I love colouring pictures. When I was a kid, my special treat was to be allowed to colour the black and white pictures in my storybooks. My mum even had a special box of colouring pencils just for the job ?
Thanks for your most interesting ideas. You're quite right, as much as I love colouring, I do feel sometimes I would like to try something different. I'm not very imaginative myself so your tips should get me started. Thanks, Jenny.
Picture For Colouring
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Thank you much for this article
It's amazing, I was going thru folder last night, with all pics I've colored in 2016, and about half way through, I realized something. I'm in a rut. My cllored pics all started looking alike. I closed it uo and then decided ...going to start paying attention more to how others color and start watching fir tips. Lo and behold, checked my mail and there was your blog. Gyess it means, time for change.
Thank you for ideas and that nudge forward, I hope.
Connie
This is a great resource! Thank you so much for this information. Picking a color palette is really hard, and referring to all your suggestions is great! Your work is amazing! God certainly gave you a gift to share with us! As I struggle with my anxiety and grief with the recent passing of my Mother, this is surely a help to me. I thank you so much!
I have no idea if it was deliberate or a happy accident, but your beetle has almost all the colours of the non-binary pride flag, and the two dragonflies above it are in trans pride colours! I love all these examples, but was particularly delighted by that!
In my humble opinion, Asana works better with humans.
And adding a real profile picture is bringing a great human touch in your daily interactions with others.
If your company allows it, I would advise trying it
@Richard_Sather I disagree. Most Asana users I work with have it zoomed out to 80-90% to fit more on screen. Initials are very easily visible, pictures are not. Moreover, pictures can have extremely inconsistent take-up. Here are some very real scenarios:
@Ronan_Gay I totally agree, there is too much room for inconsistency with photos.
We are a construction company with a wide range of staff levels and subcontractor guests, all viewing Asana from various devices, from Phones to the boardroom display.
The colours and Initials are the cleanest way for everyone to be able to see who they are communicating with.
Another request to please, please add the ability to change the color assigned to users. Initials are so much cleaner and easier to decipher than a photo; however, it is imperative to be able to assign different colors to different team members. Competitors, like Trello, have this ability. It seems like it would be an easy thing to do and greatly appreciated by the community.
You can use the colour wheel when you begin to choose your colour pallette, based on Colour Harmonies. You can also use the these formulates to choose colours, which will complement or contrast with objects you have chosen the colours for. I often will use this method when I am stumped on what other colours to choose. For example, if I am colouring a bunch of flowers, I may choose to use analogous colours and a complementary colour for an object or the background.
You can find amazing colour palettes just about anywhere. Whether you are looking at an amazing sunset, sitting on a beach, being in nature, looking at shopping window or even about to eat a delicious meal. Just take a quick snap shot with your phone or camera and you have a new colour palette to try. I find the seasons often influence my colour selection. Think of beautiful autumn leaves or bright sunny days. Again you can search key words online that will help you explore the colours in nature and seasonally trends.
There are so many amazing colourists out there. I often come across colourist who use colour combinations that I have never imaged or hesitant to try. I like to use Pinterest and Instagram to get inspiration from other colours and also get feedback from my own work.
I find that other colourists inspire me to start a new picture and the courage continue even when I feel intimidated by it. Here are examples of my Pinterest boards that I have made for different colouring books.
You can find tutorials for many different colouring books on Youtube, Facebook colouring groups and Instagram. They will all vary in difficulty, mediums and style. Some are narrated step by step; some only flash the pencils on the screen as they colour to music and others are just short technique teaching tutorials. There are so many on Youtube, so just explore and you will find what you are after.
Although colour photography using the three colour process was put forward just short of thirty years after the first photograph by Nicephore Niepce, it was, in its early years, expensive and difficult to produce a colour image. Hand colouring became a practical way to give the impression of colour and everything from Daguerrotypes, salt prints and lantern slides were used to make this kind of image.
Hand colouring photographs continued up until the second world war when it was superseded by the new Kodachrome, but various kits were still being marketed up to the fifties. It was very popular in Japan where it was highly respected in the mid 19th Century.
In the mid-seventies, it was revived in the UK as a bit of a novelty and appeared in some fashion work and also on record sleeves and book covers. David Bowie's Ziggy Stardust album has a hand coloured image on the cover, as do many others from around that time by Led Zeppelin, Roxy Music, AC-DC, The New York Dolls, George Benson and Dr John.
I first saw examples of matt prints coloured with pencils in 1978 and was immediately intrigued. The work was by a Yorkshire photographer called Porl Medlock. After seeing it I wanted to try hand colouring but didn't want to copy Porl's work directly so decided to use dyes rather than pencils. My first attempts were rather heavy handed, and I was plagued with patchy colours. To minimise this, I diluted the dyes and built up the colours gradually which definitely helped to even out the colour, although it still needed careful application. My first prints were quite small, but I soon progressed to doing everything at 10x8 and found this an ideal size to work with.
Around this time, I was becoming disillusioned with the quality of actual colour prints. I'd had some prints made for a college project and was less than excited about them. The sharpness that I could get from a medium format negative wasn't there on these commercial prints and the colours were either garish or pale and inaccurate. Consequently, this made me more interested in hand colouring as a way of getting the sharpness and having a more accurate and controllable colour.
After hand colouring several 10x8's I decided to go bigger and made myself a sharp 20x16 from a 5x4 neg. I then spent hours, carefully adding diluted dye with a small brush. As you can imagine, this is not a quick process. Working slowly and carefully on a large print takes a long time, but this is not a problem as I often find the experience very relaxing. The final result was very satisfying and I produced a few in succession that year. Two of them were reproduced as posters in the late eighties and sold all over the world.
The type of lighting that you colour under is important. Bright daylight is best, although full sunlight can strain your eyes when working close. Room lighting, whether tungsten or economy bulbs -which are effectively fluorescents -won't give you an accurate sense of the colour, therefore you will find that prints you have done look quite wrong when viewed in daylight.
Work on plenty of old newspaper because dyes are usually very strong and will not wash out if spilt. You will need a jar of water for diluting, and for washing your brush between colours. It is also useful to have a few pieces of kitchen towel nearby in case any excess dye needs dabbing off the print plus a clean piece under your hand to prevent greasy marks from your skin getting onto the print surface. Greasy areas will repel colour.
Finally, have an old dish, or a white plastic margarine tub lid to mix your colours on and put a small droplet of washing up liquid on the side. A tiny amount of this will need to be added to each colour you mix up to ensure an even covering.
Good brushes are essential. Old, tatty brushes will not give you control over the spread of the colour and your work will look messy. If you are working at 10x8 size then you will need a number 1 for fine work, a number 4 for most areas and a number 8 for large areas such as sky. Winsor & Newton Galeria are ideal.
As I stated earlier, dyes must be diluted before using. How diluted is a question that is hard to give a prescriptive answer to. Some colours can be very strong and intense, whilst others are weaker, -so the dilution is different. For instance: when red is diluted it often looks pink, so it may need to have a little yellow added. Greens and blues are generally the same when diluted but beware of using only one shade of green for foliage. Trees, grass and plants all have different greens.
One of the greatest difficulties with hand colouring is to achieve an even colour over a large area such as the sky. The technique that works for me is to wet the area thoroughly with a large brush with a little soap added to the water then dab off the excess water with paper towels. Immediately apply the colour, moving it around all the time with a large brush. Skin tones can also be tricky to get right. Have a colour image of skin nearby as a reference and use a spare print to try the colour before committing to the final one.
An application of dye, before applying pencils to rough paper will prevent the colour sitting in clumps in the surface of the print. A very good darkroom paper for this type of work is the ILFORD Multigrade Art 300 paper
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