art history blue pigments Colour Features & Editorials News Feed Articles Pigments

Indigo: The Story of Blue Gold

Indigo is a deep blue dye extracted from the leaves of a variety of plants. It was not only a dye, but it has also been used as a pigment since ancient times. For centuries, Indigo was a valuable commodity that was traded across the globe, earning it the name ‘Blue Gold’. This article looks at the history of Indigo and its role in art, from Mayan artefacts to 17th-century European oil painting.     Indigo: The Story of Blue Gold What is Indigo? The vast majority of blue pigments throughout history have been made from minerals, like natural Ultramarine Blue and Azurite, or from metal-containing compounds like Cobalt or Prussian Blue. Indigo stands apart because it is derived from plants. There are more than three hundred different plants that produce Indigo dye, but some of the most important have been Indigofera tinctoria (native to the Indian subcontinent), Persicaria tinctoria (found predominantly in East Asia), and Indigofera suffruticosa (a species that grows in Central and South America).     Chemically, the blue-producing compound we know as Indigo is called Indigotin. However, Indigo-producing plants do not actually contain indigotin. Instead, they contain a chemical precursor called indican. To extract the indican, …

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17 min read
art artist Artist Insights Features & Editorials News Feed Articles Oil Painting

Artist Insights: Petra Schott

In this Artist Insights film, German artist Petra Schott visits the Jackson’s Studio to discuss how she uses the unconscious in her freestyle abstract paintings, why it is sometimes necessary to ‘kill your darlings’ to move forward in your work, and her deep love of oils and oil sticks.   Artist Insights: Petra Schott     Contents 0:00 “Painting is one way to explore the unconscious” 0:38 Introduction 1:00 “My wish was to be a psychoanalyst” 1:42 “People ask me “how I could move from law to painting” 3:49 “Art school taught me how to go deeper” 4:19 “My work is always a mixture of figurative and abstract” 4:52 “You can put more emotion into abstract painting” 5:17 “My theme is my life” 6:17 “I can’t limit a painting to what my original intention was” 7:00 “Sometimes I start painting blindly with my left hand” 7:44 “I use brushes and my fingers” 8:37 “My scribbles are not always meant to be readable” 9:17 “I love painting on raw canvas” 10:09 “Kill your darlings” 11:23 “I love the finesse of Cy Twombly” 12:46 “I mostly use oil paints for their texture and saturation” 14:54 “Oil sticks give an extra touch to …

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7 min read
Expert Advice for Artists Features & Editorials Licensing News Feed Articles

Expert Advice on Licensing Your Artwork

This month we are looking into the curious world of licensing your artwork. Many of you have asked questions about what it means, why one should do it, how to go about licensing your art, and the challenges around copyright. So that’s what we’re going to cover. Above image: Yukka Flat, 2019, Charles Inge, Acrylic on canvas, 120 x 160 cm | 47.2 x 62.9 in     Expert Advice on Licensing Your Artwork What Does It Mean to License Your Artwork? Licensing your artwork means allowing a person, business, company or organisation to use your work for their product or project. This could be for a physical item like a book cover or a cushion, or an advertising campaign, either in print or online. You may also be asked if the original piece can be featured in promotional photography for marketing or TV/film. As creator of the work, you will need to grant them the license to use it and be paid for doing so. There are various ways in which you can receive payment. If it’s an advertising campaign you are likely to be offered a flat fee or ‘buy out’ for a set term of usage. For …

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9 min read
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Inside the Sketchbook of Unga from Broken Fingaz

Unga is a London-based mixed media artist, and founding member of Broken Fingaz, who for 20 years have been producing monumental-scale murals, sculpture, painting, installation, and animation. Here, Unga shares how the materials he uses allow for the immediacy of his sketchbook practice, as well as some fascinating insights into his process, and Broken Fingaz’s perspective on collectivism in creativity.     Inside the Sketchbook of Unga from Broken Fingaz I like to use small sketchbooks because they fit in my pouch and I take them everywhere. I go through them very quickly, so I don’t like fancy sketchbooks that make you think too much before you start to draw. The cheaper, the better. The only thing is the paper needs to be not completely white – I like it a bit off-white. I try to finish a sketchbook in a week, just drawing quickly and not thinking too much.     Usually, in very small sketchbooks, I’ll just draw with a pen. Rotring Tikky Graphic Pens are great because the black looks really black. But, they are easier for my kids to destroy, so lately I moved back to the Pilot V7 or V5, as they have a metal …

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