“So fundamental is the element of colour that we cannot escape its use, even if we would. Since in this, our world, we are compelled to see colour, to use colour and to live colour.” (Snow, 1918, p. 10)
For my first area of exploration I wished to concentrate on the use of colour. In my own practise, I have felt quite constricted in the past to choosing a palette based upon realistic colours associated with the subject and so I aim to break away from these constraints by delving further into.
 |
| Fig. 1 James Jean, Seasons (2014) |
In particular I was intrigued by the use of colour in the work by James Jean. The most prominent aspect which struck me is his ability to create a different atmosphere by using colour in different ways. In ‘Seasons’, he has personified each season into the female body and carefully created separate palettes for each figure which are contained within the larger landscape of orange and blue hues, which are interestingly opposites on the colour wheel. I feel this is a particular useful technique and quite unusual, as it serves the purpose of portraying each separate season whilst also working in harmony as a composition a whole.
 |
Fig. 2 James Jean, Mizu (2014)
|
He also employs the use of opposite colours in his piece ‘Mizu’ where the blue and orange works together to create a striking image. Further, his use of colour in ‘Ravens’ is particularly interesting in creating a visual flow of direction through the use of red, which immediately gains your attention and draws your sight to follow the contours of the flora, which naturally leads you to inspect the dramatic contrast of the darkened ravens.
 |
| Fig. 3 James Jean, Ravens (2014) |
In contrast to using colour in a striking way to gather attention, Jean also uses colour in a different way, seen in ‘Peel’ and ‘Tiger III’ in which he has chosen to use more muted palettes of pale blues, pinks and browns. I feel these are very effective in evoking a more emotive and peaceful feeling to the subjects, whilst still creating a captivating image.
 |
| Fig. 4 James Jean, Peel (2014) |
 |
| Fig. 5 James Jean, Tiger III (2014) |
Drawing influence from Jean's use of a muted palette, I created the following experiment incorporating pale blues and pinks to create the form of a Pangolin. The overall feel still informs the viewer that the animal is a Pangolin through the shape and form, whilst the colour transforms the image and creates a more fantasy like quality.
 |
| Colour Experiment 1 |
The next artist I explored was by the Japanese artist Itō Jakuchū. His use of subtle, earthy tones with bursts of colour integrated into the composition struck me as visually interesting. In particular his piece titled 'Black Rooster and Nandina' shows the use of a limited palette, using a neutral background and black for the main focus of the rooster, with bursts of vibrant red surrounding the creature and creating an arch affect, leading our focus around the composition. The red also links to the Rooster's crest, creating a union of the colours with the realistic portrayal of the animal itself.
 |
| Fig. 6 Ito Jakuchu, Black Rooster and Nandina (1760) |
 |
| Fig. 7 Jakuchu, Plum Blossom and Cranes (Year Unknown) |
I also found his use of neutral tones and contrasting opposite colours unique in his piece, 'Chrysanthemums by a Stream'. In contrast to Jean, he has used blues and oranges in a more subtle yet still effective way, choosing to instead use more earthy tones which overall creates a more natural feel to the piece. I feel this would be a great area to explore, as previously I had felt using opposite colour palettes may look too bold and striking and would contrast too much with the natural subject of animals that I was trying to portray.
 |
| Fig. 8 Jakuchu, Chrysanthemums by a Stream (1760) |
Influenced by Jakuchu, I produced an experiment focusing on using contrasting colours with a muted undertone. I felt this was more effective than my first experiment, as the colours merge more to help portray a more natural colouring of the Pangolin. I really like the use of opposing colours in this way, as it is not too striking and unnatural, yet still creates an interesting contrast whilst educating the audience about the Pangolin's natural shape and form.
 |
| Colour Experiment 2 |
I then looked at the work of Yuko Shimizu, who focuses on colour combinations to create segmentation and depth within the image. In the piece titled 'Blow Up 0', Shimizu uses red and blue to create a striking contrast between the figure's hair and clothing. She also uses blue and red for her linework, with helps create a unity and flow throughout the piece.
 |
| Fig. 9 Yuko Shimizu, Blow Up 0 (2013) |
This technique continues throughout her work, as seen in 'Humming Birds', where she incorporates a dark tone of green and red for the flora, whilst using a lighter colour for the main area. I feel this technique is very interesting, as I am usually quick to associate lines with a dark colour to give definition, whereas Shimizu has used colour to soften the edges and create a more unified piece.
 |
| Fig. 10 Yuko Shimizu, Humming Birds (2013) |
In response, I have created the Pangolin again, using dark yellows for the outline and a light golden yellow for the main body. I tried to emulate the same style as Shimizu, which I feel was quite effective however it is quite a difference to my usual painting style. I feel it is effective in creating a more soft quality than dark lines would create and is also effective in portraying the shape of the Pangolin which is my main intention, however I feel this technique would work even more when in a composition with other animals or objects to work in unity and provide more opportunities for different colours to be used.
 |
| Colour Experiment 3 |
