23. With the sepia and a little dark ultramarine blue, I return rapidly to the left part of the composition's background. Please note that the dark background is close to the lighter flower. The contrast is on purpose and necessary in any work.       24. With a round brush I start to place branches. I use a little sepia, mixed with deep ultramarine blue. A lot of lightness is very important at this point of the composition. I try to interrupt the branches, as if they passed behind the leaves and flowers.           25. Some branches are placed with an almost dry brush, i.e., all water on this brush is taken out with the cleaning cloth, in order to give a more rougher aspect to the branches.       26. With a "filet" brush I sign the composition, where it is still absolutely damp. The painting of this composition took from approximately 15 to 20 minutes. The speed in painting is not the rule, but for my work it is important, once it generates a natural spontaneity at the final work.         27. After 10, 15 minutes the painting is ready, the brush practically dried (depending on weather conditions) and can be taken out from the board in which it was attached.

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