Assignment 3: Colour Communication

My approach to this Assignment was to select the work, mount it, label it, decide upon the order of the contents, make a cover, introduction and contents page, and finally to assemble it.


I began by laying out the Part 3 Coursework and evaluating the pieces to see which I felt were my best work, and which also told the story of my development in colour analysis over the course of the exercises. I picked out a few pieces that I had made in addition to the coursework – studying chromatic greys and analysing images for colour.

I had a mixture of pieces in both portrait and landscape format, so decided to use a ring bound portrait format that could also be viewed in landscape. It allowed the book to open out flat, and could accommodate future additions to the book.

Layout & Space

Initially, I had thought that A4 size would be suitable, but some of the pieces were slightly too large. They would have looked crowded on a small page and would have required holes to be made through them, so I opted instead for A3 format and ordered some plain white card for mounting on. I used loose ring binders and decided to make the covers from mount board, but with a textured, cream covering.

I made a couple of samples to see how much texture to give the cover, and whether it would need coating in paint or gesso. I preferred the bottom sample, as it gave me the opportunity to add more decoration to the covers. I used a coating or two of gesso to add strength to the tissue paper and to give a matt cream finish.


I made a few sketches of possible logos for the front cover. I wanted something simple, but colourful to echo the contents and my own preference for bright colour palettes. I noticed that I could make a sort of face out of the letters, but decided that the cut-out letters with the bright ink behind them (sample seen at bottom right of sketchbook) were most appropriate to the contents. I made a sheet of ink shapes on watercolour paper, and cut out the letters in a courier font (to match the labels I had made for the inside pages).

[It is hard to know why I prefer the brighter colours, except that perhaps – growing up in the 1970s and 80s – there were lots of bright colours around in toys, clothing, wallpapers and household furnishings, also on TV: adverts, and pop videos – that have filtered into my consciousness.]

For the back cover, I considered using a photograph I had taken during the coursework, showing my paint palettes, but decided, for consistency, to add a logo similar to the ‘COLOUR’ one, but featuring my initials.



My approach for the coursework and assignment has been to read the coursework thoroughly; to draw out the main points from the text to underline what is required; to assemble the necessary materials and equipment and then put my  best efforts into completing the exercises.

I have developed the work by supplementing the coursework with research into collage makers; working with chromatic greys in exercises from Hornung, 2012; and selecting images to analyse for colour using felt pens and textiles. I have kept a note of linear media used, experiments, and an evaluation drawing of one element of the collage (the cat cushion) which led me to wonder about creating a series of work on ‘childhood toys’ or ‘favourite possessions’. These struck me as an autobiographical indicator of the owner’s personality.

The process of making the colour resource book has been one of decision-making: what to include?, which font to use for labelling?, which font size?, whether to number the pages or not?, how to lay the work out on the page? etc etc. It has been an enjoyable, if somewhat nerve-wracking experience.

Here are a few images of the colour resource book that I made. I thought that a similar storage/presentation method might work well for the dozens of loose sketchbook pages I have, even though they vary greatly in size.




Hornung, D. (2012) Colour: A workshop for artists and designers: A workshop for artists and designers. 2nd edn. London: Laurence King Publishing.


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