I began by completing a line drawing in H2 graphite. Subtly drawing in the major veins and edges of the shadow. I used masking fluid to seal off any areas like fungal blemishes or holes in the leaf.
Next, I added a base layer of Quinacridone Gold, which is the base tone of the specimen I found and acts as an underpainting for the transparent pigments that are layered over it.
Another transparent pigment, as the second layer goes on I begin to form more vein details with negative space.
More Burnt Sienna goes on being layered in a semi-uniform application. I allow it to be thicker and thinner alternately to enrich texture and shape as I observe it in the specimen.
Next is Indian Red similarly, applied as thinly as possible as it is not transparent. It should not be applied as a complete wash but selectively based on the sample specimen. I applied washes of either Burnt Sienna or Indian red over the veins while varying the intensity of the pigment.
The last color washes I applied was Alizarin Crimson and Pyrelene Maroon in only some areas of the leaf, again with variance on the intensity and thickness of the pigment. I then layered in the shadow with washes of Neutral Tint.Last I removed the masking flued from the fungal blemishes and painted them in with Naples Yellow and Raw Umber.