Color Wheel No.7

 Usually I create six different color regions in my canvases and hence the name “Color Wheel''. You can see in almost all of them I make the fragments cross each other to create the feel of motion. In this artwork I left the regions well defined with hard edge borders.

When it comes to the green portion of my canvases I usually use a combination of cold and warm green. In “Color Wheel No.7” I mixed green tints that are very close to yellow so the transition with the upper spot could appear smoother. 

 Phthalo pigments are among the strongest if not the strongest in terms of chroma. In this artwork I left the Phthalo Blue (PB15:1) keep its tinting strength and it immediately became a subtle focal point. 

 In this canvas I refrained from creating expressive and sharp brush strokes. I wanted to achieve a more unified look where the emphasis falls solely on the colors I have used. 

 Usually I intend to create an artwork which looks like a single piece of art. For that reason I use similar color values at the edges of the canvas which inclose it and produce a homogeneous look. Here I did the opposite. I left very light colors in the lower and upper left parts. 

 By definition red and green are complementary colors and do not look well together. To overcome this fact I created lighter versions of these colors by adding white. Then I transitioned them and the gradient looks much more natural and pleasing. 

 Warm colors naturally attract the attention of the viewer more than other tints. I avoid creating strong focal points in my paintings. Because of that the brush strokes needed to be less expressive so they do not create additional focus in this fragment. 

 In my paintings I usually randomize soft transitions and well defined brush strokes. I want my canvases to not look too homogeneous and predictable. Underneath the visible marks darker shades are slightly visible. 

 Many abstract artists prefer using a spatula or another scrubbing tool to create worn out effects in their artworks. I avoid this method because it harms other layers of the paint and reduces the painting's longevity. I work with contractor’s gloves and I use their surface to apply paint.

 To make my signature prominent I choose a fragment with very dark values and I sign my name with pure Titanium white. I also don’t use ornaments in the letters because most of the fragments include random brush strokes. Additional decoration will make my signature blend too much with the surrounding environment.