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Anna Bhushan's Lecture on Colour
- 1. Howard Hodgkin and Indian Miniature Painting
- 7. Lubok
- 10. Maira Kalman
- 12. Joan Miro
- 13. Aude Van Ryn
- 15. Amanda Sue Rope
- 19. Joan Miro
- 20. Turner
- 21. Luke Best
- 22. Anna Bhushan
- 24. Amanda Sue Rope
- 25. Eda Akaltun
- 27. Kiki Smith
- 32. Johnny Hannah
- 34. Bhupen Khakar
- 35. Jimmy Turrell
- 37. Briget Riley
- 39. Annabel Wright
- 40. Maurice Sendak
- 42. Annabel Wright
- 43. Luke Best
- 44. Miro
- 46. Henrik Drescher
- 47. Laura Carlin
- 49. Clemente
- 51. Keith Negley
- 58. Nick White
- 59. Nick White
- 60. Nick White
- 62. Andrew Foster
- 66. Alice Neel
- 67. Alice Neel
- 69. Johnny Hannah
- 70. Jimmy Turrell
- 72. Six Colorful Inside Jobs, 1977 John Baldessari
- 73. News, Mews, Pews, Brews, Stews, Dues, 1970 Ed Ruscha
- 86. Alice Neel
Editor's Notes
- {"60":"Another strategy, each of these is a single or 2 colour drawing or print, \nlots of different colour fragments putting them together on a page.\nThis image works because there is a focal point.\n","49":"Clemente drawing with colour with a paint brush\n","38":"3 colour red purple and yellow but tonal variations, light and dark. Watrecolour this is essential, using the light of the page.\n","27":"Symbolism of Colour\nThe way colour can create associations and thermatic links in a series of images.\n","16":"Using colour tonally, by building it up in layers to create denser darker areas of shadow\n","66":"Heightened colour, naturalistic but vibrant \nAlice Neel\n","44":"Background wash with line ontop, flat colour picked out\n","33":"2 colours and the combination creating a 3rd.\nYou can experiment with paint ( gouche or acrylic layer, but not watercolour-explain) or photoshop before taking it into print.\n","22":"Oppp colours focal point\n","11":"Technical aspects of colour and practical approaches.\nAlso an opportunity to introduce you to illustrators , please make a note of the names and research their work.\n","83":"Dye factories, the production of colour, the cost to the environment and to health.\nSrinivas Kuruganti\n","72":"Random Colour\nInternally logical but arbitrary systems to apply colour. \n","61":"Luke Best uses collage in this way, you can create sheets of colour and then cut out shapes and play with the composition more freely.\n","50":"Found imagery, monochrome against flat colour. Collage, screenprint or photoshop.\n","39":"Greens, washy and muted and then saturated and intense.\nA simple devise, is to use colour tonally in the same way you would use black. In the figure. Combination of wash and hard line.\n","17":"Sketching in colour\n","67":"Pale colour, what does it express?\n","56":"Black plus a colour\n","34":"Complimentary colours, opposites.\nBhupen Khakar\n","12":"primary\n","73":"Ed Ruscha\nThese six screenprints began as shopping expeditions for products as diverse as baked beans, mango chutney, and tulips. Ruscha used a mortar and pestle to crush these ingredients and formulate bizarre recipes for organic inks. He accepted the unpredictability of the colour they would yield for his prints: 'Hey, I had no choice in the selection of color for the food prints – how do you alter the colour of caviar or axle grease?' Ruscha worked on the project with a printer in London and chose the six titles for their association with British things.\n","62":"Building up layers of colour \nMixed media, often using indian inks as a base and then building up with gouche ontop\nBright below. A bright base of inks which are syntheitc colurs that pop. \nThink about the colours of different materials, inks give that floursecent, synethtic colurs. This suits the fantastical world that he conveys, and he references toys so we think of plastics and the fake and bright colours of merchandise for children\n","40":"muted version of complimentaries.\nSomething to consider is saturation.\nHue, tone ( how light or dark), saturation ( how diluted or intense).\nExperiment wtih using the same palette v strong and then a muted version.\n","29":"Reds so many different ones!\nVariations on one colour.\n","18":"Bright yellow, a clear focal point in the image due to both composition and colour.\n","7":"Lubok\n","79":"Charlotte Saloman\n","68":"Outlines in hger work, outlines are colour and they are varied, different tones, colours and weight of line.\n","46":"Henrik Drescher\n","35":"Jimmy Turrell\n","24":"Focal point and also communicating something about light, atmosphere, magic transformation\n","63":"Building of layer upon layer of colour, here he has worked into the image with glitter pens, interested in the tackiness of pop culture.\n","52":"Very simple colour\n","30":"A contiguous palette, taking for example 2 primaries or complimementaries. Purple to yellow.\n","19":"Jean Miro\n","8":"THE END\n","69":"Dark and light, colour contrasts.\nJohnny Hannah\n","58":"Draw in black and convert it into colour using screen print\n","47":"Same but here black and white is added tonally ontop and mixed to create richness.\nLaura tends to use muted colours\n","36":"More saturated versions of the same colour overlayed over a dlitued version of that colour, wash.\nTonal Colour. \n","25":"Eda Akaltun\n","86":"Alice Neel\n","64":"Lace, how colours change and interact with the colours beneath. A single green ontop changes depending on what its ontop of.\n","42":"Dominant palette of blues and greens, with the addition of white, black, pink and brown. Still a limited palette although full and intense colour.\nHow does colour work in this image? What does it do for the character and how does it suggest narrative?\ncomposition\n","31":"A contiguos palette, a flat version so rather than the whole spectrum just selecting 3.\nCraigie Aitchinson\n","20":"Turner\n","70":"Jimmy Turrell\n","59":"Printing a single colour onto found imagery .\n","48":"Just draw in colour line instead of black\n","37":"1960s op art, optical effects of colour\nColor of same tonal values zings when you put it together.\n","26":"Tiles, blood, lipstick. All different reds.\nFocal Point. \nPale blue and red, fundamental foreground and background colours.\nRed always comes forwrad blue always recedes.\n","15":"Building up colour, 3 colours\n","65":"Indian miniature painting. Ramayana. Vibrancy of colour and very complex colour.\nA narrative tradition tradition that goes back to 1400s.\nMasters of storytelling. The myths are epics , intricate, complex stories with many characters and a lot of action as well as a philosphical dimension.\nA series of events is often shown within the same frame, with the same character featuring multiple times. 1 image showing a passage of time.\nSo much going on within the frame and yet a compositional harmony through use of colour and rhythmic elements on the page.\n","54":"Using a spectrum of blue to green.\nExpressionistic colour\nWhy use flesh tones ever? We read this as a naturalistic portrait, reflection of light and colour from his clothes, not as a green man.\n","43":"A simple device, if you are warming up and not used to using colour, \nIs to create a colour background and use black ontop. Ease yourself in gently.\nLuke Best\n","32":"Simplicity of 2 colours ( thinking about what he is printing on becoming a 3rd colour)\nJohnny Hannah\n","21":"2 Primary colours using colour to create focal point\n","10":"Maira Kalman\n"}