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The trick to all this is in layering... most of the bottled inks are transparent, so they can be used as glazes over each other... and there are indeed many layers to do in getting the realism, even to bleaching out parts with thinned white [which is not otherwise transparent] to effect the sense of distance - and the opaque use of it to correct where mistakes are made due to lack of good transferring of the 'master' [note, for instance, that there is really a slight left side to the central glass slat, which is noted at the bottom, but lost in going up... if this were on canvas, it'd be small matter to scrape that off, but is on the foamboard paper, so needs be opaqued out]... the left tree is the most completed of what is seen, to give a guide on all this...

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