Exercise 4 Complementary Colours

1. Colour wheel based on Chevreul's colour circle
medium used - oils

2. This part consisted of laying each of the twelve colours contained in the colour wheel next to its opposite (complementary) on the wheel. It was easier to match the tones this way than on a value or colour scale, as sometimes it is only when a darker colour is applied next to the lighter colour that the tonal difference becomes clearer.
3. Mixing complementaries. The resulting colours were all very muted, infact some changed to a different colour completely ie. brown - mixed from equal parts red and green. Others were various shades of brown or very muted forms of saturated colours ie. purple/violet. See key below right for more details.

4. Effects that complementary colours have on one another
When juxtaposed each colour makes the other more vibrant than when alongside another colour - orange will make blue appear brighter. Conversely blue will make orange appear brighter. If seen from a distance there is a dulling effect. 
Mixing one complementary with another has the opposite effect - the dominant colour will be subdued. In some cases (as with red and green) a fairly equal mix will result in brown/grey.

Exercise 3 Broken or Tertiary colours

Scale between orange red and a green blue. I mixed the green blue first to obtain the same tonal value as the orange red. I didn't need much blue as was very strong and a lot of white to maintain the tone, even though had been pre mixed with white. This also occurred in previous exercises at the end of Exercise 2.
Orang to violet: as the tones began leaning more towards violet again had to add further whit to maintain tone with orange and increasing proportion of violet to change the hue adequately when moving from lighter to darker tone such as this one, or from white or yellow.
From about 4 to 7 were murkiest (muted) colours ranging from grey brown to grey green . There is also a murky grey brown at no.4.

Exercise 2, Primary and Secondary Colour Mixing

Eventually I found information on how to obtain pure primaries, not before I'd made a long search and getting quite confused in the process. The most straightforward common sense information I discovered to my relief in Ian Sidaway's Colour Mixing Bible.
To locate the most intense hues it was a case of eliminating any trace of other primaries in the hues of colours: out of the yellows mixed I found the most intense to be the primary yellow, which I mixed by combining cadmium yellow and lemon yellow. Incidentally, chrome yellow was the most opaque. Equal quantities of the following mixes made up the primaries:
From the reds: cadmium and alizarin crimson, or cad red deep - which appeared the same as the first two reds (when mixed).
The blues: ultramarine and pthallo blue.
To obtain pure primaries I found that these hues need to be an equal combination of warm and cool.
ie. cad red - warm bias towards yellow
alizarin crimson - cool bias towards blue.
pthallo blue - cool towards yellow
ultramarine blue - warm towards red.
cad yell - warm towards red
lemon yell - cool towards blue.

For the secondaries -  equal amounts of cad red and ultramarine produce a greyish violet, but alizarin crimson and ultramarine: the result is an intense violet.
Primary yellow - lemon and cadmium look transparent against grey ground giving them a light grey tinge.
Around the centre of the scales yellow to blue and red to blue it is hard to discern much difference between the values. I added white to the darker colours - blue and red, to  maintain consistent tonal value along them.
From yellow to red maintaining an even tone was tricky - from the middle to red tones become more rose pink or salmon in tone rather than dark oranges - due to the addition of white.
Yellow to blue - when I half close my eyes I can see that the second colour value is lighter than the first as there's a grey shadow beneath the first due to white being mixed in, causing a darker appearance. In a couple of greens around the centre it's perhaps not immediately apparent, but I think the second and eighth values are much lighter in tone than the others, including the first yellow.

Mixing primaries: yellow to red, yellow to blue, red to blue

Mixing hues to achieve violet

Maintaining consistent tonal value by adding white