Colour Palettes and waking up at obscene hours of the morning by mechanical demons possesed of golden bells that stab at my ears as a barrage of poniards.

Colour creates a means to convey emotions without the use of actions or words.

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Fledgling colour

Between Monday the 30th of September up until the 4th of October we were assigned to Create colour. These painting first started out as blending the three primary colours into a medley of beauty and visual sound, warm pinks, oranges and cool blues and purples, singing out from the watercolour-grain paper as they ebbed and flowed from one side to the other as I gently guided them to their preordained fates.  The resulting work resembled a typical mashup colour palette that usually took its place in the first-time experimenting of a fledgling watercolour painter, messing around with too much colour on too much wet paper. This is what i wanted to go for, pure simplicity. As innocent as this early experimentation may have been, i began to get carried away, delving ever deeper into those old dark arts of multimedia and the dreaded Black acrylic.

Next, we were to give our colours meaning, to tell a story with them. Using a list of specific subjects given to us by our tutor for this project, we were to Paint one of these select things by using only colour.

Out of the list of subjects, I had chosen “an early Memory”. Now, when most people are to ask you ” whats an early memory of yours?”, Do we not jump to conclusions and assume they’re inquiring as to what we remember in the earliest days of infancy? No, in fact, if you were to take it from a quite literal meaning, the answer that you would find yourself giving would not be attuned to ‘Early’ as a means to refer to your own growth and progression as a human, but rather as ‘Early’ being the adjective referring to the subject of the memory. e.g: ‘it was an early morning’. Well this, reader,  is precisely how I looked to smoothly bound up and scale this Blockade of paint and paper.

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an Early Memory

The Blackness comes seething forward, clockwise, and a shadowy form looms towards an erratic burst, that fades away into silky grey.

This does not truly show some poetic battle between forces that had existed before existence itself, but rather the colours hide a much simpler meaning. The blackness symbolic of night, the shadowy form, a drowsy and irritated yet cumbersome and enraged depiction of myself, being woken up by none other than that crimson flower of fire and noise, my alarm clock.

6:30 am on the morning of September 30th, is when this epic struggle took place.

We were instructed further still, to give this painting structure, add lines, create a character, make it into something that is not hidden, in plain sight, but retain all the qualities of the original colours used, their positioning and layout if we wished it.

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The Battle of Dreams

And so it began. At the fiery Epicenter of the painting, my alarm can be seen loudly blaring a violent fire yellow and crimson bloody call. My awoken form jolts up, seemingly dislocated and awkward, and lunges from the gloom to silence the precision fire of sounds piercing the veil of my slumber and the night.

The Canon-fire bells sound, heralding the bright victory of dawn.

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Inverse Dreaming

The painting was complete but my work was not, as i experimented with more colour schemes I tried to Exchange the palette to find some form of contrast but the result was not what I expected. I had Placed lines where there were none before, and erased the line completely with colour, Where they once stood restricting the flow.

What I found to be the most rewarding of this experience is that the mixture of the coloured Watercolour and Gouache mixed very well with the black and white Acrylic that i had employed, flowing well through the wet of the page and leaving a  slight crumbling texture upon the surface where the majority of the colour had migrated elsewhere for whiter pastures of page.

One thing I also found to be rather fun was adding black ink drawings to the colours. I particularly enjoyed doing the Alarm demon, without giving it any real outline, I was able to make out exactly what it was so the viewer would not be too confused. The hands, short lines indicating numerals and the golden bells of destruction were enough to indicate what it was. I chose only to show these parts because during the state of waking, one cannot fully focus upon shapes and make out forms completely, so the outline of the clock had manifested itself as sound (the yellow outlining the clock).

However much I enjoyed doing this piece, my portrayal of the human anatomy could definitely use some work. The proportions are slightly off, as is the placements of the arms and back, with the head being too big and the neck nearly non-existent. This I realized fully only after consulting fellow classmates for their opinions on the piece.

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