Ok, so I had my fun posting it in hunts/finds yesterday. Pretty sure it didn't fool anyone, but got a lot of hits (181), and a good laugh. Certainly not as good as last one (102 mustard Diamond), but better than 102 cobalt ( That is now a blank canvas ready for another attempt, along with 2nd one, my 102 mustard slumper.) Found that painters reuse canvas not just out of thrift, but because they're so much closer to being ready to paint on than a fresh (screen textured) canvas.( time/effort) Can't get a convincing glass look with Archies criss-cross hair/tic tac toe board surface. This is my fourth painting, learned at least 4 things from this one to make it worth while regardless of whether I save it or not: 1) Even though it takes weeks of slopping 100$+ / gal. Guesso on canvas and sanding most of it off ( before you start slopping on 500$+/ Gal. Color), I didn't realise this canvas was Not prepped right untill I started painting.( note white streaks near embossing) Look closely at surface before starting! This trick can save some serious time though: wet just the sandpaper when sanding canvas, and wash sandpaper off right then, but keep canvas nearly dry. Prepping a canvas is much like varnishing brightwork on a boat. 2) Glowing orange yellow color, pretty much ok. Realised that if I want to replicate a color, I can just look at a printed version of that color with a jewelers loupe, the dots give the "formula" in a way. ( can do this with smartphone digital photos too, but more complicated)But it's not a straight forward 30% yellow/ 70% red kind of thing. If 30% of surface is yellow, my eye needs to SEE 30% yellow. If I just mix it to ratio, dark dominant color takes over, and color isn't even close... 3) Not really ready to ' go rogue' yet, need to copy more photos to better understand glass. especially embossing... 4) because I knew I couldn't get intended results after starting it due to surface prep, I did go rogue, but my new found freedom let me find a scraping technique that I hope will come in handy in later projects. Finally, learned that photographing a painting is nearly a difficult as photographing insulators, glare, lighting, color replication... takes time to get right.