A walk in the Spring sunshine gave impetus to a very simple and mindful exercise back in the studio; to make the colour of the landscape. A sprig of willow contains so many different colours. Those colour qualities will alter as the clouds skud across the sky casting shadows, and as the sun ripens the buds.
With paints at the ready I knew it wasn’t about making the one colour, but the narrative of generating colour as my process of journeying from one to the next. I wanted to paint each of the swatches of colour I mixed as I evolved the paint story, observing and recording the subtleties of the change in hues. Selecting a limited number of tubes of gouache to begin made it more interesting. To start I selected the dominant colour I was aiming for, and had a little piece of nature with me as reference. I developed the swatches of colour, selecting one, and then another hue to achieve, step by step, slowly and patiently filling the page.
Gouache is a beautiful paint and this exercise reminded me of a wonderful morning teaching colour mixing to BA1 Textile Design students earlier this year. Getting the right amount of water, ensuring the colours are cleanly mixed, and then making that one painted line flat and even – it all takes practice.
I was lucky enough to have excellent colour teaching during my time at art school and consider myself strong at seeing and achieving the right colour mix. At uni I remembering saying to the print technician “it’s nearly right, I’m happy with it”, and she’d say, “Kate, it’s not what you set out to make, keep going until you get there!” I thank her for teaching me that persistence and these days my students know I’m particular (a preferred word to fussy!) when it comes to colour. Getting the colour right is so important and you may as well enjoy the journey to get it right. Textile products sit alongside fashion and interior items made from other materials, and the colours need to match / coordinate, so quitting before you get the right colour may be a sales / employment disaster too!
Interestingly, some of my current students were discussing my approach to colour recently and one shared that I’m not keen on black outlines around shapes in print designs. Another one commented that they hadn’t heard that, but would keep it in mind. I jumped in to defend the comment I’d originally made – a black outline is too obvious, unquestioning, the default, rather like Times New Roman black typeface when you open Microsoft Word. Too easy. I ask students and designers to think about whether the black line is the best for the design. If you think of all the other colours you can use, I think you may find another and better alternative!
At the end of this colour mixing time I am left with souvenirs of the process, memories of the walk and beautiful colour. This is real colour away from the back lit screen I too often see colour from. I shall do this again.