While in Shanghai, a friend introduced me to the art studio she frequented and invited me to a social, painting session. I wanted to decline; I hadn’t painted in years! I imagined a room full of people snickering at my attempts and laughing at my back as I would leave in shame. My friend reassured me no one was like that. She shared pictures of the varied artistic levels and how much fun they were all having. I couldn’t make any excuses so I went, all the while planning to dash through an exit if things get stressful. It’s been a few months since I first entered Beige Studios and I am grateful for everything. Not only had it introduced me to new friends, it reignited my passion for the arts. Every fortnight, some of us would gather at the studio and paint until our heart’s content. Still shy with strangers, I never left my work at the studio but transported it back to my own growing collection of paints, brushes and pallets at home. There I painted in the sanctuary that was my Creative Room.
So this is how the studio worked: you can bring in your own picture or you can choose one from the many albums provided. After getting you settled at your own easel, attendants would bring the right sized canvas, paints, brushes, apron and anything else you may require. Drinks are on sale when thirst hits, and the attendants make rounds to help those who are struggling or request assistance.
The pictures below show the original painting next to the first day and last day I worked on my own canvas.
This is my first painting and its a recreation of Leonid Afremov’s 1955, Impressionist Lovers:
I was going to visit my parents and decided to paint presents for them. This painting came from the album at the studio so I have no idea who the original artist is. If anyone does know, please email me! This painting went to mom :D:
This is Jack Sorenson’s The Thinker for my dad who loves westerns:
Every now and then I would snap a picture with my phone and upload the work in progress to Photoshop. With the wonderful layering tools and settings, I would place the picture over the original and compare the images. Have a look at The Thinker – notice how the horse’s legs look odd in my first attempt? Below is an example from the Pink Lady; the face and left arm needed readjustments:
At the back of all the paintings, except for the Pink Lady, I’ve referenced the original painter and the title of the work.