These quick color studies are both done in a wet-in-wet pointillist technique. These were a yellow block, skintone block and a yellow-ochrish sphere under a green gel.
One of these was done in high-key pure dots (with no "intentional" mixing but a little did happen because it was wet-on-wet). This approach used a high key middle yellow, high key middle red, ultramarine blue and viridian and white. Only white was added to any one color before putting dots on the canvas - none of the colors were premixed or mixed intentionally on the canvas. This is essentially optical mixing at the highest level. The purity of color creates a lot of color movement which makes identifying the overall intended color appearance (i.e. the flat colors of the specific areas) more difficult to achieve due to the color noise. But from a distance (or low res) it is more apparent.
The second sketch uses secondary mixes of the same paints in a pointillist manner. So instead of pure or pure +white dots, there are dots of color mixes. However, these mixes are still derivative component colors. This means that they were never the flat color but just less pure than version 1. This creates less color movement (but mot much less) but more flat color accuracy with less noise.
The more you mix the colors the less color movement you get until you are just painting a flat color. This has many implications for painting, too many of which to discuss here. But compare the 2 versions and see the differences.
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