colour exploration by lottery

Februarys Ticket

2012-02-23T13:14:00.000Z

Ticket No's 04, 11, 16, 24, 38 & 46

04 – cobalt blue

11 – metallic red

16 – wedge wood

24 – light gold

38 – mineral texturegel

46 - style GerhardRicther

Phew! No ice. TheRichter style I was thinking of when setting up the charts was theabstract squeegee style, one of the problems with Richter is the needto paint a image on the canvas before laying down the abstract work. All the canvasses that I could have reworked I’ve used oil paint onand so far for these experiments I have been using acrylic paint,mostly Daler- Rowney System 3, as that is the colour chart I used tocompile the colours. So far I seem to have been reasonably luckywith the colours I've been expecting more colour clashes and discordthan have arisen. Although there does seem to be a theme developingI've gone from always green to always blue, looking back on January'sticket I just see a sea of vivid blue pictures.

All the paint andcanvas have been brought, though the metallic red looks rather pinkto me, hopefully it will seem a stronger red when juxtaposed with thecobalt blue.

I have always up to nowseen no point in straight forward copying of other peoples styles sonot sure what my thoughts are when laying down this chart, so I maymake a change to the chart instead of 'style of' I will change thewording to 'inspired by' I feel more comfortable with that and itallows me to introduce my own element.

Conculsion - December Ticket

2012-02-19T10:47:00.000Z

Thesehavebeenenjoyablepiecestocreate,eventhoughtheyIalwaysfindworkingwithstraightlinesandmathematicalprecisiondifficult. ItwasadifficulttaskbalancingthecoloursthentryingtolaydownathickenoughlayerofpaintfastenoughsothatIcouldthenapplythedistorteventhoughIknewthelineswouldbelostI endeavored tokeepthemasstraightandmeasuredasIcould.

ThereisnodiscordbetweenthecolourstobalanceastherewouldbeinatrueMondrianstyleofworking,eventhoughPhtaloTurquoiseusedheavilygivestheappearanceofblackitisgreeninhuesoharmoniseswiththeothercolours.

I've shown all three displayed together here, I've noticed that how they are shown depends on whether it is a lone display or a group due to the diagonals created by the distorts.

At Long Last – Final December canvas

2012-02-19T10:46:00.000Z

It'stakenratherlongerthanIintendedtocompletethiscanvaslotsofsandingandoverpaintingwereneededtogettheorderpartsmoothandandstraight. HoweverIamreallypleasedwiththeresult,forsomereasonithasneveroccurredtomebefore now tomixhard edged flat plane abstractwiththedistort.

'Chaos & Order'

'Chaos& Order'

Acrylicon Canvas

40cmx 40cm

January Conculsion - Good in Parts

2012-02-14T18:54:00.002Z

I was pleased with thisselection of colours, the heavy texture gel was not a problem but theice, well that was a challenge. There is little to no control whenusing ice, any control that you can exert, as I came to learn is inthe setting up. Although I struggled with this particular challengeit has given me many new ideas and also solutions to problems I haveencountered before. One thing I keep thinking to myself whilstworking on these pieces is 'next time I'll do that' but of coursewith using the lottery system next time might be next month or agesaway.

If I was approachingthis again I would have contrived to set up the first disc 's so thatthe ice flowed over all the surface, as it was it settled on apathway down the center.

I have noticed when working in this fashionthe resemblance to geographical features here the paint eddies at thetop before taking the easiest route down.

the colours flow into each other

I had such high hopefor the second disc, using the heavy structure gel produced a perfectsurface to experiment on, but using frozen paint was a nightmare, thedifferent consistences of the different pigments meant that somemelted easily while others just sat in the center.

Examples of Payne's Grey - on the edge with gel, black spots just frozen on its own.

This is more the effect I was hoping for

Payne's Greyseparated out into black and ultramarine, though this was solvedlatter by the addition of the heavy structure gel before freezing.

Although I was convinced after leaving this for a good few days thatthe disc was dry after bringing it inside in the warmth the largeblobs of white ice slowly melted some more.

alien landscape

I have had to rephotograph this disc as it has changed over the days when I look atthe disc I keep seeing new examples of strange colour and texturethat the process has created, there being no real way to describecolour I have had to resort to using several pictures to hopefullygive an idea of the complexity of the surface.

'Apsu'

The watercolours wheremore fun though both the heavy structure gel and white bothdisappeared as I had expected, though I think it's possible that somewhite shows in slight graduation of colour on 'Blue'.


detail 'Blue'

I can remember fillingthe chart and at the time I was only trying to fill up some emptynumbers and 'Ice' seemed like a good idea at the time, I really hadnot thought it threw enough. I have brought February’s ticket butnot checked yet what I have to deal with. Never before have Ibrought a lottery ticket not wishing for a win but no ice.

carol kim arbuckle
Website :

The Last Painting with Ice - 'Blue'

2012-02-11T14:40:00.000Z

I had set this up readyto use the paint I had previously frozen and was making preparationto set it in motion when I suddenly decided to change tack and takeadvantage of the weather. So I quickly applied the paint and heavystructure gel to the paper and placed it outside into the hail thatwas falling at the time, it later changed to snow but I think thatstill qualifies as ice.

Slightly worried about how my drawing board would cope.

I checked every sooften to ensure that it was still snowing/hailing once I wasconvinced it had stopped I dumped a lot of hail on top, this enabledme to carry the work inside without disturbing the flow patterns.

Then it was just a caseof waiting for the ice to melt and all the water to dry out.

The swiftness with which I had to apply paint to the surface to make sure I managed to get the work outside before the hail ceased, has resulted in a really strong line drawing. I have become so concerned recently with the colour mixing process that I had forgotten the power of the line.

'Blue'

Acrylic on Lana Sugar Cane Paper 130lbs

Paper Size 36cm x 48cm (14" x 19")

Image Size 28cm x 40.5cm (11" x 16")

The paper stood up to an immense amount of punishment during the making of this piece but has survived flat, as can be seen it was stretched.

detail

The use of the hail and snow has resulted in an unusual grainy pattern, parts of the line have remained as solid paint, other areas the pigments have separated out of the medium and flowed into each other. The success or failure of working in this method is a matter of some control but largely chance.

January 3rd Attempt – Watercolour

2012-02-07T18:10:00.000Z

Although I have used ice as a manipulation method in my workbefore, hence it being on the chart, previously I used it in the summer timeand evaporation played a part in the end result, also I have since rememberedthat I thought it interesting and worth going back to but not that useful. Unfortunately at the moment it is winter, thetemperature in the conservatory I use as a studio is around 5c, I’ve beenworried that the ice will even melt.

Starting point

For this contemporary watercolour I mixed the separate coloursof paint with water and froze them in the freezer. I crushed these in a mortar and pestle andarranged them on some previously stretched paper (still using up the Lana SugarCane paper). I tried to control thepattern as best as I could. Whenworking like this in the summer I would leave the work flat so that the waterthen evaporated, due to the cold I arranged it so that as the ice melted itwould flow down. I sprayed the work justto get it started and left it alone.


At this point you can still see the white

White is not usually used in watercolours and mostlydisappeared. When frozen down thePayne’s Grey separates out into blackand a dull blue, the black pigment appeared to be heavier hence large amountsof black in the final image.

Due to the slowness of the melt much of the pigmentstayed as solid blobs on the surface. Where it did melt and flow down the pigments settle in a grainy pattern.

I was reallyannoyed with myself at this point to realise that I had meant to add the HeavyStructure gel to the white before I froze it down but forgot so the picture wasmissing one numbers contribution. Soafter a bit of experimentation I used the structure gel as a kind of varnish,it does give the image a soft sheen and I could use my Rotring ink pen on top,though it does feel a bit like cheating.


'Think Again'

'Think Again'
Acrylic and Ink on Lana Sugar Paper 130lbs
Image Size 40.5cm x 28cm
Paper Size 48cm x 36cm

lI’ve been drawing in this manner for many years and it isfun to allow the flow patterns to influence the line.

Disaster - January 2nd Attempt

2012-02-03T16:40:00.000Z

This started well but ended up as a bit of a disaster, but Iwill continue to work on it.

The heavy texture gel gives the surface a impressive sheen.

First I mixed the Titanium White and Heavy Structure geltogether on the surface and

created peaks and troughs.

It seemed a pity that I could not stop at that stage but Istill had three more colours to use as well as ice.

I thought if I piled the paint and ice in the centre iswould melt and puddle and pull the paint in flow patterns that became obstructedor rerouted by the textured surface.

As the studio was very cold and it was nearly nightime whenit would get even colder I decided to speed thing up a bit with a hair drier,this was a mistake. The different consistencyof the colours caused the cobalt blue to melt very fast and justcreate one

blue lake.

The cobalt blue melted faster than the rest.

The hairdryer blewthe paint off the surface and onto the floor, the disc fell of the glass jar I had raised itup on and everything got very messy, Ipanicked a bit and tried to wash the by now dilute paint off in the hope ofgetting back to the white disc. Howeverit was now a very blotchy white disc.

I’ve now frozen the paint and I am now occasionally throwing chips ofvarious colours of ice on the disc in the hope of something happening. Thissounds a more controllable way of adding the colours to the surface but inpractice it seems impossible to place the ice chips where you would like themto go by the time you have managed to break them up they have started to meltand then stick to your hands or melt on your hands so you just end up throwingthem on the surface and hoping.

Frozen Metalic Blue paint

The Paynes Grey froze in layers one dark blue but mostly black

Puddles forming on the surface


This is the last of the frozen paint, so just have to wait and see now.

Detail of final disc

Some interesting effects have resulted from using this method that I will think seriously about using in the future.

Here you can see Payne's Grey mixed just with water is very black, but with the heavy structure gel it kept its colour.

Puddles of colour.

Untitled

January Ticket – Pulls

2012-01-29T15:19:00.000Z

Not sure if these pulls really qualify for inclusion in the‘colour exploration from lottery’ category as they were taken from the firstdisc before the ice was used. But thephotographs depicting colour mixing that took place are too good not to show.

detail

'Electric'

Acrylic and pen on paper

mounted size 49cm x 49cm

untitled

Acrylic and Pen on Paper

image size 37.5cm x37.5cm

The line drawing usedto hold these random paint prints together is hard to describe best done as aform of automatic drawing, if I try to structure the drawing it invariably goeswrong. Also I find I have to completethe work in one sitting as it is impossible to return to that particularpattern style if I pause and return.

'Skadi'

2012-01-29T15:02:00.000Z

'Skadi'

'Skadi'
Acrylic on vinyl
38cm x 38cm

SLR Camera Pictures

2012-01-25T16:27:00.000Z


Here you can see a mix of ice and paint.


As well as melting the ice also slid down and pulled the paint with it.

Just had to leave it and hope for good results at this stage

January 2012 -1st Attempt

2012-01-23T16:45:00.000Z

I had the idea that the ice would slowly melt and dilutethe paint having first added the heavy structure gel this would hold the whitein place. The other colours would then mixas they diluted and flowed down As it was they all flowed down and the icemelted faster than expected also the larger lumps of ice slid down pulling thepaint with it.

Unfortunately at the moment I having problems with mymain computer (Linux) and having to use my PC (Windows 7) which will not talk tomy SLR camera (Canon eos 300D), however I have just ordered a card reader sothe SLR pictures that I took whilst working on this attempt should be up soon.


Detail taken whilst paint still wet


Detail the flow patterns can clearly be seen.

These photographs of the finished work show the unusualgrainy and watery patterns formed by this peculiar way of working.

The pictures are just fantastic however I will have toreserve judgement on the completed disc until it finally dries, 3 days so farand still waiting.

January 2012 Ticket – 04 10 12 25 36 41 [£10 win}

2012-01-23T16:30:00.000Z

04- Cobalt Blue

10 – Metallic Blue

12 – Titanium White I’ve just noticed that this is onthe colour chart twice so I will search for another white to use after thisticket and toss a coin to decide which one gets changed.

25 – Payne’s Grey

36 – Heavy Structure Gel

41 – Manipulation Ice

AlthoughI have the paints etc., ready to go I wanted to write this before I started sothat my ideas of what should happen are not affected by hindsight. The colours could not be better, apart fromPayne’s grey, they are ones that I would normally use. Ice is something I would usually use inwatercolours works so I have two different ideas on how to progress that. Themain problem being that I have no idea how the heavy structure gel will behaveunder watery conditions. For the disc Iintend to add the heavy structure gel to the white in the hope that it willcreate mountainous conditions for the paint to dissolve around, that’s onetheory. I am going to try one or maybetwo other new ideas that may or may not work. Every time I make plans I keep getting new ideas for experimental workusing these mediums.

December Ticket 2011 – Third Canvas

2012-01-23T15:02:00.000Z

For the final canvas I’ve combined the chaos of thedistorts with the neat order of the grid and smooth flat colour planes.

Will post the final image once it is finished, but at the moment workingon the slow build up of layers and lines to complete the grid.

December ticket 2011 - Second Camvas

2012-01-07T17:22:00.000Z

Irely on intuition to lay down the grid once one space is filled youcan see where if is necessary to place further colours to balance thework.

Starting point

Becauseof the thickness of the paint and the need to apply two layers thePhthalo Turquoise appears almost black. This is a colour that Inever usually use – however the way the numbers keep landing itseems I working my way through the greens – I had a play with thecolour while laying the grid down and when applied from thin to thickit gives a wide range of shades.

Phthalo Turquoise

AgainI had to work piecemeal to effect the distort even then I could notget the application of paint thick enough for the result I reallywanted. However this piecemeal style has given me ideas for thethird and final canvas and future work.


Distort

Ifthe paint is thick enough with this method I can usually pull up alayer of paint from underneath and layer it to the top, sadly I wasunable to do that but could still move the paint in its pattern fromone place to another.


Showing the piecemeal way of working


'Opis'

'Opis'

Acrylic on canvas

40cm x 40cm

December Ticket (2011) - First Canvas

2012-01-04T14:20:00.000Z

I'vehad a long time over the Christmas and New Year period to think aboutthis work and although I knew exactly what I was hoping to produce Ifound the practicalities of combining the flat colour and precisepositioning of Mondrian's style with my own style and manipulationtechniques exceedingly difficult. I did think of using the treestyle that Mondrain used – but when assigning the numbers I know Iwas thinking of the grid, so anything else felt like cheating. Thecontrol required to create the basic colour grid is the opposite ofmy usual way of working and made many difficulties.

FirstI gridded out the canvas and started to apply the flat colour, so asto apply the distort

Ineeded a thick application of paint and also required the paint tostill be wet when the canvas was completed. Although I worked asfast as I could and the canvas is not that large I was only half waythrough when the paint was already touch dry. Decided to carry onand hope that having the basics done would allow me to work fasterthe next day. I did think about adding a retardant to the Acrylicpaint, but that would take me away from the paints dictated by thelottery numbers.

Oneway I can concede that control is gained whilst working is byrepetition even on this small scale a better way of proceeding isalways emerging and improvements can be made – I had to be carefulas this work had to be completed piecemeal to cope with the need tomanipulate wet paint - to keep the skill level even and not improvethe rustic appearance of the lines.

Themost fun part was the destruct – all that effort just to destroy itin a few minutes.


'Opalia'


use of flash shows the metallic green

'Opalia'
40cm x 40cm
Acrylic on canvas

A short stop motion film of work in progress

Christmas delay

2012-01-03T17:37:00.000Z

Workon the December ticket has been delayed due to showing in Barcelona –a very enjoyable time – and the holiday festivities. I customisedsome of my less successful works into Christmas decorations by ampleapplication of cheap gold paint and glitter. I paid for this latterwhen priming the canvas and discovering glitters ability to find itsway on to any surface even when you have thoroughly cleanedeverything.

Merry Christmas

2011-12-18T14:13:00.000Z

http://www.carolkimarbuckle.biz/

Barcelona Showcase

2011-12-18T14:00:00.000Z

Casa Batlló

Cava Reception

Late afternoon sunlight in the Basilica of the Sagrada Familia by

Gaudí

I was very pleased to be invited to take part in the Barcelona Showcase and really enjoyed the show and the weekend in Barcelona.

website

3rd Ticket December – 03 06 09 22 23 29

2011-12-18T13:37:00.000Z

03 - Phthalo Turquoise

06 - Naples Yellow

09 - Metallic Green

22 - Titanium White

23 - Style Mondrain

29 - Canvas

This ticket will be a challenge. When I filled in the chart for the final 2 numbers I was not giving too much thought to the options. With this selection at my first thought was relief at having white to comply with the Style Mondrain then panic when I realised that I also needed black, Phtalo Turquoise being the darkest will have to suffice. Although this selection will require careful placing of the colours I feel unable to leave it as a copy but will have to distort the works in various manners.

http://www.carolkimarbuckle.biz/

Conclusion

2011-11-27T15:53:00.000Z

detail 'Distance No. 2'

Colour is subjective I have often commented that I do not have a favourite colour. This experiment though has forced me to note which colours I prefer and which ones I would rather have not turned up in a colour exploration exercise. Green in all its many variations is a colour I normally favour mixing from the primaries especially when working with a limited pallet. Olive green is a pigment that I have brought occasionally but normally only for mixing with other greens here it blended well with the metallic green. Deep violet is a shade you would often resort to when avoiding black. The metallic green provides the contrast for the other colours and prevents them from going murky. Raw sienna is one of the earth colours I have always favoured.

showing the addition of

mineral texture gel

If I was repeating this I would probably add the mineral gel to just one colour, arrange the paint in lines of colour and roll with beer cans but on a canvas not disc.

Carol Kim Arbuckle

Originally when I had this idea I was thinking only of colour exploration on the ‘Full Circle’ model with occasional divergence when the numbers decided keeping to mainly one piece of work for each lottery ticket The decision to keep to one ticket a month has moved the idea along to producing work using the methods chosen for a period of one month as once I have produced the vinyl disc, ideas keep forming as to how else I could have approached the work.

Carol Kim Arbuckle

Watercolour

2011-11-27T15:52:00.000Z


'Silver Bullet'

'Silver Bullet'

Acrylic and Ink on Lana Suger Cane paper 130lbs

image size 43cm x 21cm

paper size 48cm x 36cm

I repeated the roll technique by watering down the acrylic and using them as watercolours. However the colours began to go very murky and all evidence of using roll was washed away when I sprayed the paper. I added the mineral gel to the pale olive green this made it resist the wash more and allowed some of the original pigments to bleed out introducing yellow to the work.

Carol Kim Arbuckle

'Distance' Pulls

2011-11-27T15:50:00.000Z

This mode of work originated as a method of removing excess paint but the resulting patterns were too good to throw away and I enjoy working back into them with this semi automatic style of ink drawing


'Distance No. 1'

'Distance No. 1'

Acrylic and Pen on Canson Mi-Teintes Artists Paper

Image size 33cm x 33cm

Mounted size 50cm x 50cm


'Distance No. 2'

'Distance No. 2'

Acrylic and Indian Ink on

Lana Sugar Cane Multi Techniques Universal Paper 130lbs

Image size 33cm x 33cm

Mounted size 50cm x 50cm


'Distance No. 3'

'Distance No. 3'

Acrylic and Pen on Canson Mi-Teintes Artists Paper

Image size 33cm x 33cm

Mounted size 50cm x 50cm

Still searching for the perfect black coloured paper.

'Distance No 4'


detail 'Distance No.4'

This detail show the colour mixing in progress and the effect of the added mineral texture gel.

Carol Kim Arbuckle

2nd Ticket – 9 14 15 27 38 49

2011-11-19T10:23:00.000Z

9 - Metallic Green

14 – Burnt Sienna

15 – Pale Olive Green

27 – Deep Violet

38 – mineral texture gel

49 – manipulation Roll

A much more challenging set of colours than last time !

A Decided the best way to describe the problems I had is pictorial. Choose an LP for the surface – The Distance, Bob Seger & the Silver Bullet Band.


Ideas

An unexpected pleasure of these work is that as I have had to buy all new paints for the chosen numbers there have been none of the problems, usually involved with using paint in tubes that have been put aside for a while I.e. shaking, splattering, bashing and attacking the lids with sharp knives. This has resulted in a different starting pattern to usual and given me ideas for further work.


Not really working

When I added 'roll' to the chart as a manipulation technique I was thinking the method I use with Acrylic inks, rolling coins through the wet ink adds a random element that encourages the colour blend process. Rolling coins would have little impact on the thick layer of paint created here. Tried CD's and LP's but the effect was minimal. The white is the Mineral Texture Gel which on later reflection I decided would have been better mixed with one of the colours.


Using a tube to roll

The colour mixing process not showing much promise, the Burnt Sienna appearing very red against the greens.


Not happy

I was prepared to stop at this point and declare this colour combination a failure.

But had another go at rolling the cans in clean sweeps across, the metallic green shines out as it merges with the other colours.

Solution found

Cans made the ideal rolling implement.

Wet paint photographs brighter

Dry paint slightly darker

'Distance'

Acrylic on Vinyl mounted on wood

37cm x 37cm

This work will be exhibited at the Barcelona Showcase Saterday 10^th December 2011 at Casa Battlo, Barcelona.http://www.barcelonashowcase.com/

'Numbers' – Pulls

2011-11-06T17:04:00.000Z

'Number No. 1'

Acrylic and Ink on Paper

It was only when working back into these works that I noticed that the cadmium yellow had largely disappeared with only a few bright spots here and there, this was a surprise as being such a vivid colour I had expected it to dominate the work. It is also very hard to digitally capture the colours, possibly because of the juxtaposition of the colours, the 'Naples Yellow' seems much warmer and orange and the 'Pistachio Green' often appears white.

I've decided to shorten the title to just 'Numbers' as painting by numbers seems too clumsy for these works.

'Numbers No. 2'

Acrylic and Ink on Paper ( Lana Sugar Cane Multi Techniques Universal Paper)

The idea of Sugar Cane paper appealed to me as I was compiling the chart, though I had no real idea of what it was, at first I though I had made a mistake as all the sugar cane paper I could find was for printers but with a bit of searching I found the one I originally chose. A very heavy rough 130lbs paper made from 75% sugar cane 25% cotton rag. I found this paper very easy to work with, as it was on a block it needed no preparation and it easily handled my thick applications of paint with no warping, I'm sure I will be using it again.

Numbers No. 3'

Acrylic and Ink on Paper ( Lana Sugar Cane Multi Techniques Universal Paper)

The colours seem more true against the bright white of the paper.

'Numbers No 4.'

Acrylic and Ink on Paper

Conculsion

These colours harmonised together well, although the cadmium yellow did mix into the blue and pistachio green so thoroughly it almost disappeared. Most of the colours I have used before the only exception being Pistachio Green.

I found it impossible to add the buttons as cleanly as I wanted, at first I tried placing them accurately but this ended up disturbing the paint, so in the end I just dropped them where I would like them to be and hoped for the best. They have now come to resemble moon craters, to me anyway.

First Ticket - October 11

2011-10-23T17:33:00.000+01:00

1^st Ticket (October 11) – 04 06 17 21 22 31 (not a winner)

04 - Cobalt Blue

06 - Naples Yellow

17 - Cadmium Yellow (Hue)

21 - Pistachio

22 – Add buttons

31 - Sugar Cane Paper

Starting point

Money for paint permitting, I am planning to to buy one 'Lucky Dip Lotto' ticket a month. This selection has resulted in mostly soft ice cream colours with summer sky cobalt blue. Not sure about the add buttons idea, this was added to the chart due to the collection of little cellophane packets of buttons I have accumulated and still have even after the clothes were long ago sent to Oxfam. The Sugar Cane Paper intrigued me when I came across it in the catalogue and will be used for some of the pulls.

One of the best shots using a SLR camera

One of the problems of taking photographs of the work in progress is editing the numbers down.

This was the only button I used that was heavy enough to drag the paint down.

Taken using a small Canon Ixus

Still not sure about the buttons, but I have to follow the numbers on the ticket.

I do not usually photograph details of the pulls until after I have worked back into them but this is such a glorious example of the mix of colours.

completed disc

'Painting by Numbers'

Acrylic paint and buttons on vinyl

Numbering the Paint

2011-10-23T11:48:00.000+01:00

Numbering the Paint

So as to remove any choice in my selection of colours to work with I have taken colours from a paint list from an Artists catalogue, choosing those with a good permanence rating, and numbered them from 1-54, so as to relate to the first four numbers in UK Lotto. The other two numbers I have assigned various mediums, methods or styles.

First Four Numbers
1	Vermilion	11	Metallic Red	21	Pistachio	31	Process Black	41	Process Yellow	51	Cadmium Yellow (Hue)
2	Flesh Tint	12	Titanium White	22	Titanium White	32	Zinc White	42	Warm grey	52	Yellow Ochre
3	Phthalo Turquoise	13	Silver	23	Pink Blush	33	Phthalo Blue	43	Leaf Green	53	Emerald Green
4	Cobalt Blue	14	Burnt Sienna	24	First TicketLight Gold	34	Cadmium Scarlet (Hue	44	Ultramarine Blue	54	Coeruleum (Hue)
5	Cadmium Orange (Hue)	15	Pale Olive Green	25	Payne's Grey	35	Silk Purple	45	Cadmium Red (Hue)
6	Naples Yellow	16	Wedgwood	26	Sap Green	36	Cadmium Yellow Deep (Hue)	46	Lemon Yellow
7	Rich Gold	17	Cadmium Orange Light (Hue	27	Deep Violet	37	Mars Black	47	Raw sienna
8	Raw Umber	18	Zinc White	28	Crimson	38	Phthalo Green	48	Hookers Green
9	Metallic Green	19	Copper	29	Velvet Purple	39	Prussian Blue	49	Process Cyan
10	Metallic Blue	20	Biege	30	Opaque Oxide Of Chromium	40	Cadmium Red Deep (Hue	50	Purple

Last Two Numbers
5	Painting Panel	11	medium flow improver	21	add metal	31	Sugar cane paper	41	manipulation Ice	51	style. Glaze
6	linen canvas	12	medium Black Lava	22	add Buttons	32	Diego Paper	42	manipulation Comb	52	puddle
7	Acrylic Paper	13	iridescent medium	23	Style Mondrain	33	medium extender	43	manipulation Tape	53	add Found objects
8	Papyrus	14	medium grain gel	24	style aboriginal	34	Medium Fluid retarder	44	add ribbon	54	circles
9	Vinyl LP	15	sand texture gel	25	add. Glass crushed	35	medium binder +	45	manipulation Ball bearings	55	mixed shapes
10	matt medium	16	manipulation method line	26	spray	36	heavy structure gel	46	style. Richter	56	squares
		17	manipulation method Bamboo	27	golden crackle paste	37	large grain gel	47	manipulation spray
		18	manipulation method Ruler	28	Style Davenport	38	mineral texture gel	48	style expressionist
		19	manipulation method sponge	29	Canvas	39	structure gel	49	manipulation Roll
		20	add beads	30	raw canvas	40	manipulation Spin	50	manipulation brush

Colour Exploration by Lottery

2011-10-11T20:09:00.000+01:00

I am interested in chance effects in painting and the balance between randomness and control. I have set up this experiment to remove my own bias in colour choice and to determine what level of control I feel I need in my own work.

To this end I have linked colours to the first four numbers generated by a Lucky Dip (Lotto) ticket and the other two to various mediums or methods.

Phthalo green, Brilliant red, Windor violet and Fluid black.

Before I began I did an experiment with numbering the colours I had in the studio and rolling dice to decide which ones would be used. This does involve some degree of control due to the personal choice in selecting the colours I buy.

The roll of the dice resulted in these four colours, Phthalo green, Brilliant red, Windor violet and Fluid black. I used approximately the same amount of each colour, this may be the first area where I add some amount of control as the overall results were very dark, an element in control of the amounts would have enabled me to liven up the resulting work.

colour mixing

This image taken from work in progress shows the colour mixing process taking place.

I used an old vinyl LP as a surface (The Proclaimers, This is History), the fluid black paint has resulted in a matt finish which soaked into the grooves but left some visible. I tried to enliven the work by picking up lines of the red and radiating them out from 3 or 4 start points but it remains a study of dark colours.

I also use a die to select the colour of paper for the 'pulls' taken; this work on grey despite being on 'Fabriano' paper; reminded me too much of the grey paper used many years ago at school and I was unable to get the piece to work.

This pull was more successful.

'Proclaimers #1'

Acrylic and Pen on Fabriano Paper.

51cm x 51cm (framed)