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A Colour A Day: Week 8

By Ruth Siddall, on 17 May 2020

Jo Volley writes….

A COLOUR A DAY – Week 8; 11th – 17th  May

This week’s colours are from the sea and to accompany them you can hear Janet Baker singing ‘Where Corals Lie’. The music is from  Edward Elgar’s Sea Pictures, words by Richard Garnett.

The deeps have music soft and low
When winds awake the airy spry,
It lures me, lures me on to go
And see the land where corals lie.
The land, the land, where corals lie.

  1. Cuttlefish
  2. Oyster shell
  3. Tyrian Purple
  4. Squid
  5. Coral
  6. Pearl
  7. Octopus

 

A Colour A Day: Week 7

By Ruth Siddall, on 10 May 2020

A COLOUR A DAY – Week ;  4th – 10th  May

Jo Volley writes……

This week’s colours are a homage to our key workers and are from Winsor & Newton’s Professional watercolour range.

The rainbow mirrors human aims and actions. Think,  and more clearly wilt though grasp it, seeing Life is but light in many-hued reflection; Goethe Reflection,Thinking, Mirrors

  1. Cadmium Red
  2. Cadmium Orange
  3. Cadmium Yellow
  4. Cobalt Turquoise
  5. Winsor Blue
  6. Indigo
  7. Dioxazine Violet

 

A Colour A Day: Week 5

By Ruth Siddall, on 26 April 2020

Jo Volley writes….

A COLOUR A DAY – Week 5 –-20th  -26th  April  are 7 historic blues bound in gum arabic.

‘We love to contemplate blue, not because it advances to us, but because it draws us after it.’ Goethe

  1. Genuine Ultramarine blue
  2. Ultramarine Ash
  3. Ploss Blue
  4. Egyptian Blue
  5. Han Blue
  6. Azurite
  7. Smalt

A Colour A Day: Week 4

By Ruth Siddall, on 19 April 2020

A COLOUR A DAY – Week 4 – 13th -19th April

Jo Volley writes …

For Week 4, here are 7 green earth pigments from various locations from around the world.

‘I kept putting the same colour on – the same colour, the same colour – but every time I put it on it was different. Each time it was this whole new light/colour experience. It was not a revelation, but a whole wonderful new experience… To me, it involves harnessing some of the powers of the earth. Harnessing and communicating.’  Brice Marden on terre vert

  1. Bavaria
  2. Verona
  3. Cyprus
  4. Austria
  5. France
  6. Russia
  7. Poland

Jo Volley, 19 April 2020

A Colour A Day: Week 3

By Ruth Siddall, on 12 April 2020

A COLOUR A DAY – Week  3; 6th  – 12th   April

Jo Volley writes …

These are iridescent colours from the Lefranc Bourgeois Flashe Vinyl Arylics collection.

  1. Blue Cendre
  2. Rose de Parme
  3. Stil de Grain
  4. Gris Rose
  5. Or Clair
  6. Terre Verte
  7. Bronze

 

Jo Volley, 12 April 2020

 

A Colour A Day: Week 2

By Ruth Siddall, on 5 April 2020

A Colour A Day is a year-long project by Jo Volley, which began on the first World Pigment Day, 22 March 2020,  to celebrate one colour each day by recording a swatch. This is the post of colours created for Week 2; 30th March – 5th April.

This week’s contributions are group of colours made from natural sources that Jo has collected and prepared as pigments.

  1. Iron Gall Ink
  2. Hampstead Heath Ochre no.6
  3. Pomegranate Ink
  4. Hampstead Heath Ochre no.3
  5. Cork Black
  6. Prespes Red Ochre
  7. Bone Black

A Colour A Day: Week 1

By Ruth Siddall, on 30 March 2020

A Colour A Day is a year-long project to celebrate one colour each day by recording a swatch of it.

International Colour Day and World Pigment Day fall respectively on the 21st and 22nd of March. The project started on 23rd March which was coincidentally also the day lockdown began in the UK.

It has begun with the Liquitex Heavy Body Cadmium Free range of 7 colours, as seen here,  and tomorrow will progress onto a range of natural colours.

Jo Volley, 30 March 2020

Day 1. Yellow Light

Day 2. Yellow Medium

Day 3. Yellow Deep

Day 4. Orange

Day 5. Red Light

Day 6. Red Medium

Day 7. Red Deep

Pigment Stories: Sarah Needham’s Graphite

By Ruth Siddall, on 25 March 2020

Graphite is a naturally occurring mineral pigment, a form of  carbon, which occurs in geological environments which have undergone high temperature metamorphism or where there has been precipitation of elemental carbon from fluids. Vein carbon deposits are regarded as exceptionally pure. Graphite has been used as the main pigment for pencils. A lode of graphite was discovered in Seathwaite in the English Lake District in the 16th Century, when it was assumed to be lead (plumbago) because of it’s sub-metallic, silver grey lustre. Graphite has a very high specific heat capacity (as opposed to the metal lead), so it was initially used for moulds for casting cannon balls. The graphite pencil was exclusively manufactured in Britain because of the particular quality of the Seathwaite deposits, but they were relatively rare. The uniqueness of the Seathwaite deposit was that it could be sawn into square-section rods which could be used for drawing. Most artists and draughtsmen were using silverpoint for drawing at the time and this continued to be used until the mid 19th Century when the ruction of graphite pencils became universal.

For World Pigment Day, artist Sarah Needham wrote about a graphite pigment made from graphite rods used in the steel-making industry.

“I’m really interested in the way that pigments leave traces of our history and human interconnectedness across time and geography. The pigment in these videos is graphite, recovered from graphite rods my Uncle bought at auction when the steel works in a North Yorkshire town were closed down. This is a particular incidence of history that is close to my very own personal history, firstly because my uncle found them, and secondly because on the other side of the family there is a history of stainless steel cutlery making. The industrial graphite took some pounding to get into powder form and I did this by covering it in a cloth before pounding it.

More often I look for pigments that play a role in historical events which have resonance with current events. For example my recent collection From Alchemy to Chemistry uses pigments that were synthesised as a result of chemical analysis, to replace older natural pigments, in the industrial revolution. The connection being an era when technological change revolutionised our ways of being, living, doing and seeing…just like the technological revolutions of
today.”

What exactly are graphite rods? They are used in the steel industry for a stainless steel making technique called the electric arc furnace (EAF) process and for refining the final product (turning steel into stainless steel) in blast furnace processes. The latter were those most probably used by Sarah’s ancestors. Graphite rods are used as electrodes as they can carry huge amounts of electric current. They are made by mixing graphite and pitch and then placing this mixture into tubular moulds. These are then heated so that the pitch turns to coke, this mixture is then heated to extremely high temperatures, in modern process, these are typically 3,000 °C, so that the entire mix of hydrocarbons is reduced to pure graphite.

Follow Sarah Needham on Instagram.