3The painting dries just until the sheen has left most of the surface. Lifting the webbing gently, Beckwith is careful not to disturb the lines that are still wet. She applies colored ink with a brush to tone any white portions of the paper. Beckwith moves the painting to a clean surface before it dries completely, so that it does not adhere to the gatorboard.

4Beckwith lays out resists in a variety of shapes. She sprays diluted white ink, varying the density of coverage, removes the resist, and allows the painting to dry. Selected edges are softened by lifting the white ink with Windex, an excellent solvent for the white ink. Small shapes are lifted out of the white as well. Using white gouache, watercolor pencils, and diluted white gouache, Beckwith develops movement and color transitions.

5After re-evaluating the painting, Beckwith decides to unify the painting by lifting the white to create larger shapes of color. With watercolor pencils, Beckwith builds transitions that separate each geometric shape from its surroundings. (See page 66 for finished painting.)