When I was at art school I made a number of drawings where I masked off with tape a geometric shape on a piece of paper. I then took pure Prussian Blue pigment and rubbed it into the masked off area. I pushed the colour in hard and the result was a razor sharp form (once the tape had been removed) with an inner area of the deepest, darkest quality that absorbed light fantastically and had an almost velvety surface.
Every since I have had a bit of a soft spot for Prussian Blue, I’ve used it from time to time, but as a colour it can have a bit of a tendency to take over. It’s intense qualities being on the one hand really attractive to use, but at the same time you find yourself trying to keep it in check.
Today was such an occasion. When I travel around I often take one of my small drawing books with me. These are mostly filled with rapidly made watercolour sketches of landscapes I encounter. These in turn feed into my studio work, recently in an increasingly direct way.
I don’t pretend to be a great watercolour painter. Generally I only use the medium on a very small scale in my notebooks. Today I found myself on the Dutch north coast on a somber day, with grey clouds racing across a heavy sky. The paints and notebook came out of my bag. It set to work on a series of rapid sea horizon sketches. I love making these sorts of images, fluid colours and flows, held in place by the taught horizon line across the double pages of the drawing book.
Today though was different for one small detail. Yesterday, my much preferred Ultramarine ran out. In my small box of paints, just twelve colours, I was forced to dip into the rarely used Prussian Blue. Cautiously at first I mixed. The first painting reflected this caution. In the second the depths of the blue started to become more apparent. In the third it threatened to get completely out of control and had to be quickly neutralised with some Raw Umber.
The results are a set of paintings that took perhaps twenty minutes to make, but are surprisingly different to those I have recently made. They are also paintings that I think may well end up being useful once back in the studio. Today, necessity was the mother of invention and Prussian blue crept back into what I am doing.