With this exercise, I began by painting the basic 12 piece colour wheel connected to Chevreul’s studies, and after having completed the wheel, I then surrounded the sections of the wheel with a second swatch of the colour, but this time mixed with white acrylic, just in case the colour was to dark to see in the wheel, such as the violet and blue green.
Considering complementary colours, I find it hard to like them personally, just because I prefer colours that work together, rather than colours that contrast and clash, but as I experimented with gradient scale of the complementary colours, it was intriguing how they merged together to create shades of burnt sienna,burnt umber and other similar colours, this being another technique that I had never considered. When looking at the scales one no longer sees them as a contrast, but rather colours that just need to be connected with a mutual match, and I love the fact that they can create such natural and unpredictable shades.
SOPHIE FAWCETT'S OCA LEARNING LOG 