Many of the areas of colour are just abstract in shape but look the part when juxtapositioned between more recognisable flower shapes.

 Detail.

I like to think of what I am doing at this stage as adding a 'wave' of colour that washes over the paper from one corner to the other,

unlike the previous stages where work happens on different sections of the painting in a more overall fashion.

More detail added. It is not hard to see why this tree is a favourite with many in Australia. When the flowers drop, they form a purple carpet. It is so popular, that there is a colour of purple named after the tree! (With purists, the tree is actually a 'weed' tree!)

 Detail. 

I am beginning to see the sun in this work now.  As the darker tones are added next to the lighter tones, the contrast accentuates the effect. One of my main aims, is to create an illusion of the effect of the sun. Even though watercolour is unforgiving, it is possible to correct accidents somewhat. Behind the branches at the top right, I accidentally smudged a little yellow paint from the side of my hand. I blotted off most of the paint and, once dry, added a couple of buds. It would not have been easy to blend in the smudges with the sky and it remain a uniform overall colour and tone.

Just a little more detail added. I spend some of the time contemplating on what paint I am to apply, as it is critical with this style of watercolour to be sure. If a tone is too dark, it is very difficult, if not impossible, to lighten it. With an overall composition like this, though, there is some forgiveness and little errors are lost in the 'crowd'.

Detail.

I am now working on the flower shapes,  using French Ultramarine, Ultramarine Violet, Winsor Violet, Alizarin Crimson, Brown Madder and Cerulean Blue. The painting can present as an abstract of flower shapes, because it is the overall pattern of the flowers on the tree that I am trying to capture. In this way, the focus should not be on a particular flower but on the overall 'feel'.

As i continue with this painting the small additions will only be noticeable if the current photograph is compared with the previous one.
I have painted one Jacaranda before but it was an afternoon light which makes the colour have a red bias. This one is a morning light which should have a slight blue bias. Most of the colour at this stage is shadow colour which has even more blue bias as in the original painting. The trick is to still keep the special colour of the jacaranda overall. I have added a picture of the first painting to compare.