A Quote by David Batchelor
I often use colour to attack form, to break it down a little or begin to dissolve it. But I am not at all interested in 'pure' colour or in colour as a transcendental presence... So if I use colours to begin to dissolve forms, I also use forms to prevent colours becoming entirely detached from their everyday existence.
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Put a colour upon a canvas - it not only colours with that colour the part of the canvas to which the colour has been applied, but it also colours the surrounding space with the complementary.
I'm actually a 'Witch' not Wiccan...justa Witch. I started reading Tarot when I was 8 years old. I dabble in astrology, Candle Magick, gems/stone Magick and I mainly use herbs for cooking. But cooking is it's own Magick-when done right. Actually, when I colour Tarot...I do use a form of Colour Magick..colours do influence mood...so I conscienciously choose certain colours for certain scenes.
I use a wide selection of colours. It is impossible to produce work like mine using only the primary colours as they only mix a certain range of colour.
Turning to the colour-classification methodology: The starting point are the four pure colours red, yellow, green and blue; their in-between shades and scales of brightness result in colour schemes containing 16, 64, 256 and 1,024 shades. More colours would be pointless because it wouldn't be possible to distinguish between them clearly.
Fred didn't have a favourite colour. He was just pleased that he could see all of the colours in the colour chart. That was his wish for everyone. Fred wanted people to experience the joy of seeing vivid colours - in nature: the greens and browns of the mountains; in their work: the orange, red and black of the back of the retina; and in life.
I haven't yet managed to capture the colour of this landscape; there are moments when I'm appalled at the colours I'm having to use, I'm afraid what I'm doing is just dreadful and yet I really am understating it; the light is simply terrifying.
Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.
I became intrigued with colour theory. The absurd pronouncements of the Colour Institute, a group that decides what colours are hot each year or season, amused me.
The idea is if you use those two shapes and try to colour the plane with them so the colours match, then the only way that you can do this is to produce a pattern which never repeats itself.
For the day, keep it simple, basic, minimalistic, natural. Stick to peaches and pinks. For night, you can add colour to your eyes, make them smoky, and also use shimmer and bronzer. Night make up also calls for louder lip colours.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
I don't want any colour to be noticeable... I don't want it to operate in the modernist sense as colour, something independent... Full, saturated colours have an emotional significance I want to avoid.
In my house there is no attempt whatever to secure harmonies of colour, or form, or furniture.... I am entirely independent for daily happiness upon the sensual qualities of form or colour-when I want them I take them either from the sky or from the fields.
Trust your feelings entirely about colour, and then, even if you arrive at no infallible colour theory, you will at least have the credit of having your own colour sense.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
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