Scope

To observe and identify the the changes and behaviour of red coloured pigments– movement and settling – of 25 colourants (PR) specifically identified as a single red pigment, and their interaction on a submerged substrate.

To build evidence of the inherent qualities between each individual red coloured pigments and its interaction with substrate after approximately 2,000 hours.

Materials

Red pigments used in GGLCO #5.1 are outlined in the composition and permanence table x.

• 25 x 5ml of each red pigment[1]

• 25 x glass cylinders (90cm h x 15cm w)[2]

• Five plinths to hold five glass cylinders on each plinth

• Acrylic rods (75cm long) for stirring the colour after experiment #5A

• 25 bulldog clips to hold paper to glass cylinder

• Tap water[3] filled to 10cm from the top of the cylinder (approx. 15 litres) from GGLCO #5.1

• 25 full sheets of handmade cotton paper[4] with no sizing (approx. 56 x 76cm).

Procedure

The experimental procedure was activated with an audience present. I described each colour, its historical background, its pigment name, number, and described its physical properties. As I placed the paper into each cylinder, I shared my observations with the audience, who also engaged with comments and by questioning the process.

The procedure was as follows:

1. GGLCO #5.2 continues directly from GGLCO #5.1. Colourant is already present and has been installed into glass cylinders 1–25 as per table above, after approximately 180 hours.

2. Loosely roll the full sheets of cotton paper, place into and submerge (see Figure X & X) each sheet into the 25 glass cylinders that are filled with 25 different colourants and water, as per table xx.

3. Fix a bulldog clip to the rolled paper to keep it in place and submerged. This part of the procedure was modified, as I had not anticipated the duration of buoyancy that the larger sheets of paper would have. In my short trials with the paper, I weighted down the paper as I recognised its obvious initial buoyancy, but I assumed it would saturate overnight, as previous observations using Arches watercolour paper 300gsm had done. I also tried wetting the paper out to add more weight, but it was still lighter than the colourant liquid. Even after 2,000 hours of the paper being submerged it remained very buoyant. The paper roll developed a memory of the cylinder shape and of where evaporation of the colourant had occurred, the paper had attached/formed a bond with the glass cylinder that held it in place.

4. Agitate the colourant again with the acrylic rod. This took place because the coloured pigment had settled unevenly and I hoped to see the pigment across as much of the paper surface as possible.

5. Make observations and record of the movement of the pigment and how it settles on the paper surface. See video attached.

6. Repeat the agitation of the colourant after one week, then again after two weeks. As each cylinders’ contents were evaporating by agitating the colour, the process left behind colour lines like tidal marks. See images (X – X) of the paper still in the cylinders with colourant, a top view looking down into the cylinders of colourant.

7. Leave to settle for 2,000 hours. Observe and document at intervals throughout the duration of the experiment. See documentation videos.

8. After 2000 hours, observe each pigment’s intensity and settling in the glass cylinder. Complete an assessment of what is observed. Complete an assessment of observations with original artist, professional artist colleague, and experienced visual arts teacher.

9. Remove paper from the glass cylinders gently and lay out flat in order from 1–25. Document paper while colour is still wet.

10. Allow paper sheets to dry. Document details of each coloured paper that evidences the granulation or staining properties of each pigment.

11. Label with a graphite pencil each paper sheet with a number 1–25, the colour name, and the date of experiment, January 2019.

My interaction with the audience highlights the performative action of the observation. I have a video of this but I haven’t edited it as yet.

I could describe what having the audience present meant a little more here and in scientific modes, e.g. duration.

Observations After 2,000 Hours

GGLCO #5.2 presented the working properties (movement and settling) of 25 colourants specifically identified as a single PR and their interaction on a substrate (paper).

When observing the intensity of the colour in the cylinder, it is deceptive to think that the less intense or weaker colours in their wet state are softer or more transparent than the others. In fact, these colours, weaker in appearance, most notably the Potter’s Pink and the cadmiums, are heavier in their particle size and therefore settle the quickest initially. Over 2000 hours they fell almost completely to the bottom of the glass cylinders, leaving most of the colourant deposited on the inside of the paper sheet. The heaviness of these colours also correlated with an indication of opacity. The heavier colours are in weight, the larger in particle size they are and, thus, they are typically the opaquest covering colours. However, this is not true of Potter’s Pink, as the pigment particles separated and fell to the bottom of the cylinder most notably of all the red colourants. Note that this organic pigment is classified by Winsor and Newton as semi-opaque.

The extraction of the papers occurred long after the Lakebed Exhibition had concluded, but Newington College allowed GGLCO#5 to remain installed over the summer break. One professional artist, AJ, and a visual arts teacher, MM, participated in observing the extraction. They gave a score from 1–10 on the intensity of each PR. Intensity could be described as the strength and depth of colour, for example, by estimating how strong or weak red cordial might be. It is the depth of colour – its saturation – and this also implies brilliance of colour.

Built evidence of the physical interaction (changes in colour saturation and settling) between each red colourant and the surface after 2,000 hours.

The following images are of the 25 colourants. Each red single pigment is still in a wet state, but after 2,000 hours, evaporation occurred, leaving patterns and stains on the substrate. These images were taken from above the cylinder, while the paper was still submerged in the cylinders of colourant before extraction.

These two images show a comparison of the same colours over a period of 2,000 hours. In Figure 12, we can see from the right side of each image the glass cylinder containing Caput Mortuum Violet in the foreground through to the cool red crimsons. The Caput Mortuum Violet colourant appears opaque and densely saturated in #5A, and then in the image on the right, after 2,000 hours have passed, the pigment has attached itself to the paper or has fallen to the bottom of the glass cylinder. 

Problems encountered with GGLCO #5.1 and #5.2?

Footnotes

[1] Red pigments provided by Colart and the Winsor and Newton Professional Watercolour Range

[2] Cylinders sourced from IKEA some variations in glass thickness exist. There are minor variations in glass thickness of each cylinder

[3] See appendix for a water analysis. Preferable use of distilled water but it was determined to be cost prohibitive, the access to the experiment area presented some logistical health and safety issues and a final evaluation was made that I use tap water as artists would typically use. This may affect the behaviours of some pigments.

[4] Paper was purchased from Sydney Art Store. All cotton. No sizing and heavily textured. This factor is taken into account when observing potential variations in the behaviours of some pigments.