During phase two, as I mentioned. Some of these areas that poke through and are seen like in the back behind like this central form, this central form, and that up top. Like back here, way in the back, those forms will be subdued and pushed back by the blue greys. So all of these trap shapes, like down here, areas where there’s no real form, it’s just empty space. I’m gonna map that out, blocked that out, paint those areas out with the blue grey, and then if there’s any secondary details back here, those will be covered up with the blue grey also. And then later on, like between here, the forms that you see back on the distance, those will be very softly lifted out, but not emphasize as much as these primary forms in the front. So there’ll be a process of like pushing things back, pulling elements out with both dark, light, warm and cool. Working with a number 8 bristle, slightly larger than the one I was using before, I’ll start here in the middle, where the major trap shapes are. And as you paint in these areas, and you’re naturally gonna consider how, how these trap shapes impact the contour of the major forms. For the form’s shadows, I will use some of the cobalt green then take some of the yellow that I mixed up before that light tint. So this is towards the low key side of green, then to that, at least part of it, I’ll add small amount of altering blue to get a darker… well in this case this will be a direct light coming from behind my usual… but everything’s quiet back there. There’s even one right here, to do the same thing… almost grow before my eyes. Some down here, and as, as I add a little violet here on the bottom, it gives the, the outside of the glass… crystal vase a bit of sharpness and accent. And up top, top here… a bold shot of bright light just to illuminate that little bud form, doesn’t take much. A shot of light goes a long way in the field of middle tones. So like right here, there’s a shot of light, and that just gets the eye to flicker and move around… see a shot of light here.