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Author: sandrafletcher, Contributing Editor
 | Here is the painting with the darkest darks and lightest lights blocked in. Although it might look like it, these colours are not black and white -- they are a very dark and a very light blue. |
 | I block in the second lightest value areas with appropriate colours. My colour choices are based on tonal value considerations and whether an area should be warm or cool. Notice the trial marks around the second lightest value swatch. |
 | Next I complete the second darkest value areas with appropriate colours. If you compare this stage to the previous image, you will see that I have changed my mind about the light blue I had applied to some of the swan and water. The blue felt a bit stark in comparison to the rest so I worked a greyish purple over the top of it. |
 | Finally, I block in the mid value colours. I must admit that I hate the blocking in stage. I am always relieved when it is complete because it is only when all the paper is covered that I can see how the painting will work as a whole. |
 | Here is a detail of the blocking in stage. The soft pastel has been applied in a loose, quick manner. You can still see the paper colour showing through and many of the drawing lines. Although many of my colour choices have yet to be made, I am struck by the pink/brown/purple combination on the cygnets and decide to find ways to refine it. |
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