Painting the Wild Red Damascus Apple
Let me explain the color mixing.
The Main color or the apple is made with a base of semi neutral red. A semi neutral is a color mixed from 2 Tertiary colors. In this case Ted Violet and Red Orange. To that base I would add white bits of course, red notes, yellow orange notes and yellow green notes. The rust on the top was made from the yellow hue a mix of Yellow Green and Yellow orange. To that I added a i little red hue, a mix of violet and orange. with whites. and bits of other colors to adjust the feel. The hues are mixes of secondary colors the semi neutral of tertiary colors
Primary colors are; Red Yellow Blue These are Indivisible colors
Secondary colors are colors made from the primaries; Orange (Red and Yellow) Green (Blue and Yellow) Violet or Purple (Red and Blue)
Tertiary colorare made by mixing a primary and a secondary color; Red Orange (red and Orange) Red Violet (Red and Violet) Blue Violet (Violet and Blue) Blue Green (Blue and Green) Yellow Green (Yellow and Green) Yellow Orange (Yellow and Orange.
All colors except the primaries are divisible into the components.
It's not complicate and it's impossible to understand without building a few palettes from the base primaries. Then it get very clear.
All these colors are neutralized colors. Meaning they are direct compliments of the base spectrum palette. Like Orange and Blue. They may be semi neutral tertiary mixes or Hues made from secondaries. Color from the hues were mixed with a raw spectrum color or semi neutral.
The thing is that this is very paint efficient Not big piles or puddles. It's natural. It flows and its fast.
Off course it takes practice no dough about that but what doesn't to good at. I've only been delving into this for a year seriously. It took about 8 months for me to get it. Have only presented a bit here but it the foundation.
I am working on a data visualization to explore this in depth. I thought my days of that stuff were long over but opportunity has raised its ugly head. This is all based on a strong history and has been practice by the likes of Hopper, Bellows, Henri, and John Sloan who took the time to document spectrum and neutralization in his book The Gist of Art