This study was done during Hsin-Yao Tseng's workshop in Austin. The ref photo was provided by Hsin-Yao as well. The original idea was to see if it is possible to do a high key nocturne. Now here it is. The key might not be that high, but the value of the scene has been boosted up significantly. The value range has been squeezed so the predominate value stays in the middle. Therefore, the colors have more room to show chroma. However the high key nocturne may sound oxymoronic, it definitely gives the coloristic painters more space to show the choreography of chromaticity.
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