Burnt sienna l Colour transitions

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STUDIO LAURA DAZA

BURNT SIENNA

Colour Transitions


Rembrandt photo webmuseum


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BURNT SIENNA


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Introduction

Introduction

The inspiration for this project comes from my love for Italy and colours. Burnt sienna pop up as an intuitive project. While developing my previous project Colour provenance I discover this fascinating colour story. When moving to Italy I became quite interested in their traditional colours, earths and authentic techniques for colour making during the Renaissance such as roasting siennas and umbers for obtaining more colours. I decided to hunt and search this traditional colour. As a colour alchemist and with the guidance of a geologist, through trial and error I learnt how to identify earths, extract, ground, purify, mix, sieve, and apply natural colours on surfaces.

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Introduction

The phenomena that yellow ochre when heated converts to red ochre has been known since the Paleolithic, which not only makes it the first synthetic pigment but also the earliest form of pyrotechnology.


Introduction

Still life Burnt sienna

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Introduction


Introduction

Raw sienna and burnt sienna pigments

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Burnt sienna Burnt sienna pigment is the result of heating yellow coloured ochre, which becomes a reddish-brown and it takes the name of the Italian city of Siena, where it was widely produced during the Renaissance.


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Burnt sienna


Burnt sienna

Colour transition

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Burnt sienna

The project

Burnt sienna pigment is the result of heating yellow coloured ochre, which becomes a reddish-brown and it takes the name of the city of Siena, where it was widely produced during the Renaissance. This heating transformation process was also used to increase colours in the painter’s palette; used by artistis including Caravaggio and Rembrandt, due to its effective use, excellent coating power and tincting strength. Burnt sienna hopes to celebrate and reinterpret this ancient technique of colour making by exploring the application of these colour transitions onto contemporary objects.


Burnt sienna

Still life Burnt sienna pigment

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Burnt sienna

Material exploration


Burnt sienna

Burnt sienna pigment

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Burnt sienna

Material and colour board


Burnt sienna

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Burnt sienna

The colour

The original pigment is a type of yellow ochre, traditionally known as ´raw sienna’ and it takes the name from the city where it was widely extracted from, Siena in Italy. The yellow ochre is rich in goethite minerals that when heated it changes its colour to a reddish-brown. This phenomenon of colour transition is caused by a process of dehydration, which affects the mineralogical composition and therefore colour changes. Today, this ‘yellow earth’ is almost forgotten and under appreciated been replaced by new synthetic alternatives.


Burnt sienna

Raw sienna pigment

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Burnt sienna

Yellow ochre


Burnt sienna

Extracted earth samples

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Burnt sienna


Burnt sienna

Collecting samples

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Pirotechnia The phenomenon that yellow ochre when heated converts to red ochre has been known since the Paleolithic.


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Pirotechnia


Pirotechnia

Material and colour exploration

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Pirotechnia

The process

Inspired by this traditional colour transformation technique of burning colour, I created a series of step-heating experiments starting from 200 degree celcius up to 900 degree celcius, to characterise the thermally induced transitions. Various degrees of heat will produce a series of shades from yellow through red and reddish-brown. I worked at a geological laboratory with the guidance of a geologist we roasted the yellow pigment.


Pirotechnia

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Pirotechnia


Pirotechnia

Burnt material samples

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Pirotechnia


Pirotechnia

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Working in a geological laboratory to study and clean the collected samples


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Pirotechnia

Burnt samples at different temperatures from 200 - 900 degree celcius


Pirotechnia

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Pirotechnia

Kiln used to fire and roast pigments


Pirotechnia

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Colour Application Based on ancient rituals of colour alchemy, the collection focuses on translating colour and capturing these coloured particles onto the surface to create unique prints.


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Colour application


Colour application

Pigment application to fabrics

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Colour application

Material exploration

This project hopes to celebrate this ancient technique of burning coloured pigments, by exploring the potential use and application of these colour transitions onto contemporary objects. Also inspired by the Italian Renaissance technique for fixing pigments and embellishing surfaces called ‘scagliola’ a collection of vessels and prints was crafted, which mixes new materials to create beauty out of recycled paper and handcrafted colouring matter.


Colour application

Material board

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Colour application


Colour application

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Special thanks to all the people who made this project possible. I want to thank my beloved and supportive husband and family. and IPG Instituto di prove geotecniche



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