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
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