Painting a Day: 32

Pear
5x7"
Oil on illustration board
Wasn't able to upload this piece this morning, my phone was dead. This is also the piece before I put the final glaze on, but I'll do that tomorrow. It's amazing how so little can alter a piece!
It seems strange I'm doing this all on my mobile device, well, everything except the painting. The photo, the cropping, the blogging, and soon even the selling will be done entirely through this thing and the different applications I have found. Several sites still require the use of a computer, and I still prefer typing on long posts, so I can't completely give up my laptop. But I can go anywhere and be able to stay up to date with this device! It even has a Photoshop-like app that I use, and I'm amazed!
I think I'm going to do a little post on just how useful smart phones are! They'll soon replace my retail job, given a decent enough programmer who cares.
A word about my palette and process. I've settled into a palette I'm comfortable with, though I haven't painted consistently in so long I've forgotten some little nuances of colors I once could use blind folded.
I had permalba, yellow ochre, cad yellow light, burnt sienna, burnt umber, raw umber, and maybe some cad red light and sap green, though I think I only used those two on my last paintings and not the lemon or pear. I can't be positive, so I'll list them for what it's worth.
As for process I lay in values with burnt sienna and umber, then start putting on thick brushstrokes of paint. I can't thin the paint on the panel because it just rubs off. After this thick layer of paint dries, I do some glazing with burnt sienna to make the shadows warm and make them even. It's easy to use too much light in the shadows and the burnt sienna brings everything back to the right value.
Plus, working light colors into wet glaze is just as satisfying as adding highlights! Well, almost.