Week 13

Read Chapter 7: Premixing (Color and Light); Last color journal schedule


From today's reading, I mainly learned about mixing color strings, gamut mapping, creating gamut masks, and color scripting. Last Winter semester, I took Illustration 2 class from Justin Kunz. And in the class, we spent almost a month in mixing colors. The chapter reminded me of Justin's class, and it was pretty fun to mix colors up. While reading the chapter, I realized how effective limited palettes are. They give paintings a unity, characteristic, mood, feeling, temperature, and so on. Every time I paint something, I think about limited palette so that I can have those strength all at once by just picking some colors. 

Also, I like learning about color scripts. At the beginning of this year, I worked on my personal project, and I tried to look at other artists' portfolio so that I can plan what to put in my portfolio. Most of portfolios have color scripts or value study, and I decided to have some color scripts in my portfolio as well. As I said, color scripts show us what is the emotion, mood with the drawing. They are very effective to show us the brief summary of colors of the entire portfolio and how artist develops the final painting along with the studies. 

This chapter helps me to remind of the importance of limited colors, and mixing colors in a harmonious way. It was very useful and helpful especially for my portfolios I prepare now for the BFA portfolio review. 






By Debbie Grayson Lincoln



By Elizabeth Tolley

Week 12

Read Chapter 5: Paint and Pigments pgs 96-99, 104-107 (Color and Light)





From this week's reading, I learned about warm under-painting, sky panels, limited palettes, and the mud debate. I have many things to day about this chapter. First, I really love the sky of Utah, especially Provo. Maybe it's because I live in Provo, and I think Provo sky is so beautiful compared to Korean sky, my country's sky. Korean sky is more polluted than Provo sky because where my house is a city. I love the sky in Provo because it varies according to the time, weather, and temperature. It keeps changing, and it is so beautiful! I love the sky panel of Provo, and one day I can paint the sky here in Provo. 

Also, I like to use limited palettes because it is eventually stronger than using so many colors. Since I became an illustration student, I have heard many good things about limited palette, and that is true. I love colors, so I tried to use colorful colors as much as I can, but that was not helpful for my painting actually. I am taking Illustration 3 class right now, and we tend to use limited palettes as much as we can because we know that way makes our painting more unified and have a characteristic we seek in it. I am also taking oil painting class now, and in class we always use limited palettes. At the beginning of this semester, we used only 2 or 3 colors including black and white. I was struggling because I tended to copy the exact color I see from the live model, but I had limited palettes, which can't make similar colors I wanted to make. However, as time passes, I realize the strength of limited palettes, and I love to use it as much as I can!











Reproduction painting of Moonlight, Wood Island Light by Winslow Homer 



November Moonlight. Moonlight Painter John Atkinson Grimshaw

Week 11

Read pgs 106-127 (Graphic LA)

Read Chapter 8: Visual Perception (Color and Light)

From Graphic LA, I learned about the process of putting details from the basic shape step by step and saw some value thumbnails. As the artist said, finding 3 basic shapes, values, and levels is the most important to start painting. From something simple to complicated, the stage of painting works great in that way. Also, his thumbnails of value composition is great with the simple shape of the block and added some details later. 

From Color and Light, I learned about colors specified in moonlight, edges and dept, color oppositions, color constancy, adaption and contrast, and appetizing and healing colors. This chapter is necessary for me these days because I need to learn about moonlight for one of my assignments in this class. I went to New York Field Trip from the Illustration program, and I went to visit Blue Sky Studio. After we looked around the entire studios, we could go see some parts of the new film they are making. Before we watched it, color key artist Mike Lee came and gave us a lecture about the process he has done. One of the color keys was a scene with moonlight, which is what I need to learn for the Harry Potter illustration. I thought his lecture was so useful and the right one that I had to learn. I really thank him! And this chapter reminded me about the moonlight as well, so I learn it better than before. 

  

by Karen Margulis

by John Atkinson Grimshaw

Week 10

Read pgs 38-67 (Graphic LA)

Read Chapter 10: Atmospheric Effects (Color and Light)

For Graphic LA reading assignment, I learned that perspectives are more important than actual objects, and I need to think about design like an art director because how to picture the drawing is more important than the actual drawing. I need to think which scene would be the most interesting for audience to appreciate. as an illustrator, I know drawing and painting are important, but as like an art director, I also think how to show and present my picture is more important than the actual drawing and painting. Also, I learned simple shapes are all good for value design as well. These are all good tips for me because I sometimes lose a track of my value design, composition, and perspective.

From Color and Light, I also learned about perspective in a painting way such as reverse atmospheric perspective and atmospheric perspective. I don't have much experience to draw and paint environments, so I don't really know about the atmospheric perspective. However, I do have much interest in environment design, and I think this will be very important and fun to do. With a little perspective, the composition and design get way better than without it having some depth. I think that is the strength of perspective. Also, I learned about light in a specific way such as golden hour light, rainbow, fog, dust, and so on. They are very specific and it is good to know that detailed light because they are worth it. What I liked from this chapter was that I could learn more about water, underwater, sky, dappled light, cloud shadows, and so on. Every page was very specific, and it was so fun to learn how much light we have in every different situation.

Below is the example of light and color I learned from this week's assignment.

(My teacher at BYU! Awesome!! )

Art by David Dibble

Art by David Dibble

 

Art by David Dibble

Week 9

Read Chapter 11: Light's Changing Show (Color and Light)

Read pgs 78-95 (Graphic LA)

From Chapter 11: Light's Changing Show (Color and Light), I learned something about serial painting and the process of paining. Color and light is always working together especially on painting, and we need to keep in mind. This chapter is supposed to gather all of the knowledge from previous chapters and apply for painting, I think. Color and light is changing depending on places, time, and so on. Also, there were some tips for serial painting. I haven't painted landscape as serial painting yet, but I will keep the tips in my mind to be a better serial painter for the near future.

From Graphic LA, I learned that tone and value are important for painting. And interpreting the objects I wanna draw is also important. Whenever I draw something, I learned that designing is more important than copying it exactly. This book says the exact same thing. 

Here are the examples for today's journal

by Claude Monet, Bridge over a pond of water lilies (1899)

by Claude Monet, Poppy field in Argenteuil

Week 8

There was no journal schedule for Week 8.

Week 7

Read Chapter 6: Color Relationships (Color and Light)

From this week's reading, I learned about color relationships, which is very helpful for painting.

I learned monochromatic schemes, warm and cool, accent color, colored light interactions, and so on. They are all very important in painting, and I know that because I am taking Bro. Barrett's head painting class. Bro, Barrett is always telling me that highlight is not white because the light we use is yellow or blue. The little titles in this chapter reminds me of the head painting class and I tried to keep in mind because they are very important when I'm painting! As I said, we use yellow and blue lights for dramatic temperature change, and that is all related to the warm and cool title or colored light interaction. Every single title in this chapter is united and very essential for painting, I felt. Sometimes, my painting lose its saturation, so it looks dull in general, and one day, Bro. Barrett came and showed me how to have some emphasis on my head painting by adding some saturated colors on her cheek or by painting clothes with brighter colors with a palette knife. And it worked great! By changing a little bit, the result looked way greater! Wow, I was touched by the magic of painting he showed me. Overall, the chapter helps me greatly because I know this chapter makes sense because of the head painting class. 

By Min Nam

By Min Nam

These are my paintings I worked on in the head painting class, and I thought sharing it here would be great to show my improvement as time passes.

By modern impressionist Erin Hanson

So beautiful!