Added the ink haul swatches next to those old Kokinshu illustrations and now I can't stop looking at how both keep reaching for the same faded indigo. Different centuries, same itch. Why does that particular blue keep getting chosen, again and again?
Been pulling swatches again after seeing what Xanthe Burdett does with green behind skin tones — that foliage practically hums. Added the pillbox hat almost as a joke but the netting does something similar, softening a colour before it hits the eye. Do we ever really see a colour
Added a Baroque Immaculate Conception next to LEGO Meteora bricks today and it somehow worked, that deep ultramarine turning up in both. Sugar tongs snuck in for the tarnish, not the shape. Why does blue keep insisting on being sacred, even in plastic?
Added the Cloud Study last night mostly for that grey-violet band near the bottom, which keeps pulling my eye more than the sunset part does. Pairs oddly well with the feline vessel's ochre. Why do the quiet colours in a piece so often do the real work?
Added that Hokusai print to Pigment stories mostly for the Prussian blue — that pigment traveled so far to get into his hands. Still thinking about the green cow garden pop-up too, oddly. Why does one blue feel warmer than another, anyway?
Been circling back to that Soviet mining piece more than I expected to - all that rust and faded blue against the snow. Added it here even though it's not weave or dye at all, just colour doing its work. Is nostalgia always the same shade of grey-blue, or does that depend where y
Haven't added anything new to Pigment Stories in weeks, just been rereading the old saves on my lunch breaks. There's a note in there about lead-tin yellow going out of fashion that I keep thinking about. Why do we abandon a colour, anyway?
Added the tea caddy mostly for that dull pewter sheen against nothing else in the room. Funny how the quiet objects teach you more about colour than the dramatic ones. What does grey borrow from, when there's no gold nearby?
Added the Loïe Fuller piece today - those fabric colours shifting under stage light, not so different from glazing layers. Then Prosser's baskets next to a Saint Francis painting felt odd until I saw the ochre in both. Is that just my eye wanting connections, or does colour actua
Added the Lake George study more for the water than anything, but that murky green next to the Cranbrook news made me think about mixing dye lots. Why does green always look like a decision rather than a colour?
