An extended analogous color scheme is, basically, half the color wheel.  Traditionally it is one primary color plus the three adjacent colors on each side.  A limited analogous color scheme, depending on whose definition you are using, is either three to four adjacent hues or five adjacent hues.

Trumpet Daffodils and Totems

This painting falls into the limited analogous color scheme category using the definition of five adjacent hues: orange, yellow, yellow/green, green and blue.  The neutrals in the trumpet and the totems are within this range.  For those of you who want to be more exact, you might consider this an analogous with one complement color scheme since the neutralized shadow hue beneath the trumpet horn and the totems is in the family of purple, the complement of yellow.

I feel as if this little sketch could benefit from a bit of bright red somewhere.  The addition of a bright red would bring it into the category of an extended analogous color scheme.

What is important to me is not the category of color scheme that the painting can be placed in but the process of finding the strengths and weaknesses in a painting that are, perhaps, a result of the color scheme.  As I’ve mentioned before, I rarely begin a painting with a color scheme in mind.  I don’t like the restriction I feel when I do so.

Drawn first in ink with my Parker 51 fountain pen followed by watercolor washes.  The thin paper of my sketchbook often ripples when I apply watercolor washes.

Now that gallery deadlines have been met I can catch up on my Daily Paintworks Challenge submissions.

Challenge Number Nine 'Chicken'

I stayed with a simple palette of primary colors, predominantly blue and red.  I used yellow to tone down the red in the border so that the red on the head of the chicken would stand out as the strongest, purest color.  I also used yellow for variation in the chicken feathers.

Triads offer a simple way to explore color.  Using two of the three colors to dominant, while the third is used to tone and alter the other two, creates an illusion of full spectrum while maintaining my intended mood or illusion of atmosphere.

Notice how mixing yellow into the red in the border brings the yellow closer to orange (the complement of blue) and creates a greater sense of interaction and excitement between the blue and the border than on the other side of the chicken where the border is closer to red.

I drew the lines of the chicken in black ink using my Parker 51 fountain pen and followed with watercolor washes using a palette of peacock blue, cadmium yellow, cadmium red and alizarin crimson.