This photo shows my final three apple paintings, all painted on the same afternoon. The small one in the middle was the first I did, then the one on the left, and finally the one on the right.
Each is similar, but different, and the third one definitely benefits from the practice I got from creating the other two. The foreground has more variation in tone in it, a suggestion of a table cloth falling off the edge of a table. The range of tones on the apple is greater; the darkest done is darker and the lightest tone is lighter. The apple is also positioned a bit further in from the edge, giving more space for a frame. (The painting being on card, it would want to be framed under glass for display.)
Notice how the black/red of the background/foreground aren't quite equal. How the red is a little way below the half-way point of the composition. How there's more red below the bottom of the apple than there is black above the top of the apple. These all subtly counter-act the danger of the a fried-egg composition.
All three paintings were done in Winsor & Newton Galeria, with cadmium red, cadmium yellow, Prussian blue, cerulean blue, raw umber, and titanium white. The smaller blue bottle you can see in the photo on page one is for spraying a fine mist of water over the acrylics to slow drying.