Hello, I’m Hall Groat II. Welcome back to my studio. We’ve got another gorgeous day outside, perfect day to paint a classic composition of tangerines. Actually, right behind me here, I’ve got three tangerines in a classic composition with little branches and leaves positioned all around. So, volume nine, we’re gonna focus on these tangerines and I hope to actually address those 13th phases that I’ve presented in the past, and spend more time clarifying some of the questions people have post. And I’m gonna work on a canvass, I’ve actually got a jassod cotton ducked canvas, stretched over an MDF board. You’ll gonna see me actually build up an undertone with burnt amber and then paint directly into it. So let’s get to it and have some. We spent considerable amount of time working on the secondary planes, now it’s time to get in and suggest some of the detailing. And for that I will use a smaller brush and move in to suggest some of the little serpentine branches that go in and out of the forms, the leaves and the tangerines. So I’m gonna work with a number 2 bristle and mix up some ultramarine blue. And as you apply these shapes, you can, you know, also look at the partic… so we have the bases of the leaves, we’ve got the green, the chromium green I used with the burnt amber underneath. And then we went in and with the blue grey. Another real critical thing about cast shadows is you wanna be sure not, as the cast shadow extends out or away from the form, the edge typically gets a lot softer, so one trick to get any things to soften is taking your pinky or your finger and just pressing down, sort of blotting that edge to soften. Or if you don’t wanna get your fingers dirty, into the wet paint, you can take your brush and just sort of fitch, sort of scumble on top of that edge, or drag through that edge to break the edge and then restate it. But as… during this phase, it’s good to really, really look at the particular contour of the cast shadow and how sharp or how soft the edges to get it to look naturalistic. So over on this tangerine, you can see just a bit of light breaking around the right side, and if you can get that, it really does add to the richness of the piece and it gives it a lot of excitement. So I’m gonna start with the cools and I’ve got the same brush I was using with the respect to the cast shadows. And here’s a little trick, you can… number 2 bristle brush, and just a dash of the red orange, we’ll use for the reflected light. So what you do is you get up close and you just look real carefully, just swing a very subtle brush stroke around. And then what you can do after that, wipe out the excess paint out of your brush, just sort of soften that stroke, you know, the sides that’s inward, just to get it to mesh into the darkness. So It’s all about, with the reflected light, it’s really all about just suggesting and being as subtle as possible. It’s just the nuance of that warmth coming around the dark side. Okay, we did have some luck with showing some of the reflected lights and getting some subtleties within the warm against the cool. Now we’re gonna phase into going back and revisiting the background back here, just to bring some warms back here and perhaps light in some areas up in the foreground. You know, move the warms into the warms, the cools into the cools and trade places. And just give the background a little bit more excitement. And for that you can use a variety of tonalities and take some chances. This is the point in the painting where, you know, you have the foundation, the formulas, elements put together, and it’s… you know, good time to take some chances and try to move some color around and see what happens. Don’t be afraid to be inventive. The background variation, I’m gonna use a bristled brush and just scumble in some of these warms back into the darks… work with some of those warm murky gray. It’s like a grayish orange. So I’ve got my bristled brush, I’m just, I’m gonna come into the back and just scumble in some tonalities, just vary those dark.