This background is a real loose watercolour painted wet in wet. This blurred perspective of an under-wood in the estival light, evokes a somber well, in which, if you looked too much into it, you will fall in a deep reverie. This part of the painting was only 20 minutes of pleasure, when on the damp paper, the colours was melting with grace, while the technique of the painter tried to influence the chance in this marvellous alchemy called watercolour. Luck was on my side and the result was rather beautiful. I had just to lay down in this fine jewel-case the pearl necklace I wanted to create.

When I rubbed off the drawing-gum, I saw that the 18.000 surfaces previously reserved, were oblong, triangular or trapezoid, but none looked like a round dewdrop. So I rounded each one of these 18.000 drops, using the exact shade of its background. When it was finished, I did not have a single water drop, just 18.000 round white holes. I had to give them a volume. I used 3 different shades with my thinnest paintbrush to transform all of them in spheres. You cannot imagine how painful it can be to work so, the eyes stuck to the end of a paintbrush skimming the paper. I could hardly paint 5 hours a day during all these weeks of this entomologist 's lonesome pleasure.
For each one of my pictures, I always tried to sublimate the painting by a frame, which is its prolongation. The idea of painting the bevel-edged in the same time than the picture itself, had been raised a few month earlier by my kindred soul, who frames all my work. So, even if it seems to be only with only half an ear, the artists really hear their friends 's advice. Thanks Florence ! At the end, even for those who had forgotten their glasses or who don't read the notes written by the artist in the margin, It remains a beautiful watercolour, what my father would have called , a pretty coloured spot on a wall.