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Using Colour.

As even my photos go, this is kind of shit (it was taken in a moving car), but I love the colours in it.

I really love colour, which might appear an odd statement, due to the fact that I wear mostly black. But I do: I love colour for what it's capable of. I love what it's capable of in art. Colour on people comes with a lot of styles and implications, so I tend to just ignore it in real life because I am that kind of person, but when it hits descriptions, I like to use those exact things to convey meanings about characters. Dress one figure in browns and faded reds, and you are able to convey a sense of earthiness, an individual who has simple, perhaps even honest principles, but with a hint for delayed violence. Likewise, using colour around the characters, for buildings and sky lines and whatever else you wish to pinpoint, allows you set a tonal point that conveys meaning to the reader as you shift for a different purpose. Of course, none of this is particularly surprising to anyone, but I'm just thinking aloud, so you'll have to excuse the basic storytelling notions that are being tossed round here.

One of the things I like to do with fiction is find a colour key for each story. It usually involves me finding a primary colour (sometimes two or three or all of them) and crafting a reaccuring image with it. That colour then begins to move around the story, turning into different shades of its primary, different images, and latching onto physical things that are linked to that colour. All of these then travel through the scenes together, drawing what is, essentially, an invisible thread throughout the story to link it together.

No colour is used for the same reason, same purpose, but generally speaking, it is either metaphorical or in the aid of tone. Within those two are hundreds upon hundreds of ways to use each differently, and that's really up to the author and, in some way, the reader. A lot of readers will take a device within a story and read it differently to what you, the author, intended, and what another reader may have read it as. I'm actually quite pleased when a reader comes to something of mine in a totally different way than I planned and still enjoys it.

Also, I'm always a bit disappointed when there's an absence of colour in art. At times it makes me think I'm in an empty, unfinished world, but rarely is that the point.


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Oct. 17th, 2005 05:57 am (UTC)
sueing colour
you've got it on the colour being read and re read by each individual reader. what's also beautiful about hues are the capacity they provide for the individual to layer different meanings be it by time, memory, disconnection, mood, perception etc. one colour can be so many things. black and white photography is in many ways too easy now - history has legitimised the medium with a false fine art status - the black & white photograph becomes like a painting that has been over theorised until all the colour is drained from the canvas. black & white also reeks of the seriousness of 1960's conceptual artists - colour allows the (on)looker to float through space, time, memory, imagination.... it creates a sense of playfulness in art which i find essential to the artistic process.. on the other hand to take on the persona of devil's advocate too much colourful art is overwhelming, a smash in the face - like an angry blue-mauve bruise - mirroring the onslaught of advertising, the media, modernism, post-modernism, post-post(bullshit)modernism, blah, blah, blah. colour is harder to do than black & white - there's even more at steak. its a fine line, of allowing colour, tone, darkness, hues, lightness and many other factors to come into being. colour is suggestive of the instantaneous - taking time with colour is also the key. as for your photograph i agree the colours are beautiful and evocative - deja-vu, australian colonial paintings, abstract art, oil pastels, deitrus, blooming sun and dying land - the movement suggests the snapshot, a little too quick, but there's nothing wrong with that - it would've been nice to get a still shot though cause nothing beats a perfect exposure really there's so much more scope for playing with it - but that begins another story all together..... the constant chase and the beauty of chance.
Oct. 17th, 2005 06:04 am (UTC)
Re: sueing colour
my photos rarely leave that snapshot quality. i like the dirty, rough look that they can have--images from life, if you follow me. i'm not there for the persuit of this beautiful, idealised image. possibly because i know it's outside my ability to get :)

still, glad you liked it. welcome to the journal, btw, if you're new.
Oct. 17th, 2005 06:32 am (UTC)
Re: sueing colour
don't be so self effacing:) its just not what you want to do... not that that's what i'm looking for either, idealised beauty, too much of that around. art is disposable and so is life... letting go of the image allows it to return again and again in different forms.
and thanks for the welcome
i'm old, and knew
i love the anominity of blogging so like the "art" (pretentious i know but oh well) your making, very appropriate.
Oct. 17th, 2005 07:13 am (UTC)
Re: sueing colour
but i'm so good at being self effacing ;)

(i'm sure there'd be other people who would disagree, actually. different people, different theories.)

i'm not sure my art is very anomous, but either way, feel free to hang and speak. there's a bunch of people without lj accounts here, so if you could come up with a signature (a letter or number'll be fine) that'll be neat. that way i won't keep saying hi and welcome every time you arrive :)
Oct. 17th, 2005 07:53 am (UTC)
Re: sueing colour
aye aye captain
i'll be “olive oil” or “oo” when I’m feeling lazy

"that way i won't keep saying hi and welcome every time you arrive :)"

& u know u love saying hi:}

Oct. 17th, 2005 11:14 am (UTC)
Re: sueing colour
nah, i'm a mean and nasty bastard. ask round, you'll see ;)

(thanks for the name bit, oo.)
Oct. 17th, 2005 12:19 pm (UTC)
Re: naming
& thank you for having me
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