I used some of the same colors that I used yesterday: terra rosa, transparent red and yellow iron oxides. lemon yellow and cadmium red light. I added French ultramarine blue to the composition. One reason I like this particular blue, is its tendency to settle down into the valleys established by the grain of the paper.
I established the browns and yellows first, laying down the initial pattern with terra rosa. With the yellow still wet, I painted ultramarine blue in an open area at the top of the composition. Where the blue merged with the yellow, I got a nice shade of green.
I repeatedly glazed the bottom part of the painting with lemon yellow. This warmed up the surrounding colors. As I left the top alone, the original cool blue and unglazed colors dominated, leaving a clarity that contrasts with the mellow interaction of glazed layers below.