Proof is in the pudding...
money where the mouth is...
and alllll those horrid platitudes...
What an old portege m200 can do is this...
All these were done using the m200 ...very minute later editing was done on the m780 and finally my desktop replacement killer....but only because I didn't wish to wait for the editing process to finish on ...essentially... a very old m200...however grand she is...I need her for more work while the editing is taking place
To understand...initially I do a real graphite sketch and rough pen and inks to almost finished pen and inks...working on areas up to 6 ft x 6 ft. and larger..
All on the original surface...(since a great deal of initial emotion is lost doing iterations)..then scan it...comparably the m200 can handle the size pound for pound, inch for inch, pixel for pixel.
on the m200 I clean up the muddiness.....see what I can do to improve the physik dimensions ...play with some colours ....see what works essentially. Best copies win. I then reduce said copies for printing everything from tshirts, patches, mugs, and illustrated limited edition runs of prints.
Then I hit the shop make a single rendition in a carving...usually antler...sometimes wood.
Then I go back to the physic original and finish it properly referring to my digital work and finish it exactingly in oils.
(This is what I do for kicks...
My serious work is purely in carving, harps and making weird odd thingamajigs ... )

It keeps the integrity of the initial sketch while being able to work in multiple mediums and yet play with the initial sketch without fear of ruining it ...see what variables work and what ones don't ...and be able to finish it to my exacting satisfaction...

And what used to be the bane of all artists...
a truly monumentally epic waste of materials to produce a finished work ...
sweating and worrying that a single miss-stroke could destroy incredible amounts of hours of work...forever..
isn't even a thought I dwell on anymore.
All I can say is thank goodness for my convertibles.