Assignment 2: Poisonous cocktails

Updated on 4 March 2017 (Harvard referencing).

22 June 2016. Due to an immense amount of work and dates to be kept outside the OCA I needed to be very careful with the time I have to prepare for Assignment 2. Therefore I am glad that I have done lots of preliminary research and work in my exercises leading up to this assignment. Since my first attempt at a setup showing aggression by movement and choice of colour was not exactly successful I need to change both. So I had a look at Giorgio Morandi and his “communicating vessels” (The Art Story, 2017) and found that the spouts of jugs are incredibly useful in creating the illusion of a talkative atmosphere. I will therefore add at least one of these to my setup.
When looking for “aggressive setups” for still lifes I came once again across the cubists and Pablo Picasso’s (1881-1973, Spain) “Mandolin and Guitar” painted in 1924. The aggression comes, besides the bold mark-making, from the positioning of the objects, which form a mask-like face. Picasso painted another still life, which seems to be more or less tumbling out of its frame “The Vase, Bowl and Lemon” (Picasso, 1907). This reminds me of my attempt at doing the same and neither his nor my painting convince me regarding the communicating vessel aspect. The red and yellow bowl does seem to both hide behind the green bottle and appear cheeky by “rolling the lemon out”. The green bottle appears to back off by seemingly hiding a “face” (the brown opening) behind the blue cloth on the left. The red colour of the bowl, although in the same picture plane as the green bottle, seems to push forward, out of the painting. This effect reminds me of Mark Rothko’s (1903-1970, USA) studies, where black automatically takes the position apparently furthest “inside” the picture on the lowest possible plane, whereas red comes out to appear to hang in mid-air above the actual plane (see e.g. Artsy, 2017). My original choice of colours was not completely wrong, but in order to be able to manage the multitude of interconnected effects I will have to reduce objects and colours considerably.
24 June 2016. So, changing my setup while remembering to still serve poisonous cocktails, then doing preliminary sketches in pencil and watercolour. Prepare the Rothko-like background, paint on that with a brush with different colours and let the picture develop.
The following photo sequence (Fig. 1-5) shows how far I have got today and irrespective of the possible final quality of the painting I am pleased that I can stick with my planning now, including using the sketchbook for collecting annotated cutouts and computer prints.

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Figure 1. Setup through viewfinder

The red OCA tissue paper behind the decanter gives an impression of a forward movement. When comparing this with my first pencil sketch to test the setup, the difference without the added colour is striking. It lack that particular illusion of movement:

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Figure 2. Pencil sketch with Rothko-type background tonal values

So, my choice of colours depended on the following idea: If I have a Rothko-type background, a red area should automatically push forward. If I put some of the glasses on that background and choose my colours so as to enhance this effect, I might be able to create the illusion of relative movement when e.g. comparing with a subdued vessel on a black background. In order to test my idea I made a quick watercolour sketch. The red area does indeed push forward and the orange watercolour pencil used to reinforce the decanter increases that impression. The same is true for the smaller bottle on the left. I am not convinced, however, of the strength of the black area, but this may be due to the bottle outlined in blue reaching over the top and bottom end of that area:

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Figure 3. Watercolour-watercolour pencil sketch to decide on colours

Next I prepared my background with acrylics on an A2 painting carton, landscape format. It was next to impossible to take a photo that would not show the reflective surface in some way, so the colours are not exact, especially the black looks blue and the red area does not look as strong as it really is:

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Figure 4. Rothko-type background on A2 painting carton

The first coloured sketch of my objects went relatively well, but since a lot of thinking is involved here I will have to give it a short break in order to let my idea develop further. I quite like how the red of the background seems to have somehow invaded the decanter and seems to push it towards the viewer. I will need to take care to balance the picture, however, especially the bottle in the black area, whose top needs to be far less strong. I am also not sure yet whether I want the violet-blue between decanter and conical glass changed. At the moment it does help to push the decanter, but it gives it a far to prominent position while holding the green glass back, and I have not found out yet why that may be. Also, I will need to think carefully how strong the glass in the bottom left corner can become without tipping over the balance:

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Figure 5. Brush sketch on background

27 June 2016. Today I was informed that I would be transferred to another tutor, since my former tutor had resigned from her post. Since I am not even halfway through Painting 1 yet I hope to be able to adapt quickly to a new tutoring style and that the respective expectations are not too divergent.

I also continued with my painting, trying to carefully think about the above ideas and how to give them weight in dealing with the developing work. So, first of all, I changed the shape of the red area to make it less prominent and by coincidence it started looking like a  brightly lit room behind a dimly lit bar. This change required changes to be made to the lighting of the objects in the foreground. None of that is real and I had to rely on my intuition in placing tonal values. Also, there is now a contradiction in the painting. While red pushes forward, its place here is at the far back. I think that it does work, because the decanter is also filled with it. The funny thing here is that it looks by far better in the photo than in the actual painting (Fig. 6):

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Figure 6. Front room added to the bar, requiring many subtle changes to the objects

Then I tried to reduce the reddish glow of the decanter, since it continued to be a far too dominant feature in the setting. Again it looks much better on the photo than on the painting) (Fig. 7):

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Figure 7. Decanter subdued, changes to the bottles on the left

Finally I remembered to fill the vessels with the remnants of my poisonous cocktails and this change allowed the balance among the objects to be shifted. By removing much of the glow inside the decanter the glassware appears much more delicate now. The glass on the right has started to look somewhat like the aggressive intruder I wanted it to be. This makes it believable that the blue glass on the bottom left appears to be leaving the scene by the forward action initiated by the intruder. The movement across the canvas is probably not totally convincing yet, but I am happy that I found a way of suggesting such an action at all (Fig. 8).

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Figure 8. Finished painting

Here are some details (Fig. 9-11):

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Figure 9. Detail 1: Bottle top and decanter spout
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Figure 10. Reflections on decanter and table-top
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Figure 11. Red light shining through glass onto table-top

Considering that most of the contents of this painting is purely from imagination I am quite happy with the outcome. There are several places, which do not look quite right yet, e.g. when looking closely the red wine left in the decanter needs its surface extended to the right. Also my style of painting is still not consistent over the whole surface, although I think I am making some progress in that respect.
The last day for submitting Assignment 2 to my previous tutor is the 30th of June. I decided to stick to that date during the “interregnum”, but I expect to be allocated a new/later date by my new tutor. In that case I might return to the painting once more and see whether I might improve it further.

Resources:

Artsy (2017) Mark Rothko [online]. Artsy, New York. Available at: https://www.artsy.net/artist/mark-rothko [Accessed 04 Mar 2017]

Picasso, P. (1907) Vase, Bowl and Lemon [oil on panel] [online]. Private Collection. Available at: http://www.bridgemanimages.com/en-GB/asset/218851/picasso-pablo-1881-1973/pitcher-bowl-and-lemon-1907-oil-on-panel/ [Accessed 04 Mar 2017]

Picasso, P. (1924) Mandolin and Guitar [oil and sand on canvas] [online]. Solomon R. Guggenheim Museum, New York. Available at: https://www.guggenheim.org/artwork/3441 %5BAccessed 04 Mar 2017]

The Art Story Contributors (2017) Giorgio Morandi Artist Overview and Analysis [online]. The Art Story, New York. Available at: http://www.theartstory.org/artist-morandi-giorgio-artworks.htm [Accessed 03 Mar 2017]

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Part 2, project 3, exercise 5: Colour relationships – Still life with colour used to evoke mood

Updated on 2 March 2017 (Harvard referencing).

28 May 2016. Working towards my plan for Assignment 2 I want to use this exercise to explore the relative aggressiveness of colours. Using the same setup as in the previous exercise I would like to convey an aggressive mood by making both slight adaptations to my setup, e.g. the relative positions of my cocktail glasses and accessories, using strong brushstrokes, and, most important, a set of appropriate colours.

Referring to my own blog post on colour symbolism (Lacher-Bryk, 2016) and preliminary ideas regarding Assignment 2 I will do the following: Combine purple black and grey in a background consisting of a very dimly lit detail of a chessboard to achieve a gloomy atmosphere, on which the aggressiveness or gentleness of the other colours is also highly visible.

When looking for any artists exposing themselves to the subject of aggression in their paintings, regardless of the quality of their works of art, they have in common the use of red and black, the use of strong and wild brush strokes and a predilection for exposed teeth in their subjects. This is not the kind of aggression I am looking for. I would like to be able to raise an aggressive atmosphere with something as harmless as a set of cocktail glasses. So looking for other methods:
It is vitally important to create movement towards the attacked object, see e.g. the painting “Abstract Aggression” (2014) by Pratik Chavan (*?, India) or “Three Roots that Obscure” (2015) by Hildy Maze (*?, USA) or even in an untitled work (2011) by Martin Bromirski (*?, USA). In the latter the aggression becomnes visible only at second glance. The shapes and pointed cutouts appear to move in a particular way that evokes a feeling of uneasiness, althought the main colours, blue and yellow, would suggest otherwise. The use of aggressive colours like red to me feels more effective if used sparingly rather than by covering the whole canvas. Apart from the above I did not find too many works of art giving me a lot of new aspects to think about. Being human, we instinctively know all about aggression (I just had another look at Pablo Picasso’s (1881-1973, Spain) “Guernica” (1937)) and we can read its signposts very well. For me, the task is to find my own way of transporting it to canvas. Since my previous steps of working towards a finished piece seemed to work quite well, I am going to repeat and possibly correct and refine them.
First of all I will add to the setup some of the ingredients I am planning to use in the assignment piece, i.e. a Belladonna cherry and ivy leaves and use my sketchbook to play with the relative positions of my cocktail glasses with respect to each other and the imaginary chessboard background. In particular, I would like the whole arrangement to appear to to move in a panic towards the viewer by creating an impression of overbalancing “out of the canvas”.

4 June 2016. What a week and no painting. Today, finally, I managed to finish this exercise with a less than satisfying result. In notice that every time something very demanding happens on the hospital front it takes me ages to return to an already started painting. This time it was worse than I ever experienced before, we even thought about quitting our fight altogether, but then, looking at our son, we just must not give up.
Last week we got some ivy and having played around with my arrangement I noticed that it would have to be either chessboard or ivy to avoid crowding and loss of message. And since it is the ivy that is poisonous it was easy to let go of the chessboard. So this is the sequence, on A2 acrylic paper as in the previous exercise (Fig. 1-6):

1_setup
Figure 1. Setup through my viewfinder
2_first_layer
Figure 2. Intuitive first layer of colours
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Figure 3. Strengthening the colours, taking back the 3D impression
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Figure 4. Finished painting
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Figure 5. Finished painting, detail with complementary and similar colours
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Figure 6. Finished painting, creating space without using perspective

In summary I very much enjoy this new way of painting, but my brushstrokes are so inconfident and change with every object I paint, and even when I paint over an old layer, that the result is less than convincing. I do feel, however, that I start recognizing the weakest bits and after having dealt with them I find the next weakest bits. This means that I could go round and round in circles and never finish this exercise. Hopefully learning takes place here, too.

Comparing the result of this exercise with the previous one: It was definitely easier to paint with two complementary colours and white only. In this exercise I spent a long time thinking about the juxtaposition of colours in connection with the message I had in my mind. I did not refer to the setup again after having produced a pencil sketch and drawn the outlines on my paper, because I wanted to see whether intuition would be capable of taking over the final choice of colours and the position of additional – and imaginary – accessories in creating an aggressive atmosphere. This was probably the mistake, because I feel that I am not ready yet for such a complex task, but I will go ahead with my plan for Assignment 2 nevertheless. I owe it to my son.

Resources:

Bromirski, M. (2011) Untitled [n.k.] [online painting]. Martin Bromirski, New York. Available at: http://www.painters-table.com/link/structure-and-imagery/martin-bromirski-rachel-labine-elizabeth-riley [Accessed 2 March 2017]

Chavan, P. (2014) Abstract Aggression [n.k.] [online painting]. Pratik Chavan, Mumbai. Available at: http://www.touchtalent.com/painting/art/abstract-aggression-231846 [Accessed 2 March 2017]

Lacher-Bryk, A. (2016) Part 2, project 3, exercise 4: Colour Relationships – Still Life With Complementary Colours [blog] [online]. Andrea’s OCA Painting 1 blog. Available at: https://andreabrykocapainting1.wordpress.com/2016/05/28/part-2-project-3-exercise-4-colour-relationships-still-life-with-complementary-colours/ [Accessed 1 March 2017]

Maze, H. (2015) Three Roots That Obscure – Aggression, Passion, Ignorance [oil on paper] [online]. [n.k.]. Available at: http://hildymaze.com/artwork/3780677-three-roots-that-obscure-passion-aggression-ignorance.html [Accessed 28 May 2016]

Picasso, P. (1937) Guernica [oil on canvas] [online]. Museo Reina Sofia, Madrid. Available at: https://upload.wikimedia.org/wikipedia/en/7/74/PicassoGuernica.jpg [Accessed 28 May 2016]

Part 2, project 3, exercise 4: Colour relationships – still life with complementary colours

Updated on 28 February 2017 (Harvard referencing).

21 May 2016. After having spent some time researching colour relationships I became aware of the fact that complementary colours are not just those lying opposite to one another on the colour wheel. There are a number of interesting combinations, each of which creates a very different harmony and thus atmosphere (Tiger Color, n.d., Decker, 2017).

My intention for this exercise is to use it as a first preparation for my choice of colours for Assignment 2. What I want to test in particular is what happens if certain combinations of complementary colours in their simple forms (i.e. those lying opposite) are used for an identical setup using identical techniques. In order to concentrate on colour effects I decided that I would create a very simple arrangement cocktail glasses and accessories and omit 3D by flattening out forms. The finished studies I would like to put on a larger canvas in a grid, just as in Andy Warhol’s (1928-1987) famous Marilyn Monroe prints (Borg, n.d. for an image and explanation). Referring to the latter I found an interactive experiment (WebExhibits, n.d.), which investigates just what I am looking for.

22 May 2016. Today I decided that I would want to carry out the experiments and the finished painting for this exercise with blue and orange, both of which are readily associated with cocktails and are excellent in conveying particular opposite emotions. With my simple setup of cocktail glasses I will try and create a number of identical paintings with the colours distributed in different ways. For this reason I will not need actual cocktails, but will “fill” the glasses with my chosen colours.

27 May 2016. To start with I experimented with the mutual effects the complementary pair have on each other, repeating and extending on the experiments introduced earlier in this part of the course. I put the colours (primary cyan, orange mixed from primary yellow and primary magenta to result in an orange skewed neither towards yellow or orange) through a basic investigation of properties, looking for situations of enhancement and cancelling-out (left image below). Then I went through another mixing experiment, repeating one I had thought I had to end abruptly because of running out of space in row one. I did so, too, this time, but continued by placing the last mix in the first row again as the first mix in the second row so as to allow a more or less continuous flow of information. The choice of colours will not allow a grey to develop halfway through the gradual changes, but rather a full green, which is however much darker in tone than both the starting hues. This effect is something I have not yet fully understood and when there is time I will try and find more information on the physics behind it (top part of right image below).

Next I created three very short sets of mixes containing the following sequences:
original hue -> tint (mix with white) -> shade (mix with black) -> tone (mix with grey)
Following the instructions on p. 69 of the study guide (Open College of the Arts, 2011) a use of black or neutral grey mixed from white and black does not seem to be allowed, so the only chance of a dark hue for this experiment is the use of green. However, it is possible to mix a great number of pleasing tints, so that the medium dark green available as the darkest tone will of course look darker when next to one of the tints (Fig. 1a-b).


In the next step I had another session on the computer to find out more about still lifes using blue and orange only, and I came up with one (“Still Life with Blue Orange 2” by James Bland (*1979, UK) see Fig. 2 below) I wanted to use as a source of information regarding the available mixed and distribution of colours on the canvas. Besides, I like the brushstrokes, which seem to be rather dry at the edges of colour areas, letting layers of colour shine through. It appears that here also there are no colours other than the ones I chose, while I am not sure whether I would be allowed to use a pink or light yellow mixed from white and the respective primary colours used in mixing orange. I decided that I would not take the risk and stayed with the above mixes.

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Figure 2. James Bland (*1979) “Still Life with Blue Orange 2”, n.d., n.k. Source: James Bland (*1979) via Lilford Gallery

Next I prepared an A2 acrylic paper with a neutral grey ground. While I left this to dry I tried some setups with four different glasses used in mixing cocktails. My intention was to create some movement conveying an indication of a story told. The setup fitting my idea best was the one top right in Fig. 3 below:

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Figure 3. Testing setups

The prepared grey ground I split in four squares and filled them with the following grounds: primary cyan, orange, the darkest achievable green and a bluish green (Fig. 4):

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Figure 4. Prepared split background

On this I drew with a lighter and a darker mix of my complementary colours, then quickly filled the spaces with imaginary “cocktails” (Fig. 5-7):

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Figure 5: Sketches using line and setup with viewfinder
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Figure 6. Intermediate stage
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Figure 7. Filled sketches

I quite like I the overall effect of this study and there is an endless number of lessons to be learned from it. Since I did not refer to my setup closely, but allowed imagination to play a role, these sketch paintings seem loose and full of movement. It was difficult to make a choice for the final painting of this exercise, but in the end to me the top left combination of colours seemed  suitable for the purpose.

After having prepared another A2 ground, this time with primary blue only – so as to avoid mistakes regarding instructions – I made another loose painting in the style of the above (see Fig. 8 below, for which, for some reason, I had to place the painting in a floor area in my workshop fully lit by the evening sun in order to get the colours more or less right):

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Figure 8. First layer of complementary colour painting, ball-like object on the right is an imaginary belladonna cherry to play a major role as an ingredient to Assignment 2
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Figure 9. Tonal contrast

There are some quite nice effects in this first layer of colours (Fig. 9 above) and I want to keep them for later reference, in case I destroy them when continuing to work on the painting. I noticed, in particular, how a lighter layer of a light greenish orange on top of the primary blue, except for the shadows thrown by the glasses, will help to deepen the shadows. With the glass “filled with a white liquid” the effect is particularly noticeable, because both the white and the light blue next to the shadow further heighten the tonal contrast.
Since this way of painting is very new to me I can see that my use of the above effects is still more accidental than deliberate, but I want to know where this road will lead me and I want to work hard to master it.

28 May 2016. Today I finished my painting for this exercise. Here is the result (Fig. 10-13):

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Figure 10. Finished painting, A2 acrylic paper

And here come some details:

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Figure 11. Finished painting – detail of reflections on glass and table
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Figure 12. Finished painting – detail of reflections on stem of tall glass
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Figure 13. Finished painting – detail of blue shadow

It took some getting acquainted with applying the laws governing the use of complementary colours only in a painting. Blue and orange may not be the most convenient pair because of the non-availability of grey or near black tones, but I liked the necessity of having to make parts of the painting lighter instead of darker to bring out the darker tones. It was a totally different experience for me and while I know that my technique is still in its infancy, I want to pursue it further throughout the course.

Resources:

Bland, J. (n.d.) Still Life with Blue Orange 2 [n.k.] [online]. Lilford Gallery, Canterbury. Available at: http://www.lilfordgallery.com/james-bland/still-life-with-blue-orange-2/ [Accessed 21 May 2016]

Borg, E. (n.d.) Andy Warhol and Colour [blog] [online]. Discovering design. Available at: https://blogs.lt.vt.edu/emilyborg/andy-warhol-and-color/ [Accessed 21 May 2016]

Decker, K. (2017) The Fundamentals of Understanding Color Theory [online]. 99designs, Oakland. Available at: https://en.99designs.at/blog/tips/the-7-step-guide-to-understanding-color-theory/ [Accessed 28 February 2017]

Open College of the Arts (2011) Painting 1. The Practice of Painting. The Bridgeman Art Library, London, New York, Paris, p. 69.

Tiger Color (n.d.) Color Harmonies: Basic Techniques for Combining Colours [online]. Tiger Colors, Oppegard. Available at: http://www.tigercolor.com/color-lab/color-theory/color-harmonies.htm [Accessed 28 February 2017]

WebExhibits (n.d.) Color Vision and Art: Andy Warhol’s Marilyn Prints [online]. WebExhibits. Available at: http://www.webexhibits.org/colorart/marilyns.html [Accessed 21 May 2016]

 

Assignment 2: Stage 1 -Preliminary research (colour symbolism)

Updated on 26 February 2017 (Harvard referencing).

14 May 2016. Assignment 2 is still more than six weeks away for me, but there is an idea I would like to pursue in preparation for this assignment. To this end I would like to start now in order to be able to dedicate the exercises to come as preliminary steps towards the final painting.

The story of our fight for our son has been added to by another unbelievable chapter, this time concerning the role, which the public prosecutor assigned to our case appears to play in further hushing up the commited offences. We have turned somewhat numb at the incredible sequence of acts of wilful negligence we have been exposed to in the last nine years, but are determined not to give up. Assignment 2 will be my channel for expressing what I feel and because it is a poisonous cocktail mixed from extreme emotions, this is a wonderful opportunity to indulge in experimenting with the various effects colours have in communication with the human eye. Since we are required to paint another still life, here is some preliminary research regarding the meanings attributed to different colours in the Western world. And talking of cocktails – this could be the first step towards the setup of my still life.

I found an endless number of resources, but there is a limited number of emotions and conditions, and thus colours, I need to deal with in the context of this assignment and decided that staying with one source of information would provide me with reliable cross-connections. The source chosen also deals with colours in painting (Olesen, 2016):

  • red: warm, positive, strong colour, signals “Stop!”, strong emotions, energizing, promotes determination, steals attention, symbol also of war, too much red makes angry, especially dark red (5). This should be my background colour including a black void as in Mark Rothko’s (1903-1970, USA) painting “Four Darks in Red” (Rothko, 1958) and own research).
  • black: symbolizes evil, depressing, hidden, unknown, mysterious things, power and control also over information hidden from the outside world, but also elegance and wealth, protection against emotional stress (maybe use this colour to limit the effect of turquoise and red by painting round them), adds contrast and allows other colours to stick out more (4), use on the black void and where needed in the painting, maybe position the mixing tools and glasses on a black shiny surface or cloth, black should not stand alone. I will need to buy a darker type of black, my ivory black is more like a very dark grey.
  • brown: colour of stability for the family, protects from the outside world, I will need to put this in between the red outside frame and the black void as a protective shield, stays in the background, emphasizes other colours (13), use a brown not too dark, only if I want it to communicate depression, if dark it should also help to enhance the cocktail colours
  • silver: colour of truth of old, sophisticated, visible in the dark, which for my purpose is also true in a figurative sense, however “silver-tongued devil” is someone who deceives and cheats, the colour can also bring emotional, mental and physical harmony, distinuguish between bright silver, which suggests openness and dark silver, which is associated with negative emotions (1)
    Cocktail mixing equipment is silvery and I could make a mirror image of the silver-tongued devil in my cocktail mixer, while the different sorts of brightly coloured cocktails mixed have various meanings associated. The experience gained, by concidence, with the two different types of silver sheen in my still life with man-made objects may not have been a coincidence.
  • turquoise: creates harmony, but must not be overused, because of a roller-coaster effect, which may represent our own attempt to initiate positive communication with the injuring parties, combines blue with a little yellow, “radiates peace, calmness and tranquility through the blue colour, balance and growth through the green colour, with an uplifting energy from the colour yellow. Turquoise recharges our spirits during periods of mental stress and fatigue”, improves empathy, but in the extreme narcissistic, weighs pros and cons, I will need the shade of blue-green, since it promotes engagement and symbolizes credibility and reliability (3) – it is also probably no coincidence that I have always liked this colour, it is one of my favourites. Type of cocktail: Caribbean mist, opaque.
  • pink: unconditional love, understanding, sign of hope and success, relieves anger (6) Type of cocktail: Pink Lady, opaque. Will need to stand next to the red of the Rothko frame in some place to see the calming effect and the cancelling out of similar colours, don’t make a dark line round the glass in this case! Use hot pink, but sparingly like turquoise
  • orange: as a complementary to turquoise, warm, positive, stimulates mental activity, provides emotional strength in difficult times, encourages two-way communication, encourages self-respect and respect for others (7) Type of cocktail: Campari orange, because it contains two shades – dark orange, meaning deceit, and golden orange, which should be positive
  • white: protects and encourages, opens up the mind for something new, sense of peace, comport, hope, but too much can create a cold, isolated, empty feeling (9). Use a bit of it as something in or on the pink cocktail to enhange the meaning, but also to stand in opposition to the red and black
  • yellow: the brightest colour visible, increases optimism and communication, makes nervous, associated with envy, influences head rather than heart (10). This only in context with other warm colours, but not on its own, since it is part of turquoise, I may not need it separately (just as blue)
  • blue: calming, strength, wisdom, trust, do the right thing in difficult situations (14), since it is part of turquoise I may not need it separately (just as yellow)
  • colours not to use in this context: gold (2), purple (8), both have meanings opposite to those I want to convey; green (11) – it takes away the aggression of the red and adds too much hope, which is not true; grey (12) – because it does not convey any of the emotions associated with this context

The colours I would like to use after this initial research will be shades of red, brown and deep black to create a background in the style of a Mark Rothko painting (research to follow). On this I will try and paint a symbolic, weird and aggressive-looking cocktail arrangement of turquoise, pink and orange drinks made in a silver shaker and served in glasses of different shapes. The colour white will only be used to mix tonal values and to add highlights, yellow, blue and green will not be part of the painting as separate areas of colour. Off now to some detailed research on the mechanisms at work in Mark Rothko’s paintings.

Resources:

Olesen, J. (2016) Hidden Meanings of Colour and Art [online]. Jacob Olesen, Copenhagen. Available at: http://www.color-meanings.com/hidden-meanings-of-colors-and-art/ [Accessed 14 May 2016]

Rothko, M. (1958) Four Darks in Red [oil on canvas] [online]. Whitney Museum of American Art,

1. http://www.color-meanings.com/silver-color-meaning-the-color-silver/
2. http://www.color-meanings.com/gold-color-meaning-the-color-gold/
3. http://www.color-meanings.com/turquoise-color-meaning-the-color-turquoise/
4. http://www.color-meanings.com/black-color-meaning-the-color-black/
5. http://www.color-meanings.com/red-color-meaning-the-color-red/
6. http://www.color-meanings.com/pink-color-meaning-the-color-pink/
7. http://www.color-meanings.com/orange-color-meaning-the-color-orange/
8. http://www.color-meanings.com/purple-color-meaning-the-color-purple/
9. http://www.color-meanings.com/white-color-meaning-the-color-white/
10. http://www.color-meanings.com/yellow-color-meaning-the-color-yellow/
11. http://www.color-meanings.com/green-color-meaning-the-color-green/
12. http://www.color-meanings.com/gray-color-meaning-the-color-gray/
13.http://www.color-meanings.com/brown-color-meaning-the-color-brown/
14. http://www.color-meanings.com/blue-color-meaning-the-color-blue/