with the art-establishment in Edinburgh. Although he had been influenced by the Modern Movement, through his art teacher Ralph Hay, he refused to conform to the later emerging Modernist Movement, while the backbench politics of the Royal Scottish Academy made him rebel even more against this closed circle of painters. Behind this seemingly 'happy' man, lay in fact a quite self-cantered character, who took notice of the needs of his surroundings to a rather limited degree. Although he was briefly married to Isabella Rae and had a companion in Evelyn Wight, he lived the life of a bachelor. He would leave Edinburgh for months, going abroad and leaving Evelyn behind. Although Evelyn and Raeburn had a very deep friendship for over 35 years, he never proposed to marry. It is said that one could see the sorrow in her eyes, because of this neglect. Raeburn used often cheaper materials, which he bought at the art shop of John Mathieson and at Aitkin Dott Galleries (in Fredrick Street) in Edinburgh. His canvas consisted mostly of industrial prepared thin linen, with a thin layer of grounding (singled primed), prepared by "Winsor and Newton Ltd., London" or by "Robertson & Co. Ltd., London". The canvasses were nailed onto the frames with small black head nails. Raeburn used industrial prepared but stable paint (Winton), which has kept its original colour. He always used bright and lively colours and used light impastos to represent fabrics. He was a master in painting hands (the most difficult part of a portrait). His varnish technique was far from good. It seems he varnished his paintings while they were still on the easel, instead of lying down. This made the varnish dripping down and be unevenly spread over the painting, resulting in areas of high reflection, followed by matt areas.