Central New York Landscape II 11x14" by Kevin Cronin - Painting II - Broome Community College"

Central New York Landscape I 11x14" by Kevin Cronin - Painting II - Broome Community College"

Still life with Wine Bottle, Egg and Silver Cup 20x16" by Kevin Cronin - Painting II - Broome Community College"

Western Landscape 16"x20" Oil on canvas by Kara Boyce

Barnes and Noble Student Exhibition, Vestal, NY, - Painting II - Professor Groat

Barnes and Noble Student Exhibition, Vestal, NY, - Painting II - Professor Groat

Pearl Strands by Heather Herche 16"x20" Oil on canvas - Painting II - Broome Community College"

Pearl Strands - 16" x 20"

For this assignment I chose to paint a string of black/blue pearls and strings of beads on a silk scarf. The best part about my composition is that the string of pearls farther back is in shadow. This allows for there to be huge difference in chroma. The scarf behind the pearls in shadow is extremely low in chroma compared to the scarf in the foreground. There is a huge contrast in colors between the foreground and the background. I angled the light this way on purpose to give the painting more interesting points. This allowed for use of high and low chroma and lots of shadows. This also helps to give the painting a sense of depth. Also just the difference in the two strands of pearls makes for an interesting painting. I think the stands of beads coming out of the jewelry box give a sense of atmosphere and the reflection of the beads in the wood turned out really nice. I used an academic style to paint the entire canvas. I changed this after the painting looked too stiff. To smooth out the different edges for a softer look I used my little finger. I scumbled the paint where two colors were alongside one another. This give the piece a finished more stylized look.

Marching Stilettos by Jennifer Bagnick 20"x16" Oil on canvas "Painting II - Broome Community College"

For this painting I was to create a large- scale personal still life with three to five objects. The objects were supposed to be three of these five elements: transparent, organic, geometric, have contrasting visual textures, and elliptical quality. After much debating I decided upon a pair of boots my mother bought me for my birthday and a wooden stand I found in the classroom. I close the boots because I thought they had an interesting shape and would make for a dynamic composition. The boots also have a lot of contrast within themselves because of the buttons on the sides that are shiny, the brown leather and the suede fabric of the boots. The wooden stand was added as an afterthought to the composition to prop up one of the boots. I chose this item because of it's antique quality. I wanted the painting to have a vintage look to it. I titled the work "Marching Stilettos" because I feel that the piece looks slightly militaristic while also holding on to the idea of vanity because it is about hing heels. The idea of military high heels is an abstract idea in itself and the abstract painting style lends to this. I think that one could speak a lot of the possibility that what going on in society and the idea of the war and our growing economic porblems may have a large impact on our fashion trends.

The painting was supposed to include nine formal elements: (1)High to Low-key value range, with light and dark contrasts (2)Negative space and cast shadows must be painted in low chroma (3)High, low and medium chroma/saturation areas (4)A sense of volume and visual weight to all of the depicted forms (5)A sense of depth –foreground, middle ground and background (6)Variation in brushstroke scale and shape (7)Scumbled areas that appear diffused contrasted with defined forms (8)Fresh, clean, painterly passages which are not overworked (9)Sense of atmospheric space

I used a lot of orange and yellows to create high key values and mixed in a bluish grey and raw umber to create low key values. The contrast between the warm yellows and oranges and the cool blues really made the lights and shadows pop out from one another creating a sense volume to the objects and make a three dimensional effect. I painted the negative space in the background with a blue that i mixed with a neutral greyish color to create a low chroma. I later added some highlights with a touch of yellow and some more vibrant blue color accents to make a sense of atmospheric space. I accented areas with a very high key blue grey to make the illusion that they were shining in the light as can be seen in the buttons of the boots, the zippers, and on the dark brown leather accents. I also used this effect on the wood stand in the bottom right corner to make the object look round and create volume. I used many different chroma/saturation areas in this object to make it look wooden and to create the illusion that there are grooves around the top of the object. The mixture of multiple chromas in the boots that I scumbled together successfully created a sense of a soft fabric that the shoes are made out of. I wanted to show bothe the hard and soft sided of the boots in an abstract sort of way. The placement of the one boot on the right on top of the wooden object creates a better sense of depth than having them both on the same level. This placing allows for a foreground, middle ground, and background to emerge. The right boot is in the foreground and the left one seems to be in the middle, while the negative space behind the shoes lends itself to the background. Overall I think this piece was successful in many ways. I learned something new with the use of bold brush strokes and took chances with brighter color choices creating a well rounded work.

Ben Kellog - 16"x20" Green Rabbit - "Painting II - Broome Community College"

When an artist is allowed to choose the objects that are to be painted in a still life the resulting image is often a figurative self portrait of sorts. The painting can take on the personality and characteristics of the artist and become evident in the image. Without pinpointing the exact qualities in the still life that match my personality I feel this is true. As a work of art I would like to leave this open to the viewers’ interpretation and let each individual decide for themselves how the painting may or may not be a self portrait.

The objects were arranged within a box and a direct light source was used to create a dynamic range of high and low key areas. The brightest bright was the area of reflected light on the cognac snifter, one of the last spots of paint applied to the canvas. Other high key areas are the ears of the labbit and the right side of the spines of the books. White was added to the base colors used for these objects to act as a tint and show the areas of light. The low key areas fade into the background where the light could not reach and also in the areas of the cast shadows. The labbits shadow cast upon the books and underneath the figure as well as the area that makes up the soil in the plants pot are the lowest key values. The low key areas were achieved by adding raw umber to the base colors. Toning the colors down like this makes it low in chroma and was used in all of the cast shadows and negative space.

High, medium and low chroma areas are apparent throughout the painting. As said above the cast shadows and negative space were painted in low chroma. The colors muted to set them back, make them less prevalent. The most saturated areas of color are those that were painted with raw color, not tinted or toned, evident in the book furthest to the left, some of the leaves of the Christmas cactus, and the rear section of the labbit. Medium chroma areas are the in-between, not overly saturated pure color and not toned down or highly tinted colors. The middle areas of the spines of the books, the mid area of the labbit and again some of the leaves are all medium chroma.

Painting the objects in the still life was approached in a very formalistic way. Volume was created by varying the high and low key areas on the surfaces of the objects. The labbit, for example, has a sense of volume conveyed by the directions of the brush strokes that follow the contours of the figures shape. The darker areas are further away and the lighter areas closer. The plants pot has volume in the same way, the lightest area the closest and getting darker and lower in chroma as the form rolls away.

Depth was achieved by having a clear foreground, middle ground, and background. This sense of depth was created by the placement of the objects from the very beginning. The labbits cigarette and head starts out in front of the cognac snifter, which is in front to the plant pot, which is slightly in front of the books. The books then are clearly the furthest back and the depth is really felt by looking at the labbits head, following its body with the eye, and arriving at the background.

As stated earlier about the use of the direction of the brush strokes to achieve volume, variation in brushstroke scale and shape were used for a variety of effects. Big, blocky brush strokes were used initially to build the objects form by painting the planes. As the painting was worked the brush strokes became smaller and more specific as an attempt to show detail. Even the palate knife was used to scrape paint off the canvas to create the line that represents one of the highlights in the snifter. When large blocks of color were applied next to each other a clean brush was used to blend the colors creating new colors right on the canvas. This gives a feeling of “fresh, clean, painterly passages which are not overworked!” The negative space, particularly the yellow area, was achieved by scumbling and diffusing the yellow with the raw umber that was already on the canvas. All of these effects help to create a sense of atmospheric space which feels warm by the yellows and oranges but balanced with the blues and greens.

Aubrey V.D. 16x20" Oil on canvas "Adirondacks" "Painting I- Broome Community College"

Final Project Essay

I chose to paint a 16”/20” in landscape. The landscape is painted from a picture taken in the Adirondacks. The Adirondacks is known for its picturesque scenery. The complexity of nature gives the artist freedom to find new ways to describe nature with paint. It is almost impossible to paint an exact copy of a photograph depicting nature, but I find it amazing that the tonality and brush strokes can mimic that of leaves on a tree and the glistening rocks in the water. Painting two other landscapes earlier in the semester, I had found that I really enjoy painting this subject matter. I have learned new techniques from each of the previous paintings that I wanted to incorporate into a new piece. Painting is a learning experience, and I discover something new in every painting.

The left side of the painting is very dark and shaded by the trees, whereas the right side is very bright and colorful. The grass and trees are very warm, and the water is cool. The warm and cool colors play off each other creating a very active scene. The eye has to look at every part of the painting before turning away. The small bright accents are very attractive. The trees have a lot of texture. In contrast, parts of the stream that are calm and smooth needed a smooth texture, therefore I made it harder to see the brush strokes. The brush strokes play an important role in creating atmosphere and I used it to my advantage. The painting goes back into space hundreds of feet. The best way to create depth in a painting is to really show those shadows and highlights. Each time when a shadow and highlight are placed next to each other, more depth is added to the painting. A highlight is often a sharp edge and the shadows are very soft and diffused. I tried my best to keep the dark areas light weight and airy, by painting only one coat of dark paint. The undercoat is very important because it ties the whole piece together. I struggled painting the trees and they may have been overworked somewhat. Next time I paint a landscape, I think I now know how to handle them better. It is all about shadows and highlights, and the placement of the quick brush strokes.

I have learned the importance of letting the undercoat show through a little. I learned more about the technique of layering the paint and yet keep the painting from getting over worked. I am still experimenting, and each painting is a success to me because of the progress I am making. Overall, I think the best feature is the water and rocks. I seem to know exactly what to do when it comes to painting them.

The painting simply say’s “I am a Landscape.” It is not painted photo realistically but it is obvious what it is of. In a way, this is a very simple piece, because it is only a study of how to paint the idea of a landscape. I am learning how to use tone to create depth, how to layer the paint, and how to paint hundreds of leaves and blades of grass with only a few strokes.

Aubrey V.D. 11x14" Oil on canvas "Adirondacks"

Aubrey V.D. 11x14" Oil on canvas "Adirondacks #1" "Painting I- Broome Community College"

Jooyeon: #2 still life 11x14" "Painting II - Broome Community College"

Jooyeon: #3 still life 11x14" "Painting II - Broome Community College"

Jooyeon: #1 still life 20x16" "Painting II - Broome Community College"

Jooyeon: #2 still life 20x16" "Painting II - Broome Community College"

Renate: Still life #3 10x8"

Please e-mail me your comments on my work: reynoldsr118@acad.sunybroome.edu

At first I was hesitant to paint, I wasn’t confident in myself. I was focusing on making it perfect and not abstract in any way. My first still life painting was very object oriented but I established the form and color in the piece. The second still life painting I did was much more successful than the first. All the objects in the painting flowed together and no object was isolated from another. From my first painting I improved greatly. Composition wise, I think I was successful in both cases, as well as my other two paintings. I still need to improve on the way I paint because sometimes I catch myself being too cautious. But in the end, I learned how to enjoy painting even with the simple concepts in mind.

The painting of the pot has meaning behind it unlike the still lifes. It is just a pot. But it’s a pot that was made and came from Germany. The pot is symbolic of my German heritage and my family in Germany. I feel a strong connection with my family even though I rarely see them or speak with them. I talk to them through my mother and the letters that I send them. Pictures, objects, food, stories, and even a little pot connect me with them and make me feel closer even if I am so far away.

Painting an object or place that you have a connection with makes it more enjoyable. There is an emotion, a feeling, a mood behind what you are painting. I painted the pot and the painting of the landscape of Taughannock Falls more freely. But yet I keep on critiquing my work in my mind because I was associated with them. After all it was a great experience to be able to paint something that was special

Jooyeon: #5 history painting: Life on the Erie Canal 11x14" "Painting II - Broome Community College

Please e-mail me your thoughts regarding my work: wndus1016@yahoo.com

At the begining of this semester I just painted as I have done in the past. But I tried to explore new ways gradually and I've got them. I wanted to represent different styles according to objects and atmosphere each of my works.

My last work was landscape as canal. Actually I liker to paint still-life than landscape because I had landscape painted on large canvases usually so I felt a little boring and I got tired but this work is very small and a new trial and venture. It was very small and I tried to paint in different style like famous artists as Courbet. It was interesting and I think my last work has like historical mood.

Theresa: "Still life #2 --"Apples" 16x20" - Painting I - Broome Community College

Dr. Hyesook Chang " Still life #1" --20"x16" Oil on canvas

Dr. Hyesook Chang "Still life #3 --"Apples" 16x20"

Dr. Hyesook Chang "Still life #3 --"Apples" 16x20"

Dr. Hyesook Chang "landscape#2 --24x18"

Dr. Hyesook Chang "landscape#3 --24x18"

Dr. Hyesook Chang " Still life #1" --18"x24"

Shirley Campbell -- Naturalistic Still life of Pears --11"x14"

Comments by Hall Groat II regarding Shirley's Painting

This particular painting is rooted in the tradition of naturalism, a sensibility that is based on the intense observation of tonal relationships, merging values, and dissolving edges. Naturalistic painting is concerned with suggesting the actual mood and ambiance of the space, which is reflective of how we see as humans. This aesthetic ideology is fundamentally different from "realists" who are concerned with specificity and freezing time, as in a photographic snapshot. Naturalism is ephemeral, just as the human experience. Humans do not have the capability of focusing on multiple sharp edges at one time, similar to how a camera sees or a hyper realist painter mimics a photograph or creates a hyper reality.

Shirley Campbell -- Cherry Tomatoes --8"x10"

Painting Studio --Broome Community College

Devin -- Still life With Rocking Chair --24"x18"

This painting has been selected by a committee to be used on this year's Annual Student Art Exhibition postcard at Broome Community College.

David Baxter 20"x16" Eggs with Bowl - Painting II - Broome Community College

Emily Hughes 20"x16" Vessels - Painting I - Broome Community College

Adrianna Lambert 20"x16" Apples - Painting I - Broome Community College

David Baxter 20"x16" Eggs - Painting II - Broome Community College

Baseball #3 6x6" Oil on Masonite

Baseball study number 3. This ball was painted with a palette consisting of Yellow Ochre, Burnt Umber, Ultramarine Blue, Cadmium Red and White.

Baseball #2 6x6" Oil on Masonite

Baseball study number 2 with suggested stitching. Limited palette consisting of Burnt Umber, Ultramarine Blue and White.

Baseball #1 6x6" Oil on Masonite

Study of a baseball, stitching only suggested. Palette consisting of Yellow Ochre, Ultramarine Blue, Burnt Sienna, Cadmium Red, Burnt Umber, White and Black.

Autumn in Lithia Springs

Oil on canvas panel 12 x 9"

              This is my first attempt with a limited pallet of  Winsor&Newton oils , trying to catch the changing tree colors and the light.  Yesterday was cold, but still no need for a jacket here in Atlanta, where the winter is mild and the light always bright. 

Fishing boats on the beach at Santes-Maries

Oil on canvas 26 x 32"

Tryed to copy my favorite painter, really engojed the drawing and coloring. 

Pumpkins on blue saari

Oil on canvas 9 x 12"

White Pumpkin with Gourd

Oil ion canvas 9 x 12"

Pomegranate

Oil on canvas 9 x 12"

After viewing Hall Groat classical composition DVD, and painting fabric DVD. I try my own pomegranate composition.

The odd one

Oil on canvas 9 x 12"

Here i try my own composition with a rea napkin, 3 lemons and a metal bowl.

$20 bill

Oil on gessoed masonite 6x6"

This oil was the results of 3 e-mail exchanges, in one day between myself and Mr.Groat , each time the Maestro suggesting subtle ways to improve the oil. The original badly needed improvement. So thank you very much Mr.Groat!!!!

Faenza Ceramic

Oil on canvas panel 9 x 12"

Pumpkins w/white bowl

Oil on gessoed hardboard 9 x 12"

Coffe Pot

Oil on canvas panel 12 x 16"

Ciara Pumpkin by Mariano Zucchi

Oil on canvas board 12 x 16"

This pumping was carved in part by my 5 years old granddaughter Ciara. 

Pear "tetrad color scheme" yellow, yellow orange, blue and violet by Ron Yarosh

5"x7" Acrylic on canvas

Mets Omage by Mariano Zucchi

Oil on canvas 6x6"

" Coffee pot and orange" by Mariano Zucchi

Oil on linen 3-2/8 x 4"
another miniature study.
I signed this with a mechanical pencil, when the oil is dry I should be able to erase it and regain the white of the linen. I start loving these small oils.

" Tabletop " by Mariano Zucchi

Oil on linen 3-2/8 x 4"

another miniature from Joyce Washor book
"Big Art Small Painting"

" Lemon " by Mariano Zucchi

Oil on canvas paper 2 x 2 "

Try my hand at a miniature painting. Changing size is always good and can be stimulating. Now if I only new: is this a Lemon or is a Lemon?
Thank you Joyce Washor

" Neresine City Hall" by Mariano Zucchi

Oil on canvas 9 x 12"

Plain Air

Sept 2008, Croatia

" Ossero Belfry" by Mariano Zucchi

Oil on canvas 9 x 12"

Plain Air

August 2008, Croatia

" Shipyard" by Mariano Zucchi

Oil on canvas 9 x 12"

August 2008, Croatia

" Sailors Rest" by Mariano Zucchi

Oil on Canvas 9 x 12"

Hot August day Croatia 2008

Strawberrys

20 x 24 oil on canvas from Hall Groat II's DVD - Volume 10

Apples-Sal Gruttadauria

Oil on 16" x 20".  I think that the color is a bit too bright a red and the apples are missing some luminosity. I'll have to work on this.  

Ballet Slippers - Sal Gruttadauria

From Hall Groat II first DVD.  16-20 oil on canvas

Pocket Watch and Book- Sal Gruttadauria

16x20 oil on canvas from Hall Groat II second DVD

Hockey Puck-Sal Gruttadauria

My first attempt at my own painting using Hall II's techniques.  It was challenging because the subject is black.  Thanks for the help Hall.

Cookies & Milk- Sal Gruttadauria

Well - I decided I did not like the background so I repainted.  Not sure if I made it worse.  

Cookies & Milk- Sal Gruttadauria

This is oil on a 16 x 20 canvas from Hall Groat III third DVD.  First attempt at painting glass.  

Pitcher and Grapes - Sal Gruttadauria

This is a 16 x 20 still life from Hall Groat II dvd, volume II.

Baseball - Sal Gruttadauria

16  x 20 canvas.  I really like the simplicity of a single object. In many ways, I find it more challenging to paint as there are no distractions to take your eye off of the errors.  Great instructions on the DVD, Hall.  

Radishes- Sal Gruttadauria

Radishes from Hall Groat II DVD on 16 X 20 canvas. The radishes appear brighter than the painting itself. Must be the flash photography.

Sal Gruttadauria

1st painting-Sal Gruttadauria

Here is my first attempt at a Hall Groat II painting. It is a 16 x 20 on canvas.

Pear- 8x10 Diane Kingma

This is a tetrad value study.

Pear- 8x10 Diane Kingma

This is a triadic value study using the primary colors of red, blue, and yellow.

Pear- 8x10 Diane Kingma

This is a cool/warm value study of a pear using two warm colors and two cool colors.

Pear- 8x10 Diane Kingma

This is a complimentary value study of a pear. I haven't used oil paints untill recently, so this is a new expirience for me. I have been struggling with the oil paints, but I am starting to feel more confident as I experiment. In this particular study I used the basic complimentary colors of red and green.

Red Apples, By Vic Errington.8x6

I just can`t stop Painting Fruit now I have studied Halls way
of Painting.I keep looking at his DVDs,and I love the way he applies
the Paint,which in turn,makes me want to carry on in his stile.
I would love for him to produce a DVD doing a Landscape,I think
that would be an Eye opener for me.

Pear study,by Vic Errington,8x6

Hi everybody.

This pear was Painted after watching Hall Groat`s DVD Vol`8 Painting of a pear.

I loved the way he teaches and applied his method on a pear of my own that I set

up.Probably the background needs a bit more feeling in it,not sure though.I`m about

to do a study of two Apples using the same method as he uses on his Apples Vol`6.

If I am reasonably happy with it I will ( hopefully ) Post it as well.Thank you Hall,

what great teacher he is.

Monochromatic value study "8 x 10" - Diane Kingma

This is a Monochromatic study is of a coffee cup, using phthalo blue and cadmium yellow mixed together to produce the base hue. I then used black and white mixed with the hue to create the shadows and highlights. Oil paints are a new medium for me, but I found Professor Groat’s DVD, Color Schemes & Harmonies #5, very helpful. I gained an understanding of the techniques used in capturing the contour of the subject in use as well as how to layout where your shadows and highlights will be placed. I had great difficulty taking the picture of my painting because of a glare that occured from my camera, that's why there is a grainy look to it.

Bowl of cherries 6x8" by Mariano Zucchi

This is a favorite of mine , and is the result of 3 email exchanges with Mr.Groat in a 48 hors period. Every time mr.Groat, suggested a change I executed the change sent a Photo to Mr.Groat witch in turn suggested a further improvemt, and so on. It was very interesting t o say the least and a great opportunity for me to learn the details of traditional realism. Thank you Mr.Groat your patience is paying off for me.

Milk pitcher w/grapes 12x12" by Mariano Zucchi

Diane Kingma- Basic shapes exercise

3 Lemons 12 x 12" by Mariano Zucchi

A classical composition of light sculpting forms ; in this case lemons . A burnt umber imprimatura support this oil and allow to concentrate on the colors without loosing the original drawing. This is my second attempt at it.

Pocket watch 6x6" by Mariano Zucchi

This is a subject dear to Mr.Groat and I can see why, is a very intriguing piece, the detailed explanation about this piece by Mr. Groat are fantastic, now if only I could be a little bit more like Rembrandt!!! Well...I could create the illusion of incredible details.

Oil on canvas 12x12" by Mariano Zucchi

I am trying some more complexes composition from Mr.Groat DVD's trying to execute the 12 phases of modern realism.

Persimmon and Plumbago 8 x 10 by Karen Winters

Painted by Karen Winters, from life, using principles learned in Hall's first DVD. Although the subject matter and arrangement of items is completely different from those depicted in his video, I found that the instruction was clear and useful, and could be applied to whatever I wanted to paint. This painting has already won two first prizes in regional shows. I'm primarily a landscape painter and the instruction is helping me to expand my horizons.

Thanks, Hall!

Karen Winters

Mariano pear 6 x 8" by Mariano Zucchi

After practicing with the Pears Harmonies as explained in Mr.Hall Groat II fifth DVD for about 2 weeks and painting 11 imaginary pears; finally raided my wife chicken and put a real pear on my desktop right on the glass where I mix my colors. Strategically placed close to the wall. I immediately noticed a nice reflection on the glass, all that was left to do was to integrate the horizontal and vertical planes to create a space illusion that would sustain the simple pear for hundred of years. The 12 fundamental Phases of Painting so brilliantly presented by Professor Groat were the skeleton upon witch I build my oil painting. Yes we stand as they say on shoulder of giants. Presently I am investigation the relationship between LINSEED OIL, GESSOED BOARD , OILS applied with Bristle and Sable brush . Every brush stoke fuses the oils in the linseed oil in different ways, creating infinite variation of colors, illusion of depth, it is almost like sculpting the form with light and colors. An energetic delicate and most rewarding process.

Baseball 6x6" by Mariano Zucchi

Finally after a week of painting pears i try my hand at a simple object a baseball. Really not so simple to render correctly in his perfection. I really enjgoyed painting this baseball and I think it show in the final oil. I have to say that Mr.Groat DVD was a great help for this oil.

Tetrad Harmony 6x8" by Mariano Zucchi

My shape shifter pear is in a Tetrad harmony. I can see some improvement , secondary planes are more defined and balanced the background finally does not compete for attention with the pear and also there is an accent of middleground. This is my 6th attempt and I think I start getting the ideas expounded on Mr.Hall Groat II DVD's . If he can teach me.... he can teach anybody!

Triadic Harmony 6x8" by Mariano Zucchi

My pear keeps getting a good workout with a different scheme. The secondary planes in retrospect are not worked out properly. It seems like the background wont to recede on this one . It is a work in progress , hope to nail it one day soon!!!

Cool/Warm Harmony 6x8" by Mariano Zucchi

the 4th pear harmony warm/cool not a winner. Oils are applied too heavily and do not conform to the DVD instructions. Perhaps I am getting tired of drawing pears. Not a good day for me but a small step closer to create my ideal pear.

Analogous Harmony , 6x8" by Mariano Zucchi

I tried to follow the DVD instruction , The burnt umber imprimatura was satisfactory, I think I stray a bit on the edges of the pear deforming the initial drawing, still there is too much activity in the foreground and background, I start seeing some improvement on the shadow side of the form and on the interplay of the worm and cool colors in the background. A good exercise.

Complymentary Harmony 6x8" by Mariano Zucchi

This is the second exercise on the per as suggested by Hall Groat II Oil painting DVD vol.Five. I plan to do all of them, to investigate colors and try to understand relationship between foreground, background, etc. Somehow this pear resemble a light bulb. Nobody said it was going to be easy!!!! In retrospect the left edge is too defined. Like a cardboard cut out . On top of that the background is too elaborate and compete with the pear for attention. Even following Mr.Groat DVD, one can still make a lot of mistakes. The important thing is to learn from them; and this is another step.

Monochromatic Harmony, 6x8" by Mariano Zucchi

Complementary Color Harmony Pear 10"x8" by Savannah --Broome Community College Student

Monochromatic Pear 10"x8" by Savannah --Broome Community College Student