The painter's "veil technique" creates a twofold effect: firstly, it creates a sense of depth of space on the canvases, and secondly, it aims to create a particular impression of colour. The layers are so pale and translucent that the observer is led to think of a hazy, misty atmosphere. The perception of a hazy space is provoked by the fact that the painter chooses a single shade as its base, and this is usually the only specific colour aspect of the painting. Looking at the overall colouring of the paintings, the audience might try to tell that the overall tone of the painting is mossy, ruby red, cobalt or indigo blue - but the painter does not use these colours at all on her canvases. The corresponding colour impression is created when the painter applies a layer of varnish of the opposite colour on top of the previously modelled layers, so that the superficially perceived colours are just a completely thin 'veil' of blue paint on a yellow, red-orange, off-white, or brownish ground. The overlays of the previous layers, immersed in such veils, provoke one to imagine the existence of light and shadows in the space of the painting, and the extensions of a particular colour that shine through the masses of indistinctly coloured shadows are like flashes of light trying to penetrate the thick atmosphere. In this way, Katinaitė's abstract expressionist paintings are not conventional studies of colour combinations and subtle shade differences - like the work of, say, Mark Rothko (1903-1970) - but rather studies of the illusion of colour and the uncertainty of specific shades - like the work of another famous colourist, Jules Olitski (1922-2007).