Nanopublication — Chromesthetic Translation of F Minor Triad

Context

This painting is one of many variations I have made exploring the F Minor triad. The chromesthetic correspondences follow my circle of fifths to color wheel mapping: F sits at the 11 o'clock position (red-violet), Ab at 8 o'clock (blue), and C at 12 o'clock (red). The three tones span a wide arc of the color wheel, producing a palette that moves from warm reds through cool blues and back to warm pinks.

In execution, the red-violet of F tends toward salmon and pink rather than pure magenta — the acrylic medium and the interaction with adjacent colors shift the hue warmer. The k-means color analysis of this piece shows the orange family at 57.6%, which captures these salmon and darksalmon tones, alongside blue-violet at 16.9% and blue at 12.7%. The warm pinks carry the F, the blue rectangle carries the Ab, and the vivid orange-red at the bottom carries the C. All three chord tones are present and spatially distinct.

This is one iteration in an ongoing series. Each variation approaches the same harmonic material with a different spatial arrangement, exploring how the same three tones can be distributed across the picture plane while maintaining the chord's identity.