Color Schemes and Harmonies.

A. Analogous Harmony: Red and red violet.
This painting is completed in the analogous color scheme by using two colors adjacent to each other on the color wheel. In this case it is analogous by only using a varying high and low key red and red-violet. Both colors were custom made and then white was added to make two higher tints and raw umber added to make two lower key values. Even with this limited palette a sense of depth and form was created by the contrasting values on the planes of the fruit and also in the foreground, middle ground and background. There are a few areas of high saturation chroma where the red is bright and intense on the fruit and also low chroma spaces where the reds and red violets are highly muted such as in the cast shadows. There is a variance in the edges where some like on the corner of the box the edge is sharp and crisp and in contrast the edges become very diffused in areas such as the cast shadow and fruit.



B. Complementary Harmony: Blue and orange.
A custom mixed blue and orange paint was used in creating this complementary harmony color scheme. Blue and orange being oppositely spaced across from each other on the color wheel are considered complements and when used together they have the effect of making each other seem brighter. Visual weight is created by anchoring the fruit to the canvas through the use of the cast shadows and the other low key values. The painting does contain a foreground, middle ground and background but the space seems shallow and could be given more depth through the variance in high and low key areas. A sense of form is achieved on the fruit by using low key, low chroma paint near the edges and higher key, higher chroma paint in areas closer to the light source.



C. Triadic Harmony: Yellow, blue, and red.
The three equally spaced colors, yellow, blue and red were used to create a triadic harmony color scheme for this painting. There is a great range of high and low key values which really add to the sense of form in the fruit and depth to the overall composition. Some of the negative space is painted in a high chroma blue but for the most part the color is more muted. All three colors were used to their full potential, exploring the highest chroma, highest keys, and the lowest chroma, lowest keys. The paint is fresh and clean, not overworked. A slight sense of atmospheric space was achieved through subtle variations in the blue making up the negative space. None of the edges are overly hard as most seem soft and even diffused where they meet the cast shadows.