After labouring over the rock wall in the early stages of this piece then having few opportunities to make progress over recent weeks, it was a welcome indulgence today as I took time out from rejuvenating our newly-acquired house and garden to turn my attention - prematurely perhaps - to the primary subject of the painting.
So far, I've managed to restrict my colours to combinations of ultramarine and burnt sienna, with titanium white making an appearance as I begin to establish the modelling of the egret's body and wings. Not only does a restricted palette such as this help bind the painting together, but with unavoidably long breaks between painting sessions, there's no chance I'll be unable to remember how I created a particular hue!
Ultimately, the success of this painting will hinge on my ability to convincingly portray the strongly backlit wing of the egret. Of course, even if I achieve that aim, I accept that the unusual composition is likely to meet with a mixed reception!