The next stage is the choice of colours and the way they are interchanged. I usually use combinations of seven basic tones – the colours I discovered during the study of old Babylonian records, which have survived to this day in the fragments of Plato’s and Goethe’s works and in some other medieval scripts from all over the world. My painting technique is painting with light, so it is especially important for me that the colours I use are of high quality and that the pigment is well grounded. I needed a little time to discover the medium that suits me. Since the colour and its vibration is important and I work with it at the level of the atomic structure, the color tube is not only a white tube but always a specific shade of white, which has exactly fine particles of the pigment, a precisely determined binder and solvent content, and a specific drying time, which is different for each layer of colour. White is not only white, but every pigment is different, depending on the substance from which it is made, the age of pigment production … and it depends on the medium, from the one that applies the colour. Colour becomes understandable only when perceived as vibration within the atom. Thus, titanium white is not the same as zinc white, because the titanium atom vibrates in the same vibration as the number five, and the zinc atom is at the level of nine. In addition, each image contains 60 to 200 thin paint coatings that intertwine each other and generate final vibration. The colours I apply are carefully selected according to their primary vibration. Equally important is the sequence of colour tones.