It’s darkest parts are roughly painted in, plus a hint of some of the underlying colours within its plumage. Looks more like a purple swamphen than a moorhen at the moment, but all will be modified when I come back to do the detail. Then on to the other bird, divided into its shadowy and reflective parts. Now exploration of some of the midtones in the foliage, and thin washes to set out the flat reflective leaves in the foreground. Having established some of these important dark values, other shady areas are picked out. Off to the top of the painting, with thin yellow to mark out the central foliage and a lilac wash on the water. Work on the distant water and duckweed starts to give definition to the central willow, and dark reflections start to turn the closer water ‘wet’. No marks for the photographic quality as these studio shots were taken under random lighting conditions as I reached particular stages, often at the end of the day, but they at least give a record of my approach on this painting. A lengthy period follows in which midtones and details are added, edges are sharpened, and thin glazes are used to blend and modify - whatever it takes to get the leaves to separate in 3D or to glisten on the surface of the water.

All images © MC Wood.