Color mixtures and compositions are when hues begin to be used together in an image or in architecture such as our vegetated assemblies. Color balancing and understanding representation in graphical software are core considerations for color mixing. Be inspired by the nature around you and in the design based on the location of the project. Consider the categories of colors: adjacent, opposite, split complements, triads, naturally inspired sets (in nature). The representation of color in a graphic does not necessarily translate well into the three dimensional design. There is a difference between Hand-Drawn and Digital.

There should be a dynamic view of the space, not a static view in our minds. We can mix color through light or pigment

The space that we design changes over the years, with the seasons, the weather, the number of people present, the lighting conditions, the form of the space itself, and much more. When simulating a space, the production of the representation and color balancing play a critical role in the final result. You simply cannot mix plants by color the same way a printer makes colors.

There are differences between the three dimensional world of the built environment and the two-dimensional world of graphic representation which make them not directly translatable.

These six color harmonies can be summarized as the harmonies of adjacent colors, of opposite colors, of split compliments, of triads, of a dominant tint.

Birren also explains that the eye looks for simple and clear divisions of color. Perhaps this can be found in the ingrained human eye’s tendency to focus on edges and color divisions. Compositions that are vague or blurred are disturbing, and the mind desires order and neatness.

I would suggest Johannes Itten, Wassily Kandisky, Faber Birren, Chevreul, Arnheim for color mixing.