![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiumbro5okJAv5Us74Galku-YKc9GJp_6kHMNsknq1opgZtoZ6RHQioWjWhfyIbvJzlM0iMDNRb_la0PtOA0nvb5xZkR32lRLf82ijyH0GgzTVu9DEd5qN8_OBbpqcjNfJG4YMHNzxU3UkF/s200/Peaching-With-Shading.jpg)
For the cucumber, I washed it and the cast shadow with a bit of Cadmium Scarlet. That shadow was originally Neutral Tint only and it seems that the new wash perked things up.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVanTnNdGXpgiH0XUshEnBeMgLFejEyE2TLiGFv9Qopfh2Ke0JrOgnzBG9YB7XyEX9MJLSmoGo038370dapNM6NoEUWAWSKX3qlxCkIKejyrfneKd18baGdbSa68oG7Np4kbG5pNqC6HZ/s200/Pickle-With-Shading.jpg)
What I am learning is that I must experiment. It seems that artists each have their own approach when it comes to shadowing. Ultramarine is popular, especially in mixes--Burnt Umber; Cadmium Red and Cadmium Yellow Pale; Permanent Alizarin Crimson and a bit of Cadmium Yellow. These mixes, as well as Neutral Tint, Payne's Gray, and Davy's Gray, can be a base layer for colored washes or mixed with color directly.
While reading about and testing French Ultramarine for shadowing, I began to see this pigment as very versatile as a base for greens, browns, and then some. Here is just a little bit of testing I sidetracked into. I'd like to explore these mixes further.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWZQbrJzIxElah1ceqiNvVwdqhJRbifrHYPR33gdQjdGD0cZ2Wwr2q_LgLiPPd-b-IbG31PNI5NnvLLexzsxtqkbN7WdK3GzsM61J_qGwgPEkl2R4AkAjyn3CJN7BYs8OnRGlDiAh1_sP5/s200/French-Ultramarine-Mix-Intro.jpg)
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