The shadows were first and the most important shadow color of the whole painting, I think, was the "dark white" of the shaded cosmos petals (radiant violet, permanent green, and pink). Achieving the shadow color of the starring flower - the primary center of interest - would give the painting credibility, even if the rest of the painting was executed with wild abandon. I always hope for wild abandon, but seldom can resist bringing it back under control. :))
The shadow mass on the dark table was roughed in next with a darker indigo color. The "non-shadow" background was a light value made from the same pinks, greens, blues and yellows embedded in the flowers. Finally, the reward...applying the bright clear petal colors. Wherever possible, I tried to paint a single petal with a single brushstroke that fully overlapped its background. It's funny how applying a single effective stroke is more difficult than fussing over an area with many strokes. It really is a mindset. Plan, then one and done! In other words, t
he more spontaneous it looks, the more calculated it was - for me anyway.