A handful of glass marbles in one strong saturated hue, rendered with full glassy volume and then executed by hand with an airbrush, on one flat deep turquoise ground filling roughly half the frame. Two saturated hues carry the whole picture, the object in one and the ground in the other, with white doing the shine, and the chroma lives in long smooth ramps inside each hue — a single form rolling from near-black on one side to white on the other — rather than in the number of hues. A bright highlight band wraps around each form, streaked reflections run across the surface in lighter horizontal bands, and several small crisp white speculars sit hard on top with one warm yellow-orange among them. A fine even grain lives inside every gradient, densest through the mid-transitions, while the ground stays perfectly clean, and the spray overshoots each object to spill onto the ground as a soft coloured halo so the silhouette stays legible yet soft. A narrow orange-pink and violet band runs where a lit edge rolls off into shadow, and soft-edged drop shadows tinted salmon and blue-violet sit offset on the ground. Four layers back to front: the flat chroma ground, the spilled halo, the translucent bodies, then a fine top pass of crisp speculars. Two or three objects only, at enormous scale and cropped hard by two or more edges of the frame so that part of each runs out of shot and the picture reads as a close detail of something larger. Sweet, tactile and appetising.