Desmond O'Hagan's workship on Bainbridge Island.
It was about reiteration of dark to light method with a larger brush (#8) even on 9x12 surface, but it also exposed me more to realization of warm/cool color temperature handling and its effects.
Those two outputs were half completed by O'Hagan himself so I can't claim 100% credit. However, I intentionally picked his subjects (I regularly don't do stilllife, figures nor cityscapes) to learn from his style and technique. Although I have no intention of changing my subject matters at this moment, I'll definitely experiment more with warm&cool.
It was very good workshop after all.