This thesis is a monologue, a story of growth, an essay and a treatise, the focus of which is on the colour black. The development of self-expression and artist identity is addressed through one colour. Black is a link that connects different themes to each other.

The first part discusses how art education can have a significant role in the formation of perceptions affiliated with art itself. The opinions of teachers and personal taste have far reaching consequences, which may create a distorted view on the hierarchy between different art forms.

The second part handles the value of drawing as an independent art form, how many factors have affected its development, and where drawing stands today. Additionally, the long on-going debate between drawing and colour is examined. The part concludes with a praise to the versatility of charcoal drawing, its long history and property of being democratic.

The third part addresses the appeal of printmaking, its mysterious sides and unique blacks. Through the history of graphic arts, the role of printing is introduced, and later that of photography, with black and white rising to be the colours of information. Additionally, the credit we give to the perceptions of colour is questioned, relying on optics and philosophy.

The fourth part presents the various meanings and visions of black. The thesis reflects on how grayscale artworks differ in their colour atmospheres and interpretations, and examines a tightly controlled colour palette as a recognizable expression of oneself.

Finally, the thesis delves into the ambivalence of black and its erratic status among colours. With the help of the history of colours and colour study, the thesis discusses whether black even can be considered a colour. Ultimately, the thesis delves back into the infinite mystery of the colour black.

As a result, black is perceived in a novel way, and attitude towards colours becomes altered. Furthermore, the significance of the arduous development of artist identity is understood better.