Begin here and here if this is new to you. Also, if you have not yet entered the world of color in your school work, skip the following weeks and tackle them after you’ve learned a bit about painting. In the meantime, pick any of the previous shape and value exercises (or invent some of your own).

This week’s color-memory exercise is similar to the last, memorizing colored squares. However, this time we’re adding more squares. As before, you should spend some of the observation time trying to perceive all of the squares at once (i.e., not as isolated squares). In fact, the main reason for the constant in the exercises is to help you to see and recall the big-look.

But the impressionists, with Titian as their precursor, gradually discovered that the mysterious beauty of the visible world which ravished them resided in the interrelationship of its constituent colors. In order to convey this overall impression the painter must put down the colors as they appear to his trained eye when he views the area to be depicted in its entirety, as a unit. The resulting colors will differ markedly from the tones observed singly . . .
-R.H. Ives Gammell, Chardin Today, Classical Realism Quarterly, October 28, 1991, Vol. VI, No. 1, page 5.

Begin this week with three squares, use one as the constant and memorize the other two following last week’s directions. On the final day’s attempt, memorize the constant as well.