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Nothing about this palette is in my comfort zone, so I tried something different.

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I tried a lot of glazing to give the feel of a window, but it turned out nearly impossible to photograph.

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I have tried so many variations of this painting. I care a lot about the rhythm of legs and arms and bodies, and I haven't gotten it right here. It worked okay in the thumbnail sketch in pencil, but I think the visible brush strokes will only work at a larger scale.

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These are color studies rather than full paintings; I hoped to have finished at least one of the full-size paintings but I am terribly slow. I picked yellow-orange because I wanted to have both a warm and a cool (black) in the palette even for the monochrome painting, and I felt red or red-orange would be too dark.

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I started with a more literal filling in areas; that's the lower image.

I felt like it didn't hang together or have a strong enough focal point, so I flipped it right side up and made some adjustments. In particular, I wanted somewhat more visible brush strokes. That's the top image. The top image is more accurate in some places but less so in others, especially where I adjusted the value to create more of a focal point. I like this one better, but since it isn't totally in keeping with the assignment, I included the earlier version too.

I found it really challenging to keeping to the small number of darker tones. I wanted to add more intermediate darker shades, especially in the eyebrows and eyelashes. There, it looks a little too much like cartoon hair, but I think I can only fix that by introducing more values.

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One very even, with a compass, and one unbalanced.

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Here it is without the grid.

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It's a butterfly, sort of.

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I am thinking of doing an extreme zoom-in so it is more about the pattern of light and dark. The brain is pretty good at finding faces anyway, though.

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A map of Edinburgh, sort of.

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The reflection of trees on water. The color felt harmonious, and much cooler than other shots I took of this scene on the same day.

I wonder a little about the composition. For me, when I look at places outside the fence/frame, it draws my eye back to the water, e.g. through the vertical line continued from the trees to their reflections. I'm curious whether others feel the same movement; since there is not much in the water besides those continued lines, I don't think the picture works if there isn't a feeling of movement.

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Hay bales under an overhang. I cropped it to emphasize the frame a little more. Outside the context of the assignment, though, I preferred a version that was zoomed out somewhat, so that the sky and gravel occupied more of the image. It created repeated horizontal bars of color (the sky, the gradations in color of the roof and back wall, and the gravel), interrupted by the bales of hay. I think that's lost when I zoomed in more.

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View of trees and felled tree trunks through a fence. This is the only image where I did more than cropping: I increased the red saturation a tiny bit. It already leaned heavily red. The adjustment made the value contrasts more noticeable to me, and drew my eye around the fence into the main part of the design. Or, at least, that is my experience of it.