Explore the craft of pigment making through historical recipes, scientific understanding and sustainable material practices. You will delve into the theory of colour, examining the classification of colourants and the chemistry behind them, while engaging in the embodied process of creating pigments from raw and reclaimed materials. With a strong emphasis on environmental responsibility, you will use waste streams and foraged sources to breathe new life into old recipes, imbuing historical colours with contemporary relevance. You will explore both the interplay and contrast between synthetic and natural pigments (e.g. creating synthetic blue verditer alongside its natural counterpart, azurite). You will make two synthetic colours: blue and green verditer, followed by their two natural analogues: malachite and azurite.

Over the first two days, you will focus on pigments derived from copper and iron. On Day One, you will make copper-based pigments, including verdigris and both blue and green verditer, learning about their origins, transformations and applications. Day Two will expand into earth-derived materials, exploring copper minerals like azurite and malachite, followed by iron-based pigments made from natural iron oxide clays.

Day Three will shift to plant-based colour, centring on the creation of a yellow lake pigment from weld (Reseda luteola) or ragwort (Jacobaea vulgaris). Here, you will apply the pigments you’ve made as modifiers, experimenting to create unique shades of mustard, lime green and more—learning how subtle variations in materials and processes affect the final hue.

On Day Four, the focus will turn to application. You will test your pigments with a range of traditional binders, from gum arabic to oil, to understand how each medium interacts with colour. The course will culminate in the creation of a personal reference archive: a collection of pigment and paint swatches on gesso panels (supplied), serving as a tactile, visual record of your explorations.

Throughout, we will reflect on the ethics of extraction, the legacy of historical pigment use, and how contemporary makers can honour tradition while forging sustainable, forward-thinking practices in colour. By the end of the course, you will have a collection of synthetic and natural pigments - both organic/ botanical and inorganic in origin, alongside the colour archive on the gesso panels.

Materials week: Pigments 

This course is part of our Materials week collection of courses focusing on pigments led by talented artist-tutors. Each course explores a different aspect of using pigments and how they are used in a variety of traditional and contemporary practices. Each tutor will be invited to give a short talk (10 minutes) about an aspect of their work relating to the theme of the week on Tuesday evening at 5.15pm. You will also be encouraged to visit other courses to see work produced across the varied approaches offered in the week.

View all courses in Pigment week

• Sophie Bowen - Slow marks - natural dyes, drawing and stitch
• Lucy Mayes - Pigment making - the craft of colour for artists
• Judy McKenzie - An introduction to Nerikomi ceramics 
• Christine Graf - Enamel - exploring colours and textures
• Caroline Ross - Make a set of artist quality watercolour paints and pastels
• Peter Ward - Painting with earth

Included

The tutor will supply some of the materials for use on the course, including raw materials for pigment making, including wheat starch, kaolin clay, acetic acid, copper nitrate, calcium carbonate, raw minerals, white spirit vinegar, clay samples, soil testing kit, alum, potash, weld dry plant dyestuff, coffee filters, etc.

The College will also supply some of the equipment for use on the course, including: Pen, two brushes and a gesso panel per student Ph indicator strips, copper powder, linseed oil, turpentine, gum Arabic, unbleached beeswax, eggs and gum tragacanth to share amongst the group.

What students need to bring

• Sketchbook
• Pencil 2B
• Vessels to bring home pigments in (such as small bags/jars/containers)
• Vessels for making pigments in (if you can), recycled clear containers in glass/plastic

Available to buy

Available from shop: A good selection of art materials, including sketchbooks, pencils, pens, etc.

Available from tutor: Items your tutor will bring along in case you would like to purchase, but they are entirely optional and not required for the course: Muller and plate (small) £70 (optional) Pigments and inks (various) £15–£20 each (optional)

Additional information

Please wear appropriate clothing/aprons for the workshop or studio, this includes stout covered footwear (no sandals or open toes).

Arrival day
Residential students can arrive from 4pm, non-residential students to arrive by 7.15pm for registration. Students arriving earlier are welcome to purchase dinner in the College Dining Room from 6pm.
Students meet their tutor in the Bar at 7.30pm prompt to go to studios.
First Teaching session: 7.30pm - 9pm (attendance is essential)

Daily timetable
Course teaching: 9.15am - 5pm
Morning session: 9.15am - 12.45pm including coffee/tea break
Lunch break: 12.45pm - 2pm*
Afternoon session: 2pm - 5pm including coffee/tea break
Teaching finishes: 5pm
Evening working: students may have access to workshops until 9pm, but only with permission from the tutor and provided any health and safety guidelines are observed.

Departure day
Course teaching: 9.15am - 3pm
Teaching finishes: 3pm

Residential students will need to check out of rooms by 10am. Please note, the tutor may make slight variations to the daily timetable as required.

*Lunch can be purchased on campus, view options

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