Color Wheel No.11

 In this painting I reduced the saturation of the main tints more than usual. They are closer to gray tones than what you can see in my other work. In terms of values the canvas is typical for my style.

 I always intend my paintings to present a sense of chaos. Nevertheless I always implement techniques which unify the whole composition. When combined these two approaches depict the conflict between order and chaos and prevent my artworks from being predictable. 

 Complementary (opposite) colors have two properties when combined. They reduce each other’s saturation and push the final tint closer to gray. They also look bad when they are put next to each other. In this painting I didn’t allow such contact. 

 In real life we see very light colors, midtones and colors close to very dark gray or black. In most of my artwork I use this approach. In "Color Wheel No. 11" I refrained from using very dark colors. This provided a flatter look of the canvas.

 The focal point in a painting is a double edged sword. It can attract interest but also can make the composition too predictable. Nothing is less interesting than the things that appear obvious and predictable. 

 In this painting I used soft transitions between colors for the base layer. At the top one the brush strokes are more expressive and the viewer can see a much bigger contrast between colors. 

 This fragment of the painting displays a low color value background with high chroma. On top of it you can see translucent brush strokes. Looked from a close distance the viewer notices brush marks that are clearly visible and expressive. 

 Opposite colors create a feeling of distress. They don't look well together but I used small portions like this one to make the whole composition more engaging and less predictable. 

 Different artists take different approaches when it comes to signing their artworks. I want my name to look prominent in the composition so I use clear letters with no ornaments. Another thing I always do is to sign my paintings with pure Titanium white. 

 This fragment presents the most harmonious part of the artwork.All the colors are muted which helps them fuse in a seamless way. I didn’t use expressive brush strokes and the whole portion possesses soft look and feel.