I am painting "copies" of Tom Thomson's pieces that I plan to discuss in my coming book "Tom Thomson Was A Weatherman". I have been advised that this is fine to do it this way and the process of getting premissions from the various galleries has now gone into months. The paint flowed. On close examination Tom's brush strokes were really fast and furious. It would have been dark as well and tough to see either by lantern light or the light of the full moon. His brush picked up paint from either side of his stroke and blended them together. There were really not many double strokes so the colours still remained relatively unmixed. The colours were different on the computer image I looked at on the laptop and the book version. As a result I didn't worry much about matching the colours exactly. It is a good exercise to paint copies of each of Tom's paintings that I wish to use in my book. It really forces me toe examine each stroke and to discern more clues hidden in plain sight. I discovered another more subtle example of conditional symmetric instability (CSI) on the left edge of the painting. I even painted "Rigel" in the spot it would appear if there were no clouds. Tom has a flick of white paint in about the same spot and it made me wonder whether he played the same joke and laid the star on top of the transient cloud that could have moved out of the way of the star as he painted. This fleck of white paint is possible especially if Tom's sense of humour is like mine. No one will ever know for certain.