Seeing as how my esteemed colleague, Maggie Coolidge Van Duren, and I had previously partaken in a similarly styled painting and color study exercise we opted to take a less conventional route. Our proposal was to take the painting off of the illustration board and put it in another context while still keeping true to the study of color and how color is seen. We went through several different placements for the color scales, such as arms, legs and face before coming to the decision of the hands.
The first row [bottom] is a monochrome scale of shades and hues. The second is a gradation from yellow, to its complementary color, violet. Finally, the third row is analogous. We tried to make it so that, even though the paint was on a surface so eaisly recognized as a hand, you could recognize the relationship in color.
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