By Ruth Siddall, on 2 August 2020
A Colour A Day – Week 19. 27th July-2nd August
Jo Volley writes…..
This week we celebrate the last seven FA Cup finals using the predominant colour worn by the winning team on the day. The FA Cup is the world’s oldest football competition, the first games played in the autumn of 1871, the same year as the Slade School was established. Arsenal have won the cup a record 14 times. 🏆
Each colour can be found in the Liquitex Soft Body Acrylic range and is on W&N watercolour paper.
By Ruth Siddall, on 26 July 2020
A Colour A Day Week 18: 20th-26th July
Jo Volley writes…..
Fluorescent color is seen 75 percent sooner than conventional color! Flourescent color is three times brighter than regular color! Your eyes go back to fluorescent colour for a second look 59 percent of the time! DayGlo promotional material, 1930s
The American Chemical Society designated the development of DayGlo Flourescent Pigments by the Switzer brothers as a National Historic Chemical Landmark in a ceremony in Cleveland, Ohio, on September, 8, 2012.
7 Kremer fluorescent pigments bound in gum arabic.
By Ruth Siddall, on 19 July 2020
A Colour A Day. Week 17: 13-19 July
Jo Volley writes…
Over the last week I have had the privilege to work with 7 colours produced and sent to me by Ruth Siddall. To receive these little packets of pigments through the post and work them into paint has been a pure delight.
Ruth says of them. “These colours are all based on lake pigments made from American plants and an insect, the cochineal beetle. Three are wood dyes (logwood, brazilwood and osage orange), Aztec marigold was made from dried flowers, the avocado lake was made from a dye extracted from the stones of the fruit. Annatto (or achiote, achiotl) is a spice made from seeds. The latter was used as a ink in historical Mexican painting, and also as food colouring and a cosmetic.”
All are bound in gum arabic on W&N watercolour paper and read from left to right.
By Ruth Siddall, on 12 July 2020
Jo Volley writes…
This week’s A Colour A Day is inspired by Robert Rauschenberg’s White Painting (seven panel), 1952.
Of the series, his friend the composer, John Cage wrote:
To Whom / No subject / No image / No taste / No object / No beauty / No message / No talent /
No technique (no why) / No idea / No intention / No art / No object / No feeling / No black / No
white (no and) / After careful consideration, I have come to the conclusion that there is nothing in
these paintings that could not be changed, that they can be seen in any light and are not
destroyed by the action of shadows. / Hallelujah! the blind can see again; the water’s fine.
Read from left to right are 7 white pigments bound in gum arabic on W&N watercolour paper.
- Zirkonium silicate
- Egg Shell
- White Earth
- Fluorescent white
By Ruth Siddall, on 5 July 2020
A Colour A Day: Week, 15. 29th June – 5th July
Jo Volley writes…….
In spring 2017, Nisar Hossain, Dean of the Fine Art Faculty, University of Dhaka, Bangladesh, Artist and specialist on Contemporary Painting and Folk Painting of Bangladesh, led a contemporary installation workshop at the Slade based on traditional Folk Art of Bangladesh. He also gave a public lecture at the Whitechapel Gallery The heritage of ritualistic folk painting and the traditional painter communities of Bangladesh as part of the Inspire exchange project between the Slade School of Fine Art and the University of Dhaka Faculty of Fine Art, Bangladesh funded by the British Council.
Here are 7 of the colours Nisar generously donated to the Material Research Project pigment library, written in Bangla, as he gave me. Each are bound in gum Arabic on W&N watercolour paper and read from left to right.
- Hāra pathar
- Bhusha kali
By Ruth Siddall, on 28 June 2020
A Colour A Day week 14; 22nd-28th June
Jo Volley writes …
I am currently working on a timeline of Van Gogh’s colours for the Van Gogh House in London. In a letter to Theo dated 8th April 1888, Arles, he writes;
‘My Dear Theo, Am obliged to write to you as I’m sending you an order for colours which, if you place with Tasset & Lhote, rue Fontaine, you’ll do well – since they know me – to tell them that I expect a discount at least equivalent to the cost of the carriage…‘ He continues with a list of instructions for colours, canvas and carriage then writes…
By Ruth Siddall, on 21 June 2020
Your shadow has fallen on me
like the fig tree
in its profusion
and I am left
chasing your image
as the sun drops
into occlusion, you
running with that cusp of light
wanting to make your face haptic
from its shroud.
Colours read from left to right and are painted out onto W&N watercolour paper:
- Bone grey (JV/12)
- Neutral grey
- Payne’s grey
- Ash grey (JV/20)
- Melser Grau
By Ruth Siddall, on 14 June 2020
A COLOUR A DAY – Week 12; 8th-14th June
Jo Volley writes….
This week’s colours are 7 earths, gifted by Steven Patterson, Chief Executive Officer, Derivan, an Australian artist materials manufacturer, from their Matisse Structure range. Four being from the Yirrkala set of natural Australia pigments whose names are as much a joy to the ear as their colour to the eye. Each colour is painted out in 3 layers on W&N watercolour paper.
They read from left to right:
- Australian Sienna
- Yellow Oxide
- Raw Umber
By Ruth Siddall, on 7 June 2020
A Colour A Day: Week 11. 1-7 June
Jo Volley writes ………
How to Make a Violet Colour
If you wish to make a pretty violet colour, take fine lac and ultramarine blue, in equal parts. Then, when it is tempered, take three dishes as and before; and leave some of this violet colour in its little dish, for touching up the darks. Then, with what you take out of it, make up three values of colour for laying the drapery, each stepped up lighter than the others, as described above. Il Libro dell’Arte Cennino Cennini
- Mineral Violet
- Cinquasia Violet
- Ultramarine Violet
- Fantal Violet
- Manganese Violet
- Cobalt Violet Dark
- Thioindigo Violet
By Ruth Siddall, on 31 May 2020