X Close

The Pigment Timeline Project

Home

Menu

A Colour A Day: Week 42

Ruth Siddall10 January 2021

A Colour A Day: Week 42. 4-10 January

Jo Volley writes…

This week we have more earth pigments collected and manufactured by Ruth Siddall who says of them;

These are a series of British earth colours derived from some of the geological formations of southeast England. Ashdown Orange, Galley Hill Gold, Galley Hill Red and Road Works Red are all from the Cretaceous Wealden facies and all were collected in and around Bexhill in East Sussex. These strata expose terrestrial deposits which include fossil soils (palaeosols) as well as ochre-stained sandstones. The Road Works Red was procured from some kindly municipal workmen who were digging up the road outside St Mary Magdalene’s Church in Bexhill. River Ching and Walton-on-the-Naze clays are both derived primarily from the London Clay deposits of the London Basin. The River Ching flows through Higham’s Park in NE London, once a landscape garden laid out by Humphry Repton in the 1790s. The lake in the park is Repton’s construction, and the banks of the Ching which flows alongside the lake, are largely ‘made ground’ which mixes the London Clay with the overlying Ice Age Woodford Gravels. Here in NE London, the London Clay is dark grey and the clays from the Woodford Gravels is pale brown. At Walton-on-the-Naze, London Clay underlies a spectacular sequence of Ice Age strata. Again largely of continental origin, red beds dominate the sequence here. The red ochre from Stone Point, extracted from a thin horizon of red sandstones is possibly very recent in age and certainly Holocene. The pigments derived from these geological strata required a lot of processing, including washing, levigating, grinding and sieving to extract a suitable pigment.

All pigments are bound in gum Arabic on W&N watercolour paper and read from left to right:

Walton-on-the-Naze London Clay
Ashdown Orange
Galley Hill Red
Galley Hill Gold
Road Works Red
Stone Point Red Ochre
River Ching Ochre

A Colour A Day Week 32

Ruth Siddall1 November 2020

A Colour A Day: Week 32. 26th October – 1st November
Jo Volley writes…

Coloured copper. Bronze…
silver, pewter, nickel, brass.
Aluminium.

(Haiku for S.N.)

Central: Copper – Lefranc Bourgeois Flashe Vinyl Emulsion

Clockwise from top:
Bronze – Lefranc Bourgeois Flashe Vinyl Emulsion
Silver – Lefranc Bourgeois Flashe Vinyl Emulsion
Pewter – Treasure Non Tarnishing Wax
Nickel – Lefranc Bourgeois Flashe Vinyl Emulsion
Brass – PlastiKote Fast Drying Enamel
Aluminium – Schmincke pigment bound in gum Arabic

A Colour A Day: Week 31

Ruth Siddall25 October 2020

A Colour A Day: Week 31. 19th -25th October

Jo Volley writes…

This week’s colours are manufactured by Ruth Siddall who says of them. ‘Procion MX Dyes – The difference between a dye and a pigment is that a dye is soluble in water and a pigment is insoluble. I am experimenting at the moment to try and find as many ways of making the colourful, organic compounds in dyes into insoluble pigments. These are a series of pigments I made by dyeing a starch with modern Procion MX dyes. I used potato starch as a substrate. I have seen modern dyes such as rhodamine being used in this way, so I thought I’d give it a go. If I’m honest, I’m disappointed with the pale colours produced – quite the opposite of the dyes which were intensely coloured! Chemically, Procion MX dyes are dichlorotriazines, which means they contain a ring-shaped molecule with three nitrogen ions so the formula is C3H3N3 (most ring molecules just have six carbons). In addition there are two chlorine ions attached to this ring and it is these that bond to -OH groups in fibres to produce strong dyes on cloth. Starch has -OH groups, so I had hoped it would work the same way here. There is some colour but it’s not as intense as I had hoped for.’

Each pigment is bound in gum Arabic on W&N watercolour paper. They were like no other pigment I have used before – it was rather like trying to paint with clouds – amorphous – the colour just slipping away. According to the American Meteorological Society, amorphous clouds ‘are without any apparent structure at all, as may occur in a whiteout in a thick cloud or fog over a snow surface when one loses any sense of direction – up, down and sideways’

Procion red MX-G
Procion yellow MX-4G
Procion blue MX-2R
Procion yellow MX-3K
Procion turquoise MX-G
Procion composite grey
Procion red – MX-5B

 

 

 

Recipes and Talks

Ruth Siddall20 October 2020

 Here are some link to resources and that people might find useful. 

Ruth Siddall’s Recipes

Slade School Pigment Farm Talks 

Over the Spring we had a series of lockdown talks to celebrate the Pigment Farm Project; the talks were about dyes, lake pigments and plants in art generally and come from Emma Richardson, Ruth Siddall, Nicholas Laessing, Andreea Ionascu and Lea Collet. You can watch the recordings of the talks here.

Slade Methods Room Recipes

Lots of pdfs with recipes and methods for making a range of artists materials and other constructions.

 

 

 

A Colour A Day: Week 30

Ruth Siddall18 October 2020

A Colour A Day: Week 30. 12th-18th October.

Jo Volley writes…

In October 2015, whilst on research leave, I travelled around Provence visiting pigment quarries, mines and factories to look at pigment manufacturing methods and processes. In this marvellous red landscape, I have never felt such a strong emotional relationship between the landscape and painting.  The trip was also something of a pilgrimage to visit the bibliotheque in Aix en Provence to view a remarkable manuscript made by the C17 Dutch artist A. Boogert who in 1692 completed an educational manual of how to mix every colour available to him. Each pigment is bound in gum Arabic and applied to paper with instruction as to their properties, proportions and potential. It is an extraordinary document of the pigments available at that time and of an artist’s dedication to learning. It was a humbling experience to hold in one’s hands this rare and beautiful manuscript, and to feel a connection with Boogert’s endeavours. The timeless and common manufacture of binding colour and making paint. The sheer pleasure of it… and its desire to communicate. It has also been the inspiration for this project.

Each red earth is bound in gum Arabic on W&N watercolour paper.

Collected: Sentier des Ocres, Roussillon.
Purchased: Sentier des Ocres, Roussillon.
Purchased: Sentier des Ocres, Roussillon.
Collected: Les Mines des Bruoux, Gargas.
Collected: Mathieu Ocre Usine, Roussillon.
Purchased: Les Mines des Bruoux, Gargas.
Purchased: Mathieu Ocre Usine, Roussillon.

 

A Colour A Day: Week 29

Ruth Siddall11 October 2020

A Colour A Day: Week 29. 5th -11th October

Jo Volley writes…

In the early 1800’s the mineralogist Abraham Werner published the Nomenclature of Colours to identify minerals by key characteristics. It was later amended by Patrick Syme, C19 Scottish flower painter, having been introduced to it by Robert Jameson who had studied for a year under Werner before becoming a professor of Natural History at Edinburgh University. Jameson had matched Werner’s descriptions with the actual minerals, Syme then used these as his starting point for the colour names, descriptions and actual colour charts introducing references to animals and vegetables. Darwin took a copy on the HMS Beagle voyage (1831-1836) and its terminology, ‘lent both precision and lyricism to Darwin’s writings, whether he was detailing the changeable ‘hyacinth red and chestnut brown’ of the cuttlefish, ‘the primrose yellow’ of species of sea hare, or the ‘light auricular purple’ and provided his naturalist contemporaries with clear point of reference, and enabled all his readers to clearly envision the creatures and settings of lands that most, in a pre-photography age, would never see.’

Extracts from Publisher’s notes Werner’s Nomenclature of Colours, Natural History Museum

 

 

A Colour A Day: Week 28

Ruth Siddall4 October 2020

A Colour A Day; 28th  September – 4th October

Jo Volley writes…

This week’s colours are seven Russian earth pigments gifted by Ruth Siddall who says of them. ‘These seven pigments are supplied by Moscow-based company Colibri Premium Pigments. Many of the earth and mineral pigments they supply are sourced in Russia. This is a selection of their ochres, which include iron ochres (red and yellow ochre) and aluminium-rich earths known as bauxite (deposits much overlooked as ochres). Siderite is iron carbonate. Also included here are two very ‘Russian’ pigments made from minerals mainly known only from deposits in Russia. Shungite is a black, carbon-rich earth pigment. It is found in very ancient, 2 billion year old rocks in Russian Karelia, in the region of Lake Onega. It is named after the town of Shunga. It formed as biogenic deposits, probably from algae preserved in anoxic conditions and then subsequently metamorphosed. Volkonskoite is a green-coloured, chrome-bearing smectite clay mineral. It is sourced from the Okhansk region of the Urals. Tuff is a volcanic ash deposit, in this case coloured purple by iron oxides.

Ruth suggests listening to Sibelius’s Karelian Suite whilst viewing the colours.

All pigments are bound in gum Arabic on W&N watercolour paper and read from left to right:

Tuff Purple
Siderite
Mumia Bauxite
Shungite
Sankirnaya Ochre
Volkonskoite

A Colour A Day: Week 27

Ruth Siddall27 September 2020

A Colour A Day: Week 27; 21st-27th September

Jo Volley writes…

This week’s colours are inspired by Anni Albers’ 1926 wall hanging Black White Yellow exhibited at the Tate show in 2018. In her book, On Weaving, she states; ‘Continuing in our attitude of attentive passiveness, we will also be guided in our choice of color, though here only in part. For our response to color is spontaneous, passionate, and personal, and only in some respects subject to reasoning. We may choose a color hue – that is, its character as red or blue, for instance – quite autocratically. However, in regard to color value – that is, its degree of lightness or darkness – and also in regard to color intensity – that is, its vividness – we can be led by considerations other than exclusively by our feeling. As an example: our museum walls will demand light and have a color attitude that is non-aggressive, no matter what the color hue and whether there is over-all color or a play of colors.

First column top to bottom:
Davy’s Grey – W&N Watercolour
Turner’s Yellow – Liquitex Soft Body Acrylic
Gris Lichen – Lefranc Bourgeois Designers gouache
Primary Yellow – W&N Designers gouache
Davy’s Grey – W&N Watercolour
Turner’s Yellow – Liquitex Soft Body Acrylic

Second column top to bottom:
Velvet Black – Lefranc Bourgeois Designers gouache
White
Velvet Black – Lefranc Bourgeois Designers gouache

Third column top to bottom:
Primary Yellow – W&N Designers gouache
Gris Lichen – Lefranc Bourgeois Designers gouache
Turner’s Yellow – Liquitex Soft Body Acrylic
Davy’s Grey – W&N Watercolour
Primary Yellow – W&N Designers gouache
Gris Lichen – Lefranc Bourgeois Designers gouache

Fourth column top to bottom:
White
Velvet Black – Lefranc Bourgeois Designers gouache
White

Fifth column top to bottom:
Spectrum Yellow – W&N Designers gouache

 

A Colour A Day: Week 26

Ruth Siddall20 September 2020

A Colour A Day: Week 26. 14th-20th September

Jo Volley writes…

This weeks colours are 7 lake pigments manufactured by Ruth Siddall.

 

ON THE CHARACTER OF A RED CALLED LAC
CHAPTER XLIII

A colour known as lac is red, and it is an artificial colour. And I have various receipts for it; but I advise you, for the sake of your works, to get the colour ready made for your money. But take care to recognise the good kind, because there are several types of it. Some lake is made from the shearings of cloth and it is very attractive to the eye. Beware of this type, for it always retains some fatness in it, because of the alum, and does not last at all, either with temperas or without temperas, and quickly loses its colour. Take care to avoid this; but get the lac which is made from gum, and it is dry, lean, granular, and looks almost black, and contains a sanguine colour. This kind cannot be other than good and perfect. Take this, and work it upon your slab; grind it with clear water. And it is good on panel; and it is also used on the wall with a tempera; but the air is its undoing. There are those who grind it with urine; but it becomes unpleasant, for it promptly goes bad.

Cennino Cennini, Il Libro dell’Arte

 

All pigments are bound in gum Arabic on W&N watercolour paper and read from left to right:

Iris green lake – ‘Lily green’
Logwood lake
Logwood ‘chalk’ lake
Cutch #1
Cutch #2
Butterfly Pea Flower lake
Lac lake – Kerria lacca

A Colour A Day: Week 25

Ruth Siddall13 September 2020

A Colour A Day: Week 25. 7th-13th September

Jo Volley writes…

A method for making shell gold

Grind either skewings or leaf gold with a small amount of clear honey into a paste using a muller and slab. Work the muller slowly in a figure of eight until you have the mixture spread out thinly on the slab, gather up and begin grinding again. Continue this process for approx. 15 minutes or until you have broken down the gold into fine particles. Place the mixture into a glass and fill with hot water to flush out the honey.

When the gold has settled to the bottom of the glass decant the water.
Repeat approx. 5 or 6 times until all the honey is removed. De-ionised or distilled water is recommended for the last 2 stages. Allow the gold pigment to dry. Bind with gum Arabic and store the gold paint in a shell.

All pigments are bound in gum Arabic on W&N watercolour paper.

First column left to right: Four gold pigments gifted by the artist, Lisa Milroy, collected on her travels in China.

Second column top to bottom:
Schmincke pale gold
Jo Volley’s shell gold
Schmincke rich pale gold