Colour swatch of my chosen palette painted on Bockingford Not 140lb 56 x 56 cms
Hansa Yellow Light PY1 Daniel Smith (DS)
New Gamboge PY150 Winsor & Newton (W&N)
Burnt Sienna PR101 W&N
Winsor Red PR254 W&N
Perylene Maroon PR175 W&N
Quin Magenta PR122 W&N
Opera Pink PR122 W&N
Winsor Violet PV23 W&N
French Ultramarine PB29 W&N
Winsor Blue Red Shade PB15 W&N
Winsor Blue Green Shade PB15 W&N
Antwerp PB27 DS
Cerulean Blue PB35 W&N
Winsor Green Blue Shade PG7 W&N
Viridian PG18 W&N
Alizian Crimson PR83 W&N
Phthalo Turquoise PB16 W&N
Green Gold PY129 W&N
Olive PR101 PY65 PB15:6 W&N
Jadeite N/A DS
The pure colours were painted across the top. The top colour was then painted in the top of each box below it, with the each of the pure colours across the top, painted in the bottom half of each box. Some combinations clearly don’t work, others do, and I will be further investigating those that work, to better understand and consider their application to my work going forward.
Principles of Harmony & Contrast of Colours and their Application to the Arts – Michel E Chevreul First edition in French in 1839
Chevreul, a French chemist, born in 1786, discovered the way in which colour is perceived, which became know as The law of simultaneous contrast. Simply stated this is the visual phenomenon related to the juxtaposition of two colours.
Reproduced from Georges Roque’s publication Chevreul’s Colour Theory and it’s Consequences for Artists 1, based on his presentation to the Colour Group (GB) in Paris in 2010.
When two colours of similar hue are placed side by side as above, the light colour, top diagram, left and centre, appears lighter in the centre, and the dark colour, centre and right, appears darker in the centre, especially around the borders. The bottom diagram shows the effect known as ‘Chevreul’s Illusion’, where the stripes seen from a suitable distance resemble channelled grooves, more than flat surfaces.
It becomes interesting when two colours are juxtaposed. Compte de Buffon 2 had observed in 1743 that after staring at a red dot on a white background for a while, it assumed a green halo. If we then stare at the white paper an after image of a green dot would be seen. Green and red are complimentary colours. There is a similar result with blue/orange and yellow/violet, also complimentary colours. Chevreul’s research led him to conclude that the juxtaposition of complimentary colours enhance each other, a conclusion readily explored by impressionist painters.
1 Roque, G Chevreul’s Colour Theory and it’s Consequences for Artists, Colour Group (Great Britain) 2011
2 Buffon, « Sur les couleurs accidentelles », Mémoires de l’Académie des Sciences, 1743, reprinted in J.-L. Binet and J. Roger (eds.), Un autre Buffon, Paris, Hermann, 1977, pp.138-149.