This has been a really insightful experiment. Through several books and websites, it appears that the paints that can be called most like the prime colours, are very much of personal opinion. This encourages me to believe that alike art itself, colour is very much perceived in a personal way. This in mind I undertook these exercises, provoked by the course material.
After preparing the ground, including mixing black with a white emulsion. The neutral grey that I mixed made an interesting background. Similar to the previous experiment, I found that the colours became richer and much more intense, using this background colour. I do enjoy layering the paint on top of a painted background, there is much more stability and control.
I lay down the different tones of yellow, blue and red that I currently have and experimented to find what I felt showed the purest of prime colour.
Below each colour I have included an example of the colour mixed with white underneath it.
The yellow that I chose as my prime was Lemon with a really small amount of mid yellow mixed. This in my opinion was the closest prime.
The Blue that I chose was ultramarine. I originally mixed cerulean with it, however, ultramarine was the hue that I favoured and was in my opinion the closest prime.
The Red that I felt was the closest prime was a mixture of scarlet and crimson. The colours seemed to bring out the richness in each other.
Arranging the yellows in different positions definitely altered their intensity and hue.
I then went on to create scales between yellow and red, yellow and blue and red and blue. Experimenting with their tonal values was educational. The mid tone between red and blue created a greyish brown, not as successful as I would of liked though.
Exercise 3. Broken or tertiary colours
I spent some time creating a scale between an orange red and green blue (crimson red and orange through to cerulean and viridian). I added a little white to try and maintain consistent tonal values. At the mid point I added a little more white, resulting in grey (known as broken or tertiary colour. This type of colour makes up the appearance of much of our world).
I then went on to make a carefully graded scale between orange to violet adding a little white again. Again the middle mixes lose chroma thus becoming broken or tertiary colours.
(lower right two scales are exercise 3)
Working through these pieces of coursework has really helped me experience the possibilities available to me through my paints and the possibilities of doing justice to what I am seeing and the ways that I am seeing to.