2025 Online Alla Prima Challenges (II) Resource

2025 Online Alla Prima Challenges (II) Resource

Third Annual Online Alla Prima Challenge with 20 All New Challenges!!

20 live painting alla prima sessions over 20 weeks (plus an introductory orientation) beginning on: January 12

WHEN: Thursdays – 2 pm to 3 pm EST. with Orientation starting January 16th, 2025

Welcome to the official Smartermarx thread for the 2025 Online Alla Prima Challenges. Sessions will be carried out each Thursday at 2 pm EST. Each session will last about 1 hour, which includes 30-45 minutes of painting time (depending on the challenge for that week) and 15-20 minutes of discussion about the goals of the exercise and some tips to make the effort more successful. After each session, participants will have one hour to share a photograph of their effort in a shared Dropbox folder that will serve as a private learning gallery for all participants. Links to the folder will be made available in an email like this one that precedes the session.

Prior to the first painting session, I will be hosting an “Orientation” session on January 16th. This will serve as an introduction to the challenges, a walkthrough of the primary goals, what is needed to participate, the role of the Dropbox gallery, and a general Q&A to ensure everyone is ready to go on January 23rd!

TO REGISTER: Please complete and submit the appropriate email sign up form on Anthony Waichulis’ website on this page: Online Classes and Events | Art and Articles

For all inquiries: allaprimachallenges@gmail.com

If you are interested in learning about the last series of challenges, you can see the initial full schedule here: Alla Prima Challenges. Also, if you are interested, Smartermarx has additional info on the general strategies that I often use to approach the alla prima (specifically the SNAG concept – Survey, Notan, Anchors, and Gradations.) If you wish to join us, please sign up today! (You can unsubscribe from the list at any time.) Please forward any additional questions to my administrator, Anya Dribas, at aaaw.anyadrs@gmail.com.

JANUARY 16: ORIENTATION

Here you will find all of the information (appropriate links (including Dropbox folder links for image sharing), notes, reminders, etc.) for The 2025 Online Alla Prima Challenges.

NOTE: Please respect the work, rights, and privacy of participating artists. You may view the efforts in the following Dropbox folders from the sessions for educational purposes, but you may not download or manipulate their work in any way. All files in the Dropbox folders will be deleted 2-3 weeks following each session. In addition, please know that live sessions, including questions and contributions from participants, will not be recorded to respect each participant’s experience.

Certain files may be included for participant usage (provided by Anthony or Anya and may be downloaded.) Such files will be indicated during the relevant live session.

Key points from the Jan 16th orientation session:

  • Please keep yourself muted during the session unless you are part of an active conversation. Here are two tips for quick muting/unmuting during Zoom sessions:
  1. While muted, press and hold down SPACE when you want to talk. This unmutes you temporarily.
  2. Keyboard hotkeys for toggling mute:
  • • Mac: Command(⌘)+Shift+A
  • • Linux: Alt-A
  • • Windows: Alt-A
  • The primary goal of the sessions is to illuminate the consequences of the fundamental components (concepts and actions) of your process by utilizing timed, narrow-focus challenges that can provide fast feedback and useful insights.
  • Sessions are not intended to be a demo series. This is a group activity that works best for both the group and the individuals when participants engage with the activity in concert. In addition, the series is not intended to instruct anyone to “paint like me,” but rather to analyze the fundamental components that make up YOUR process with short, controlled challenges.
  • While “I’d like to watch first, then try it on my own–on my own time!” may sound intuitively advantageous, in my experience, such a practice often leads to diminished returns. Again, the sessions are not designed to teach people to do something like I do it (although I am elated if any aspect of my process proves useful to you.). Rather, this is about analyzing your own output, generated with adaptations of your own process, in a context that has been demonstrated to yield productive feedback.
  • If you are not sure exactly how to approach a specific aspect of the alla prima—don’t worry—just give it your best shot (using even a “best guess” if necessary.) We need to make mistakes or even an outright mess to find meaningful development. Avoiding experience will get you nowhere. Additionally, I find that it is often far more effective (in a learning context) to try and “modify,” add, or delete a component of an existing process when the experience of the process and the relationship to the resulting product are fresh in your mind. Remember that experiences (especially what you might deem mistakes, errors, frustrations, etc.) will also cultivate the most useful questions for you that I hope we can answer together. (I’ve referred to this practice as “building an experience database.”
  • You should be ready to paint right when the session starts with your subject matter arranged and illuminated, your palette and brushes at the ready, and have the criteria for the session in mind.
  • When selecting, arranging, and lighting your subject matter, keep in mind the guiding principle in this context:

RECOGNITION MUST SURVIVE ABSTRACTION!

  • Regarding pre-mixing rules: What this means is that you are forbidden from mixing locals or other observable “color notes” perceived within or around your subject. Such mixing should be done “on the fly” (i.e., as part of your painting time.) This limitation pushes you to exercise your intuitive or heuristic-based understanding of color dynamics. Pre-mixing limitations can also push one to experiment in a more cavalier manner with buffer or step colors (or chromophages) (which are colors that are added to a particular painted passage or transition to appear closer to the perceived transitions within your subject (often generated by illumination or reflectance properties.) It is very important to acknowledge and remember that observed transitions with your subject do not often map to a simple mixture of the obvious categorical components that may define the poles or anchors of the transition. For example, a transition that may be observed to evolve from a fairly bright yellow to black will likely not be matched by simply mixing black and yellow paint. More colors will need to be involved.

  • Additionally, the pre-mixing limitation may push you to explore means of hitting certain perceived color notes with an analog application dynamic, surface topography, etc. that may move beyond what we would expect with simple pigment mixing.

  • SWITCH COSTS: One can find incredible advantages in efficiency and effectiveness with minimizing “switch costs” during their process. Simply speaking, switch costs are the time, mental, and physical costs incurred when switching between different tasks. For example, I highly recommend that that palette arrangement is made consistent to avoid “hunting for colors”, making sure you have enough paint out to avoid stopping to replenish the palette, and keeping all required brushes within arms reach so you don’t have to break from your work time to retrieve them, etc. These things can aggregate to seriously impact a 30-minute exercise, putting you at a great disadvantage. (This is a great example of how a 30-minute alla prima challenge can illuminate something that may be plaguing your day-to-day painting practices.)

  • PROXIMITY: I urge everyone engaging in these exercises (or any observational representation for that matter) to consider the subject’s proximity to the representation target (canvas, panel, etc.) As we observe our subject, we attend to the things that we feel may best serve our end goal. However, as we turn from our observed subject to observe the target surface—the information garnered from the subject begins to fade from our iconic and short-term visual memory. It becomes subject to compensation or enhancement from our long-term memory, which is incredibly imprecise. Iconic memory is the visual sensory memory register pertaining to the visual domain and a fast-decaying store of visual information. Iconic memory is described as a very brief (<1 second). Visual short-term memory (VSTM) is a memory system that stores visual information for a few seconds so that it can be used in the service of ongoing cognitive tasks. Long-term memory (LTM) is the memory store that can hold informative knowledge indefinitely. However, long-term memory is by far the most abstract and imprecise.

  • The palette draw rule means that after a certain number of brushstrokes, you must pull more paint from the palette (reloading the brush), or you may void the brush altogether. This is done to ensure that you are not over-modeling the study relative to the challenge (i.e., unwarranted surface manipulation that leads to value/color contamination or excessive “blending” without drawing development or material application.) For example, a 5 stroke palette draw rule means that you can only apply five strokes before you must wipe and/or reload the brush—thus encouraging the artist to think more “economically” and deliberately about brushwork. Additionally, the stroke rule should not be seen as a “minimum” number of strokes you must make prior to making a change to the brush—but rather, a maximum. Lastly, large homogenous regions, scrubbing, and early line work are all exceptions to the stroke rules unless otherwise stated (as they do not usually carry an immediate over-modeling or contamination threat.

  • A reminder newsletter will be issued via email each Monday with the Zoom link for the following session, along with a description of the challenge so that you may acquire the subject needed as well as any other pertinent info.

Anthony’s Palette is based on, or adapted from a traditional double-primary configuration:

NEXT SESSION: JANUARY 23th

NEXT SESSION: JANUARY 23:

Challenge #1

IMPORTANT NOTICE: As mentioned in orientation, please direct all inquiries about the Alla Prima Challenges to: allaprimachallenges@gmail.com.

Ok, about this week’s challenge: Get your Feet Wet

The criteria for this week is simple─anything you like adhering to the following criteria:

Keep time to 30 minutes or under; limit yourself to 5 strokes before brush reload or void in non-homogenous areas (surveys and cartoons are exceptions as well.), and avoid premixing.

Again, anything you like─just try and have some fun.

ANALYZE AND STRATEGIZE:

To make the most of these exercises, it is important to try and spend some time studying your own work and the efforts of the others in the group to build a strategy for growing success. Here are a few topics to think about when studying the efforts of Challenge #1 and strategizing for Challenge #2.

1. Small changes. When you are analyzing your work and planning for the next session, I would recommend limiting the number of changes you might make to your approach/process. I find, in general, 2 or 3 changes to your approach are more than enough to bring about a significant difference. If you start to change too much at once, assessing the impact of any one factor can become more difficult. In addition, in my experience, when people start to get frustrated, they tend to “run home to Mama.” This means that they will likely default to whatever they have been comfortable doing in the past and toss out everything new. These exercises absolutely have stress built in. Don’t overtax yourself on top of it.

2. Right tools for the job. Consider how your tools served your goals here. Were you battling with the palette? The brushes? The lighting? Do you have a plan to address or alleviate such factors? The most common observation that people were messaging me about was, indeed, brush sizes. In the orientation, I offered up the heuristic, “Use the biggest brushes that you reasonably can.” Many found that the brushes they chose were far too small. Let’s look at a few reasons why a “too small” brush can be problematic here.

First, consider the level of resolution that you are abstracting to. Higher levels of abstraction mean less information and likely more “large” statements. Smaller brushes may give us an intuitive sense of greater control, but they actually can make your job far more difficult in this context. For example, let’s say you are laying in a relatively homogenous middle tone (with slight variation as light moves toward the shadow.) This might be communicated relatively simply with a few strokes done with a larger brush. However, the same task with a smaller brush can quickly introduce far more variations than what is desired. Additionally, the 5-stroke rules can put small brush users are a greater disadvantage as the same area covered in 5 strokes with your average size 6 bristle filbert might take 3 or 4 times that with a size 2.

Second, it is also important to acknowledge that smaller strokes push the artist to make smaller distinctions which can sometimes work against the effort to abstract. Believe it or not, I would argue that the size of the brush dictates, at least in part, the resolution of the observations being made. Simply speaking, put a small brush in your hand, and you will attend to small bits of information. Put a large brush in your hand, and you will attend to larger bits of information. So if you are engaged in significant abstraction, you are likely to find more success (generally speaking) in attending to larger, more global attributes than smaller (with exceptions, of course.) For better or worse—size matters here.

3. Lose that Notan; you’ll likely lose your form. Most representations begin with a simple separation of general light and dark. Many squint down at the subject, limiting incoming information to better observe this separation. A good example of a binary separation can be seen in the Japanese art of the “Notan.” Introduced to American art by Arthur Wesley Dow (1857 – 1922), among whose students was Georgia O’Keeffe, “notan” is a Japanese word for the interaction between dark and light. In 1899 Dow published a book, Composition: A Series of Exercises in Art Structure for the Use of Students and Teacher, that presented design as founded on three principles: line, color, and notan (notan meaning the massing of dark and light areas in a composition.)

Like the traditional Notan, the development stage that often follows the survey, outline, cartoon, or envelope involves a simplification of the subject by assigning different areas as either belonging to “light” or “shadow.” One tends to indicate shadows with a generally darker mass-in, while the exposed ground serves to indicate the light.

These two areas are then populated with additional values and colors that are intended to bring the representation into a closer kinship with the observed subject. However, this stage (following the notan-like separation) is where we can often betray our initial observed separation. Without going into to much detail about the “why,” I would just like to say that at any given time during the development of your subject—you should be able to squint and see the same general notan-like separation of light and dark that you may continue to observe in your subject. If you cannot squint and see it–you likely damaged the relationship by adding colors/values into the light that moved it closer to the dark or vice versa.

One common issue related to this is when the artist blocks in a general average or “local” color/value for the light or shadow and then adds or subtracts too much in one direction. To understand what I mean, imagine that you are painting an apple. You squint down and observe a general averaged “light” region that you indicate accordingly. Later, you want to add some indications of the surface texture by adding some strokes to indicate the light freckles on the apple that pepper the surface. However, when you start adding the light bits, you are changing the average of the initial averaged local, thus changing the relationship you indicated in the first place. If you start with an “average,” and you wish to increase resolution, you must do so by balancing light and dark additions to keep the average so it holds its relationship with other elements. If this sounds confusing, I can expand on the concept before we start painting on Thursday. Just let me know!

4. A Compositional Boundary Box. Artist Julie Beck asked me to share the reasons that we push artists to “square off” a composition for the challenges rather than just allowing unchecked vignetting. The main reason for this is to increase attention toward the importance of contextual information. I cannot stress enough that contextual information has an enormous impact on how we perceive colors, values, forms, and even entire subjects. Your subject and its surround go hand-in-hand. Unfortunately, for some, this context is sometimes viewed as little more than a decorative afterthought, leaving the majority of the attention placed within the subject’s contours. By promoting a boundary box for a composition that includes subject and contextual surround, one is more likely to assign increased attention to the surround that may serve to significantly improve the way in which the subject is communicated.

Ok, I think that’s enough info for this week. Take some time to consider these points and decide if any are applicable moving forward. Again, don’t try to change too much with what you are doing so as to overwhelm your process and derail your overall productivity. In addition, don’t be afraid to ask about any aspects of these challenges.

ALLA PRIMA GALLERY FOLDER FOR CHALLENGE #1:

https://www.dropbox.com/scl/fo/p8x6v6mwllvd9k5t41y28/AGyW4Qa69zLR-4Hp17Wwi6Y?rlkey=g6arwdo7gxp7auwc8tzh5b1i7&st=h385b615&dl=0

Again, any completed all prima exercise can be sent to: allaprimachallenges@gmail.com. We will add your effort to the appropriate Dropbox folder.

NEXT SESSION: JANUARY 30:

Challenge #2

IMPORTANT NOTICE: As mentioned in orientation, please direct all inquiries about the Alla Prima Challenges to: allaprimachallenges@gmail.com.

Ok, about this week’s challenge: Get your Feet Wet 2

The criteria for this week is simple─anything you like adhering to the following criteria:

Keep time to 30 minutes or under; limit yourself to 5 strokes before brush reload or void in non-homogenous areas (surveys and cartoons are exceptions as well.), and avoid premixing.

Again, anything you like─just try and have some fun.

RECAP FROM WEEK #1:

ANALYZE AND STRATEGIZE:

To make the most of these exercises, it is important to try and spend some time studying your own work and the efforts of the others in the group to build a strategy for growing success. Here are a few topics to think about when studying the efforts of Challenge #1 and strategizing for Challenge #2.

1. Small changes. When you are analyzing your work and planning for the next session, I would recommend limiting the number of changes you might make to your approach/process. I find, in general, 2 or 3 changes to your approach are more than enough to bring about a significant difference. If you start to change too much at once, assessing the impact of any one factor can become more difficult. In addition, in my experience, when people start to get frustrated, they tend to “run home to Mama.” This means that they will likely default to whatever they have been comfortable doing in the past and toss out everything new. These exercises absolutely have stress built in. Don’t overtax yourself on top of it.

2. Right tools for the job. Consider how your tools served your goals here. Were you battling with the palette? The brushes? The lighting? Do you have a plan to address or alleviate such factors? The most common observation that people were messaging me about was, indeed, brush sizes. In the orientation, I offered up the heuristic, “Use the biggest brushes that you reasonably can.” Many found that the brushes they chose were far too small. Let’s look at a few reasons why a “too small” brush can be problematic here.

First, consider the level of resolution that you are abstracting to. Higher levels of abstraction mean less information and likely more “large” statements. Smaller brushes may give us an intuitive sense of greater control, but they actually can make your job far more difficult in this context. For example, let’s say you are laying in a relatively homogenous middle tone (with slight variation as light moves toward the shadow.) This might be communicated relatively simply with a few strokes done with a larger brush. However, the same task with a smaller brush can quickly introduce far more variations than what is desired. Additionally, the 5-stroke rules can put small brush users are a greater disadvantage as the same area covered in 5 strokes with your average size 6 bristle filbert might take 3 or 4 times that with a size 2.

Second, it is also important to acknowledge that smaller strokes push the artist to make smaller distinctions which can sometimes work against the effort to abstract. Believe it or not, I would argue that the size of the brush dictates, at least in part, the resolution of the observations being made. Simply speaking, put a small brush in your hand, and you will attend to small bits of information. Put a large brush in your hand, and you will attend to larger bits of information. So if you are engaged in significant abstraction, you are likely to find more success (generally speaking) in attending to larger, more global attributes than smaller (with exceptions, of course.) For better or worse—size matters here.

3. Lose that Notan; you’ll likely lose your form. Most representations begin with a simple separation of general light and dark. Many squint down at the subject, limiting incoming information to better observe this separation. A good example of a binary separation can be seen in the Japanese art of the “Notan.” Introduced to American art by Arthur Wesley Dow (1857 – 1922), among whose students was Georgia O’Keeffe, “notan” is a Japanese word for the interaction between dark and light. In 1899 Dow published a book, Composition: A Series of Exercises in Art Structure for the Use of Students and Teacher, that presented design as founded on three principles: line, color, and notan (notan meaning the massing of dark and light areas in a composition.)

Like the traditional Notan, the development stage that often follows the survey, outline, cartoon, or envelope involves a simplification of the subject by assigning different areas as either belonging to “light” or “shadow.” One tends to indicate shadows with a generally darker mass-in, while the exposed ground serves to indicate the light.

These two areas are then populated with additional values and colors that are intended to bring the representation into a closer kinship with the observed subject. However, this stage (following the notan-like separation) is where we can often betray our initial observed separation. Without going into to much detail about the “why,” I would just like to say that at any given time during the development of your subject—you should be able to squint and see the same general notan-like separation of light and dark that you may continue to observe in your subject. If you cannot squint and see it–you likely damaged the relationship by adding colors/values into the light that moved it closer to the dark or vice versa.

One common issue related to this is when the artist blocks in a general average or “local” color/value for the light or shadow and then adds or subtracts too much in one direction. To understand what I mean, imagine that you are painting an apple. You squint down and observe a general averaged “light” region that you indicate accordingly. Later, you want to add some indications of the surface texture by adding some strokes to indicate the light freckles on the apple that pepper the surface. However, when you start adding the light bits, you are changing the average of the initial averaged local, thus changing the relationship you indicated in the first place. If you start with an “average,” and you wish to increase resolution, you must do so by balancing light and dark additions to keep the average so it holds its relationship with other elements. If this sounds confusing, I can expand on the concept before we start painting on Thursday. Just let me know!

4. A Compositional Boundary Box. Artist Julie Beck asked me to share the reasons that we push artists to “square off” a composition for the challenges rather than just allowing unchecked vignetting. The main reason for this is to increase attention toward the importance of contextual information. I cannot stress enough that contextual information has an enormous impact on how we perceive colors, values, forms, and even entire subjects. Your subject and its surround go hand-in-hand. Unfortunately, for some, this context is sometimes viewed as little more than a decorative afterthought, leaving the majority of the attention placed within the subject’s contours. By promoting a boundary box for a composition that includes subject and contextual surround, one is more likely to assign increased attention to the surround that may serve to significantly improve the way in which the subject is communicated.

Again, the are the same notes and considerations from last week but still, take some time to consider these points and decide if any are applicable moving forward. Again, don’t try to change too much with what you are doing so as to overwhelm your process and derail your overall productivity. In addition, don’t be afraid to ask about any aspects of these challenges.

Drop Box for this week:

https://www.dropbox.com/scl/fo/3k0ku2kfe6oxrarupkvf4/AHF-NaqgK5YLxEubwXg4x9o?rlkey=9qt4oyq8mngawr9nt5z8tnavf&st=o7at37gy&dl=0

Again, any completed all prima exercise can be sent to: allaprimachallenges@gmail.com. We will add your effort to the appropriate Dropbox folder.

NEXT SESSION: FEBRUARY 6:

Challenge #3

IMPORTANT NOTICE: As mentioned in orientation, please direct all inquiries about the Alla Prima Challenges to: allaprimachallenges@gmail.com.

Ok, about this week’s challenge: High-Chroma Complements

While the first two sessions were nearly identical in criteria—allowing you to better appreciate and evaluate the effectiveness of any procedural or conceptual changes you wanted to implement—this week shifts gears significantly. Be prepared for some potential “turbulence.” The name for this week’s challenge comes from the number of restrictors defining the session (along with the fact that we often took part in the challenges on Thursdays here at the Academy).

High Chroma Complements:

  1. The composition must include a relatively high-chroma subject or subjects set against a high-chroma background which is the complementary color of the subject’s local. (For example, a bright orange object against a cool blue background or a vivid red against a rich green.)
  2. Standard restrictions remain: 30-minute time limit / No premixing.
  3. 5-stroke palette draw rule in effect.

Why Work Within These Restrictions?

While the standard time limit, palette draw rule, and premixing restrictions have already been explained in detail, let’s address the use of “chroma” and “complementary colors” here.

Complementary Color Interaction

This restriction forces us to consider several factors—some of which we might otherwise overlook in our day-to-day work. First, we must think about the behavior of the actual paints themselves. How do complementary colors interact when placed side by side? What happens when they are both intentionally and unintentionally mixed?

First, let’s look at what we are actually talking about…

High Chroma: To appreciate the concept of chroma, it is important to understand what a color is. Color is a particular set of visual experiences that can be described by assigned attributes of hue, value (lightness/brightness), and chroma (saturation.) The attribute of Chroma is the perceived purity or intensity of a specific color. It can also be described as the manner in which the color appears to differ from a neutral gray of the same value. Again, related terms like ‘Saturation’ or ‘Intensity’ may be used to sometimes refer to chroma in an extremely general way. If the Chroma is low then the color will appear more gray. If the chroma is high, the color will appear intense (less gray). Do not confuse chroma with value; you can make a color more gray without making it darker or lighter. You can affect the chroma of any color by mixing it with any the color. In almost every case the Chroma of a color will lower when the color is mixed with another. Here’s a chart that illustrates the concept of how value can differ from chroma:

Complementary Color: Within the realm of color wheels, complementary colors are the colors that sit opposite to each other on the color wheel. A more “conceptual” aspect of these colors is that when mixed, they will yield an “ideal neutral” in a path that is more direct than a mixture with any other color on the perimeter of a gamut.

Here’s a graphic that will help you to understand the concept in the context of an RYB (Categorical Red-Yellow-Blue-as-primary) color wheel:

Most artists have, at some point, struggled with the effects of maintaining or mixing complementary colors—whether it’s a categorical red and green, blue and orange, or yellow and purple. When subtractively mixed in balanced parts, they tend to significantly neutralize one another, producing desaturated or muddy tones rather than vibrant color interactions. Even slight contamination can significantly alter a mixture, creating hues that may not seem to belong within the context of the painting. This phenomenon can be extremely useful in an exercise focused on developing precision, control, and strategic application.

For this session, you’ll need to be highly deliberate about where and how your paint is applied. The risk of contamination will be high throughout most of the exercise. This means you must find advantages in brush placement, pressure, stroke order, and tracking which brushes have been contaminated with which colors. I’ve seen far too many artists accidentally grab the wrong brush and start a cascade of unintended color mixing—leading straight to “mud town.”

Strategies for Success

Beyond careful brushwork, how else can we ensure successful execution? First, we must carefully select our pigments and consider the order in which colors are applied. The first strokes of a painting often define its underlying structure, so ask yourself: What color will best serve as my initial sketch? The right choice can either minimize unintended mixing or contribute beneficially to subsequent layers.

This is where the concept of a color buffer, bridge, or chromophage (a color that “neutralizes” or counteracts an unwanted cast) comes into play. For example, if working with an orange subject against a blue background, an initial sketch in a slightly warm, reddish hue might help counteract any unintended greenish tones that could emerge from later interactions between blue and orange.

Choosing the Right Complements

What actual colors should we use to represent our subject and background? While we often think of complementary color pairs in a broad sense—red/green, blue/orange, yellow/purple—each of these combinations holds numerous variations, and the specific pigments chosen can have a significant impact on mixing behavior.

For instance, if creating a red-green composition, a cadmium red mixed with a phthalo green will yield a very different neutral than alizarin crimson mixed with viridian. Similarly, the type of blue chosen for an orange subject can determine whether the final composition leans toward cooler or warmer tones. When painting an area that needs to be represented by a dark neutral (or what we might colloquially call “black”), it’s essential to consider nearby colors and how they interact before deciding on the specific components of that dark mixture.

By approaching this exercise with strategic planning and heightened awareness of complementary color relationships, you’ll gain greater control over color mixing, application precision, and the overall impact of your compositions.

Looking forward to it!

ALLA PRIMA GALLERY FOLDER FOR CHALLENGE #3:

https://www.dropbox.com/scl/fo/78iesdtw48d45wrrnorcj/AIq16_ewn4hYF47OGtx8OTA?rlkey=l4pvpqyq3us3fj8o15cceg6y7&st=1lgqmg3j&dl=0

Again, any completed all prima exercise can be sent to: allaprimachallenges@gmail.com. We will add your effort to the appropriate Dropbox folder.