Fourth in the series. Muted earth tones of yellow plaster and tile, gray mottled or a light umber.
At this point I think it’s important to say something about palette. I think a reduced palette creates an aesthetically satisfying painting (whatever the subject matter, or no subject matter at all). In this case I restricted myself to yellow ochre, titanium white, neutral gray and raw umber. I had used the same pigments for the last panel (#49) too. OK, so the composition in either case was not very complex, nevertheless you still want to think about how to create a unity from the contrasts of hue and value while using a minimum of means.
From a texture point of view, I used the painting knife once again for the light plaster wall. Then I picked up a small piece of sponge to create the mottled gray tile work below it. The first pass was in neutral gray and the second pass was in white. Immediately I had a touchy-feely texture that just needed a little subduing and integration. The darker value of the raw umber gave me a solid horizontal line across the wall/floor crease. I used the same pigment as an echo in the broken line of the front diagonal. Of course, the underdrawing and the imprimatur work to provide a solid foundation, adding interest and depth, kinda like the bass line in a popular song.