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Title: Color problems
A practical manual for the lay student of color
Author: Emily Noyes Vanderpoel
Release date: January 19, 2026 [eBook #77736]
Language: English
Original publication: New York: Longmans, Green, and Co, 1901
Credits: Richard Tonsing and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK COLOR PROBLEMS ***
COLOR PROBLEMS
A PRACTICAL MANUAL FOR THE LAY STUDENT OF COLOR
By
EMILY NOYES VANDERPOEL
_WITH ONE HUNDRED AND SEVENTEEN COLORED PLATES_
[Illustration]
LONGMANS, GREEN, AND CO.
91 AND 93 FIFTH AVENUE, NEW YORK
_LONDON AND BOMBAY_
1902
Copyright, 1901, by
EMILY NOYES VANDERPOEL.
_All rights reserved._
Rockwell and Churchill Press
BOSTON, U.S.A.
_To_
_My Father_
WILLIAM CURTIS NOYES
PREFACE
From a scientific standpoint admirable works on color have been written,
but they demand more time and study than many can give to them, and are
too theoretical to be easily understood; while those written from an
artistic standpoint may be useful to those who paint pictures but are
not of much benefit to larger classes of people who are artists in other
occupations. Painters of pictures must study color as well as lines and
composition; but a better understanding of color would also be of great
value to decorators, designers, lithographers, florists, dressmakers,
and milliners; women in their dress and home decoration, and many
others. For such, to combine the essential results of the scientific and
artistic study of color in a concise, practical manual, and to classify
the study of color in individual eyes, in light, in history and in
nature, has been the aim of the author of this book. Also, as color
cannot be fully appreciated by any written description, the text has
been made as brief as possible, the plates full and elaborate.
It has been asked by artists who have given years of study to form,
perspective and composition, why it should be necessary to study color
if one has a good eye for it, to which another question may serve as
answer. Suppose a person intending to make art his life work has a good
eye for form, will he, therefore, begin to paint pictures before
learning to draw, or without going through a thorough drill in
perspective? Later, having some subject in his mind which he wishes to
put on canvas, he does not stop to review all the rules he studied of
form and perspective; the knowledge and facility he gained in that study
will enable him unconsciously to crystallize his thought into better
shape on his canvas. Does the possessor of a naturally fine voice think
he can dispense with the time and trouble of cultivating it? The same
reasoning may well be applied to color and its study.
E. N. V.
INTRODUCTION
For some years I have known of the study and research the author of this
book has devoted to problems in Color, and its uses in the arts of
Design and Decoration, and it is gratifying to me that the result of
much of this work is to be given to the public for the use of those who
are interested in the subject.
A great deal will be found in these pages that will be of practical
service, particularly to those who have not been able to read the works
of Chevreul, Von Bezold, Rood, Church, and others. Indeed, even in
these, careful study would be necessary to select passages describing
combinations that could be applied to special work.
Much attention is here given to contrasts of modified or subdued colors,
such colors as would be required constantly in decorative designs
covering large spaces, against which points of more positive color would
be placed. One of the greatest difficulties in arranging a color design
is in determining the _qualities_ and _quantities_ of color in an
effective and agreeable way, and very few works give the useful hints on
this subject contained in this book. Under the heading of “Historic
Color” are some very interesting and original diagrams, presented in a
way easily to be understood and made use of in actual practice.
The study of color from the scientific side has very little attraction
for the layman, and it is even difficult for a painter to get out of
such study much that will help him in his work; but the presentation of
some of the salient points of the scientific side, by one who has also
borne in mind the artistic side, cannot fail to make this book
attractive and useful to a great number who wish to know something of
the laws that underlie agreeable arrangements of color.
R. SWAIN GIFFORD.
CONTENTS
CHAPTER PAGE
PREFACE vii
INTRODUCTION ix
LIST OF PLATES xiii
I. COLOR-BLINDNESS 3
II. COLOR THEORIES 13
III. COLOR QUALITIES 26
IV. CONTRASTS AND COMPLEMENTS 48
V. COLOR-HARMONIES 73
VI. HISTORIC COLOR 107
VII. NATURE COLOR 111
VIII. SPECIAL SUGGESTIONS 115
──────────────────────────────────────
APPENDIX A—DEFINITIONS 125
APPENDIX B—BOOKS FOR REFERENCE 133
LIST OF PLATES
I. Wools as sorted by a Color-Blind Man.
II. Solar Spectra.
III. Table of Spectral Colors.
IV. The Spectral Colors (_a_) In their order of Luminosity;
(_b_) Pure, and Grayed.
V. Advancing and Retiring Colors.
VI. Advancing and Retiring Colors.
VII. Tints.
VIII. Shades.
IX. Violet with its Extremes.
X. Blue with its Extremes.
XI. Green with its Extremes.
XII. Yellow with its Extremes.
XIII. Orange with its Extremes.
XIV. Red with its Extremes.
XV. Shades by Contrast.
XVI. Spectral Colors on Black, White, and Gray.
XVII. White on Spectral Colors.
XVIII. Black on Spectral Colors.
XIX. Gray on Spectral Colors.
XX. Spectral Red with its Complement.
XXI. Spectral Red Disk for Experiment in Complements.
XXII. Spectral Red and its Complement, Blue-Green, in their
relative Proportions.
XXIII. Spectral Orange and its Complement, Green-Blue, in their
relative Proportions.
XXIV. Spectral Yellow and its Complement, Spectral Blue, or
Spectral Blue and its Complement, Spectral Yellow, in
their relative Proportions.
XXV. Spectral Green and its Complement, Purple, in their relative
Proportions.
XXVI. Spectral Violet and its Complement, Yellow-Green, in their
relative Proportions.
XXVII. Milton-Bradley Color Machine.
XXVIII. Table of Complements arranged in Pairs.
XXIX. Table of Complements arranged in a Circle.
XXX. Contrast Diagram.
XXXI. Color analysis from a Prize Dinner-table.
XXXII. Color analysis from Teacup and Saucer.
XXXIII. Harmony of one Color; Harmony of Contrast; Complex Harmony.
XXXIV. Color analysis of a Book Advertisement.
XXXV. Harmony helped by Outline.
XXXVI. Good Dyads, or Pairs.
XXXVII. Good Triads.
XXXVIII. Harmony by Gradation.
XXXIX. Harmony by Change of Quality.
XL. Harmony by Change of Quantity.
XLI. Harmony by Change of Both Quality and Quantity.
XLII. Harmony by the Addition of another Color.
XLIII. Harmony by the Addition of Black.
XLIV. Harmony from a Dominant Hue.
XLV. Harmony by Interchange.
XLVI. Harmony by Counterchange.
XLVII. The True Character of some of the so-called “Whites.”
XLVIII. Some Changes by Gradation.
XLIX. Color analysis from Assyrian Tiles.
L. Color analysis from Assyrian Tiles.
LI. Color analysis from Assyrian Tiles.
LII. Color analysis from a Mummy Cover.
LIII. Color analysis from an Egyptian Mummy Case.
LIV. Color analysis from a Mummy Case.
LV. Color analysis from a Mummy Cloth.
LVI. Color analysis from a Mummy Cloth.
LVII. Color analysis from a Mummy Cloth.
LVIII. Color analysis from a Mummy Cloth.
LIX. Color analysis from a Mummy Cloth.
LX. Color analysis from a Mummy Cloth.
LXI. Color analysis from a Mummy Cloth.
LXII. Color analysis from an early Greek Vase.
LXIII. Color analysis from a Greek Vase.
LXIV. Color analysis from a Greek Vase.
LXV. Color analysis from a Greek Vase.
LXVI. Color analysis from Arab Mosaics.
LXVII. Color analysis from Arab Illumination.
LXVIII. Color analysis from Moorish Tiles.
LXIX. Color analysis from a Panel of the Alhambra.
LXX. Color analysis from a Panel of the Taj Mahal, India.
LXXI. Color analysis from Damascus Tiles.
LXXII. Color analysis from Celtic Ornament.
LXXIII. Color analysis from Italian Majolica Vase.
LXXIV. Color analysis from Panel of Dutch Inlaid Cabinet of the
15th Century.
LXXV. Color analysis from Spanish Embroidery.
LXXVI. Color analysis from Spanish Embroidery.
LXXVII. Color analysis from an Antique Persian Rug.
LXXVIII. Color analysis from an Antique Rug.
LXXIX. Color analysis from an Antique Rug.
LXXX. Color analysis from an Antique Rug.
LXXXI. Color analysis from an Antique Rug.
LXXXII. Color analysis from an Antique Rug.
LXXXIII. Color analysis from an Antique Rug.
LXXXIV. Color scheme of an Antique Rug.
LXXXV. Color analysis from an Antique Rug. (Plate lxxxiv.)
LXXXVI. Color analysis from Japanese Silk Tapestry.
LXXXVII. Color analysis from Japanese Silk Tapestry.
LXXXVIII. Color analysis from Japanese Silk Brocade.
LXXXIX. Color analysis from border of Japanese Cloisonné Vase.
XC. Color analysis from Japanese Cloisonné Vase.
XCI. Color analysis from Japanese Skirt Panel.
XCII. Color analysis from Japanese Brocade.
XCIII. Color analysis from Chinese Porcelain.
XCIV. Color analysis from a Black Hawthorn Vase.
XCV. Color analysis from a Rose-colored Vase.
XCVI. Color analysis from Yellow Chinese Porcelain Vase.
XCVII. Color analysis from a Chinese “Eggshell” Plate.
XCVIII. Color analysis from a Butterfly.
XCIX. Color analysis from a Stone.
C. Color note from a Discolored Propeller Flange.
CI. Color note from Leaves on a Tree.
CII. Color note from a Sunset Sky.
CIII. Color note from Bare Woods on the Edge of a Meadow.
CIV. Color note from Evergreens against a Gray-Blue Rain cloud.
CV. Color note from a Shadow on White Ground.
CVI. Color note from a Bluebird.
CVII. Color note from a Slice of an Orange.
CVIII. Color note from an Orange Canna Blossom.
CIX. Color note from a Bunch of Azaleas.
CX. Color note from Oak leaves against a Distant Hillside.
CXI. Color note from Oats seen from the Edge of the Field.
CXII. Color note from a Pussy Willow.
CXIII. Color note from a Trout Pond.
CXIV. Color note from a Tree Fungus.
CXV. Color scheme from Winter Landscape.
CXVI. Spectral Red, neutralized by Black and White.
CXVII. Spectral Yellow, neutralized by Black and White.
COLOR PROBLEMS
CHAPTER I
COLOR-BLINDNESS
The relation of color to light is much the same as that of music to
sound. Color has its many hues, its long scales of tints and shades, its
true and its false chords. Mere sound gives us but little pleasure; when
developed, however, into its highest form, music, we are thrilled, as by
the song of a bird, a favorite ballad, or a Beethoven Symphony. So in
light, our enjoyment culminates at the glories of color in a flower or a
sunset, at the shadows that play over the hills, or at the varied hues
of a salt marsh. Hence we may aptly term color _the music of light_; and
when we think of the wonderful ways in which it has been used and
combined by painters and designers for hundreds of years, it must seem
strange to us that _its_ harmonies have not been as thoroughly studied
and classified as those of sound.
Furthermore, color has come to be so closely connected with all the
occupations and enjoyments of mankind that it is hard for us to realize
that many persons are wholly or partially blind to its beauties. It is
well known that there are some individuals with such perfect organs of
hearing that they are able to distinguish the slightest sounds, who yet
are so utterly unable to distinguish between two tones or between the
harmonies and discords of music that they are said to have “no ear.” So
there are those whose eyes are as well formed for seeing all and distant
objects, but who are unable to see _color_ as it is seen by people with
normal eyes. Such individuals may be said to have “no eye” for color,
and are scientifically termed “color-blind.”
This fact is not so well known; and, in view of it, any one interested
in color will understand the wisdom of beginning a study of color with
some knowledge of color-blindness, and, if possible, with having his
eyes examined by an expert. Such an examination is a short and simple
matter. Dr. William Thomson of Philadelphia has devised what he calls a
“color stick,” on which colored wools are so hung and numbered that it
is not even necessary to be an expert to use it, and with the help of
which color-blindness can easily be detected. It has been used with
great success over some fifty thousand miles of railroad. From the same
hand has lately come a newer and simpler form of the same invention.
Color-blindness is seldom a total want of the power to see colors, but
is rather a want of the true normal perception of colors, and it is more
common than is generally supposed. The most common form of the defect,
which has been called by some “red-blindness,” is that of not seeing
red, but of confusing it with green, as, for instance, being unable to
see any difference between the red flower of a geranium and the green of
its foliage; between green grass and red autumn leaves. A color-blind
person will sort variously colored wools in the strangest way, putting
the reds among the greens, and mixing the blues and the violets
together.
Plate I shows part of the result of an examination of a color-blind man
by Doctor Thomson. The patient was given one hundred and fifty
different-colored wools to sort in little heaps according as he saw them
to be red, blue, green, etc.; he seemed to hesitate over but few of
them. These he put by themselves in a heap called neutral. To a normal
eye the result is almost incomprehensible, as he mixed green with all
the other colors and made other as strange combinations. Di-chromatic
vision has been suggested as a fitting term for such defective
color-perception, as colors to red-blind persons amount to but two,
_viz._, yellow and blue, with a long range of neutral grays between.
There are other forms of color-blindness which are less common. Some
persons seem to see but red and blue, classing yellow and green with
red. A less common defect is that of not seeing violet, while there are
a few cases on record where all sensation of color is wanting,
everything appearing in differing degrees of gray. One such instance
coming under the notice of the writer occurred temporarily from
over-strained nerves in a person gifted with an abnormally fine
color-sense. No doubt some people are born color-blind, but the defect
is also brought on by disease, by the excessive use of tobacco, alcohol,
and other stimulants, and may, or may not, prove permanent. According to
Abney, the disease begins in the centre of the eye, so that those
suffering from its early stages can match colored wools correctly, but
when given instead small colored pellets to match make many mistakes,
because a pellet may happen to be directly before the small blind spot
that is insensible to its color, while the larger mass of wool extends
before the whole retina. Doctor Charcot and his school in Paris have
made many examinations into visual disturbances, and through these
examinations much of the peculiar coloring and mannerism of some of the
modern painters of the so-called impressionist, tachist, mosaist,
gray-in-gray, violet colorist, archaic, vibraist, and color orgiast
schools has been explained. The artists tell the truth when they say
that nature looks to them as they paint it, but they are suffering from
hysteria or from other nervous derangements by which their sight is
affected.
For a long time railroad engineers would not believe that examinations
for color-blindness were necessary, but when shown the results of such
an examination the surprise of those with normal eyes was intense. They
realized what it would be to travel on a train in charge of an engineer
who did not know when the red danger signal had been put in place of the
usual green one. In other spheres of life correct knowledge of color is
not so vitally necessary, yet to artisans of many kinds—decorators,
florists, manufacturers, dressmakers, milliners, etc.—it is both useful
and important.
As to the extent of color-blindness, it has been estimated that in
England about one person in eighteen is more or less afflicted with it.
In 1873 and 1875 Dr. Farre examined in France one thousand and fifty
officials of various grades, and found among them ninety-eight
color-blind, or nine and thirty-five hundredths per cent. In 1876
Professor Holmgren examined in Sweden two hundred and sixty-five persons
on the Upsala Gefle line, with the result that thirteen were found to be
color-blind. Seebach found five young persons out of forty-one in a
gymnasium who were color-blind. None of them had been at all conscious
of the defect.
Among the visitors to the International Health Association in London, in
1884, Mr. F. Galton found a large number of men and a small number of
women with more or less defective color-perception. In this country,
examinations in the army and navy and among railroad engineers reveal
that color-blindness, if not as general as in England, is quite common.
Dr. Thomson states that as far as has been gathered from statistics
generally, the percentage of color-blind men in the civilized world is
four per cent., or one in twenty-five,—among women one in four thousand.
While he has seen a great number of color-blind men he has never met a
woman with the defect.
Singularly enough this color-blindness—the confounding of one color with
another, or the want of perception of certain colors—does not prevent
great enjoyment of both nature and art. A person so color-blind as to
see no difference between the scarlet of a geranium blossom and the
green of its leaves, or who buys a pair of bright green gloves supposing
them to be brown, is still an enthusiastic and seemingly an intelligent
admirer of landscape and art. One cannot say from what the enjoyment
arises, but it is certainly there.
There is a noted instance of a man who learned in later life that he was
color-blind, and then first understood why he had never been able to
pick as many strawberries as his boy companions, because with his defect
he saw no difference between the colors of the berry and that of its
leaf.
There is, however, a very simple way in which it is possible for some
color-blind persons to correct in a measure their erroneous impressions.
If they have something green to match and fear they may mistake red for
the green, by looking at their samples through a green or red glass they
can prove whether or not they are correct. Through a green glass the
green will keep its color, while the red will look nearly black. Through
a red glass the red will remain unchanged and the green will seem nearly
black.
Color-blind people can have colored glasses mounted as spectacles at
small cost, which will almost entirely relieve their defect and be of
great help in their work.
How far the eye of a color-blind person is susceptible of education is
still uncertain. Sufficient experiment has not been made in that
direction, but the fact that women notice color more than do men and
are, as a general rule, more correct in their judgment of color, points
to the fact that the eye is unconsciously educated by its surroundings.
The constant discrimination in choice of dress and home decoration which
enters early into a girl’s life gives an education which men, in Europe
and America at least, are deprived of, from generally wearing black or
quiet colors.
That an eye normal in its perceptions of colors is capable of
cultivation cannot be doubted. “It does not admit of doubt that
individual sensibility to color admits of large variations, and that it
is susceptible of immense improvement. This cultivation of the sense of
color is, however, rather psychological than physiological, rather
mental than physical. It is not that the organ of vision is improved,
but our power of interpreting and coördinating the senses which it
transmits to the brain. And here it is that the effects of association
come most prominently, though often unconsciously, into play. We try to
trace out the causes of the vast numbers of color sensations which we
are continually receiving, but we constantly find that the cold methods
of analysis fail to explain the mental appreciation with which we regard
the astounding fertility of nature in its gifts of color.”[1]
Artists often find that when the eyes are over-stimulated by false
lights or colors, or want of balance in the colors looked at, the nerves
are so irritated that a confusion of color and complementary tones takes
place. If continued to any length of time the nerves become so fatigued
that the color-sense is lost, and the eye responds only to gradations of
black and white.
That there are also subtle shades of difference in the sensibility to
color even of good, normal eyes, no one who has paid any attention to
art can fail to know. These shades of difference it is impossible to
gauge, and they can only be known by the differing qualities of work
produced. In a studio where perhaps a dozen pupils may be painting from
one piece of still life, a vase, or bit of drapery, such differences can
be clearly seen. One pair of eyes may have a tendency to see more violet
than the others, another pair sees everything more brilliantly or in a
higher key than the others. One student may have more difficulty in
harmonizing on his canvas the different colors of the model than the
rest, while another with perhaps less skill in using the paint may have
such a fine eye for harmony as by the mere charm of his color to delight
every one in the room.
There comes with advancing years a subtle change in the condition of the
eye which it is well to understand. With age the lens of the eye loses
its purity or whiteness and becomes tinged with yellow. This is not
generally known, and the change is not always strongly marked, but it
produces a decided effect upon the perception of blue and bluish colors.
The case of the English painter Mulready may be cited as a good
instance. His pictures in his later years were different in color from
his earlier ones, being much colder in tone, that is bluer or less
yellow. If, however, they were looked at through a piece of slightly
yellow glass they appeared of the same coloring as his earlier work,
painted when his eyes were normal.
CHAPTER II
COLOR THEORIES
A full review of the theories held about color is not necessary in a
work of this nature, and those who have more time for and further
interest in the subject will find mentioned in Appendix B to this volume
the titles of a number of admirable works and treatises.
The sensation of color is first and preëminently produced by light. But
an electric discharge, internal causes, or even pressure on the eyeball
may also cause it; just how, we do not know. In fact, the whole subject
of color, its causes, and its mechanism, is still in the region of
speculation, although of speculation that may be useful.
Leaving aside the theory of color production by other causes, we will
give our attention to that color sensation caused by the light of the
sun, and briefly to that produced by artificial light.
The cut on page 14 shows the construction of the eye viewed from the
side. We see that light enters the front of the eye through the cornea
and lens and strikes the interior coating, which is the retina. This is
a wonderful membrane, very thin, but composed, as we see in the next
illustration, magnified many times (page 15), of a marvellous network
made of minute nerves and blood vessels ending on the innermost surface
in tiny rods and cones. These rods and cones in some mysterious way are
acted upon by light, and, like the outposts of an army, send messages of
form and color to the brain. Color is therefore spoken of as “an
internal sensation,” and is fine or poor as are the eyes and brain of
the person who sees it.
[Illustration:
THE CONSTRUCTION OF THE HUMAN EYE AS VIEWED FROM THE SIDE.
(Nearly life size.)
]
What is light, we ask? Scientists answer that it is something which
comes to us from a luminous or light-giving body. Sir Isaac Newton
pronounced it to consist of fine atoms moving toward us rapidly. A later
theory is called the _wave theory_—that there exists throughout space a
fine impalpable medium, “the light-bearing ether,”—that this ether moves
in waves, which, beating upon the retinas of our eyes as ocean waves
beat upon the shore, produce what we call _light_.
[Illustration:
CROSS-SECTION OF THE RETINA, SHOWING THE RODS AND CONES.
(Very much magnified.)
]
Sunlight compared to candle or gas light appears to be white; this white
was proved by Sir Isaac Newton in 1672 to consist of many colors
combined in one ray. He was the first to divide such a ray of sunlight,
which he did by letting it fall through a slit in the window of a
darkened room, then through a prism, or three-sided piece of glass, on
white paper. If this experiment be repeated there will be seen “a long
streak of pure and beautiful colors which blend into each other by
gentle gradations.” Anyone who has seen a rainbow has seen the same
separation of colors, as the raindrops act in the same way as the prism
and divide the rays of sunlight into their component colors.
The “spectrum” is the name given to the streak of colors when produced
by the help of the prism, and it and the rainbow contain the same colors
in the same order. The experiment has also been made of passing this
streak of colors through a second prism, when they again unite and the
ray of simple white light reappears.
An instrument called a “spectroscope” has been invented, and is
constantly used by scientific students of color, which analyzes a ray of
light still better than the simple prism. With its aid, early in this
century, Wollaston and Fraunhofer discovered that the spectrum of
sunlight, in addition to its colors, was crossed by many fine, dark,
fixed lines. These have been named Fraunhofer lines, and are most useful
in dividing and mapping out the limits of the different colors. Still a
later invention called a “diffraction grating,” made either of speculum
metal or of glass silvered on the back and ruled with fine parallel
lines, sometimes as many as eighteen thousand to the English inch, is
used in place of a prism. With the use of improved methods Professor
Rowland of Johns Hopkins University has made one ruled with some fifty
or sixty thousand lines. A ray of sunlight can be divided by this
without the disadvantage of crowding the colors in the middle, as is
unavoidable by the wedge-shaped glass of the prism.
Plate II shows a solar spectrum as produced by a prism and also one as
shown by a diffraction grating. They both give the colors and the main
Fraunhofer lines, the latter being numbered.
Although not essential to the practical use of this manual, we will now
return to the theories of the primary colors, so called, upon which
differing views have been held. Sir David Brewster’s theory of three
primaries—red, yellow, and blue—has been the most popular, because of
the ease with which the three so-called secondary colors may be made by
mixing paint of the three primaries, as follows: red and blue, violet;
blue and yellow, green; yellow and red, orange. Artists have generally
adopted it; Chevreul, the great director of the Gobelin tapestries,
based his whole color system on the theory of three primary colors—red,
yellow, and blue; three secondary colors made by combinations of the
first three—orange, green, and violet; and three tertiary colors made
from combinations of the second three—olive, russet, and citrine. We
must, however, discriminate carefully between pigments, paints, and
light. By experiment we prove that yellow and blue light do not make
green, but white; that red and green light make yellow; and so on, so
that the theory of Thomas Young is now more generally followed by
scientists. As Rood gives it in his _Modern Chromatics_, “there can be
in an objective sense no such thing as three fundamental colors, or
three primary kinds of colored light. In a totally different sense,
however, something of this kind is not only possible, but, as the recent
advances of science show, highly probable. We have already seen in a
previous chapter that in the solar spectrum the eye can distinguish no
less than a thousand different hues. Every small, minute, almost
invisible portion of the retina possesses this power, which leads us to
ask whether each atom of the retina is supplied with an immense number
of nerve fibrils for the reception and conveyance of this vast number of
sensations.
[Illustration:
DIAGRAM ILLUSTRATING THE YOUNG-HELMHOLTZ THEORY OF COLOR
SENSATION.
]
“According to the theory of the celebrated Thomas Young, each minute
elementary portion of the retina is capable of receiving and
transmitting three different sensations; or we may say that each
elementary portion of its surface is supplied with three nerve fibrils,
adapted for the reception of three sensations. One set of these nerves
is strongly acted on by long waves of light and produces the sensation
we call red; another set responds most powerfully to waves of medium
length, producing the sensation we call green; finally, the third set is
strongly stimulated by short waves, and generates the sensation known as
violet.” (This might perhaps rather be called violet blue, as scientists
differ as to the exact shade.) “The red of the spectrum, then, acts
powerfully on the first set of these nerves; but according to Young’s
theory, it also acts on the two other sets, but with less energy. The
same is true of the green and violet rays of the spectrum; they each act
on all three sets of nerves, but most powerfully on those specially
designed for their reception.” All this will be better understood by the
aid of the accompanying diagram, which is taken from Helmholtz’s great
work, _Physiological Optics_. In this figure, along the horizontal lines
1, 2, 3 are placed the colors of the spectrum properly arranged, and the
curves above them indicate the degree to which the three kinds of nerves
are acted on by these colors. Thus we see that nerves of the first kind
are powerfully stimulated by red light, are much less affected by
yellow, still less by green, and very little by violet light. Nerves of
the second kind are much affected by green light, less by yellow and
blue, still less by red and violet. The third kind of nerves answer
readily to violet light, and are successively less affected by other
kinds of light in the following order: blue, green, yellow, orange, red.
The next point in the theory is that if all three sets of nerves are
simultaneously stimulated to about the same degree the sensation which
we call white will be produced. This result would almost lead us into
calling white a color—and the most brilliant one of all. These are the
main points of Young’s theory, which was published as long ago as 1802,
and more fully in 1807. Attention has been called to it within the last
few years by Helmholtz, and it is mainly owing to his labors and those
of Maxwell that it now commands such respectful attention. Thus far the
study of color-blindness has furnished evidence in favor of the theory
of Young, and its phenomena are more easily explained by this than by
any other theory.
A recent invention by Frederick E. Ives of Philadelphia has also been
cited in its support. Through the use of what he calls a
photo-chromoscopic camera he takes through three color screens—a red, a
green, and a blue one—three negatives. These negatives, placed in an
instrument called by him a stereo-photo-chromo-scope (which resembles a
stereoscope, and which also holds three screens of the same colors),
produce to the eyes an image so perfect in color and relief that “people
have been seen to place their hand in front of it before they were
convinced that they did not see a direct reflection.” Various sets of
three hues, or modified hues, might be used to produce the same effect.
In 1878, having re-investigated the subject thoroughly, Hering published
in Vienna a paper advocating another theory. According to this “the
retina is provided with three visual substances, and the fundamental
sensations are not three, but six,—
Black and white,
Red and green,
Blue and yellow.
Each of these three pairs corresponds to an assimilation or
diassimilation process in one of the visual substances; thus red light
acts on the red-green substance in exactly the opposite way from green
light, and when both kinds of light are present in suitable proportions
a balance is effected, and both sensations, red and green, vanish.”[2]
One of the latest accounts of these theories (of Young-Helmholtz and
Hering), written in English, is to be found in Dr. Foster’s _Text-book
of Physiology_. It contains a full and clear discussion of the merits
and demerits of both theories from a scientific standpoint. From it we
give the accompanying diagram illustrating Hering’s theory of color
vision.
[Illustration:
DIAGRAM ILLUSTRATING HERING’S THEORY OF COLOR SENSATION.
]
Edridge Green also discusses both theories fully in connection with
color-blindness.
On one point all these theories agree, which is that perfect or normal
color vision is made up of three factors, or as Foster says, it is
“_tri-chromic_, based on three or the equivalent of three primary
sensations.” The first, the Brewster theory, states that they are red,
yellow, and blue colors; the second, the Young-Helmholtz theory, that
there are three kinds of nerve fibrils in the retina, affected
respectively by red, blue, and green, and their combinations of the
spectrum; while that of Hering is that in the eye there are three
changeable visual substances which are increased or diminished
accordingly as the rays of black and white, yellow and blue, or red and
green, fall upon them.
Le Conte, in his work _Sight_, says of the latter part of this
theory, “according to Hering, complementary colors are the result of
opposite affections of the retina, so that there are only two
essentially distinct color affections of the retina, which, with
their opposites, produce two pairs of complementary colors; the one
with its opposite produces red and green; the other with its
opposite, yellow and blue. This, though more doubtful, seems a
probable cause of complementariness.” Also, “Stanley Hall ...
believes that color is perceived by the cones (in the retina) alone;
further, that different parts of the same cone vibrate with
different degrees of rapidity, and therefore respond to different
colors, and the conical form is adapted for this purpose. In order
to gain a clearer conception we may imagine each cone to be made up
of a number of buttons of graduated sizes joined together. These
buttons, on account of their different sizes, would vibrate with
different degrees of rapidity, and therefore co-vibrate with
different colors. White light, he supposes, vibrates the whole
series; red light the thicker, and violet the thinner portion of the
series; or, taking Hering’s view of the primary colors, we may
imagine that red and green rays affect one portion and yellow and
blue rays another portion of the same cone.”
From the fact that in 1876 F. Boll discovered that the retina contained
a red or purple substance that quickly disappeared on exposure to light,
Kuhne elaborated, after further experiments with light upon that
substance, a still later theory of color vision which supposes that the
light waves produce in the retina different compounds that give rise to
the sensation of the different colors.
Mrs. Franklin of Baltimore has lately given us a theory of “light
sensation,” as she prefers to call it, which has been favorably
received.[3] The question of the specific uses of the rods and cones in
the retina has been a puzzling one, and she suggests that they may be of
the same nature, but in different stages of development,—in other words,
that the rods are undeveloped cones. As there are more cones than rods
in the middle of the retina, and as color is seen more vividly there,
the inference is that the cones are susceptible to both light and color,
while the rods are only sensitive to light. Such a theory seems to
explain the results of many experiments heretofore made by scientists.
Some discussion of the subtile and beautiful colors produced by
interference, refraction, absorption, and polarization, as well as by
opalescence, fluorescence, and phosphorescence, might aptly follow here,
but that such discussion hardly comes within the scope of this mainly
practical book. Readers who wish to understand and experiment with them
are referred to the works of Rood, Church, and Dove.
CHAPTER III
COLOR QUALITIES
HUE, PURITY, LUMINOSITY—COLD AND WARM COLORS—TINTS, SHADES, BROKEN TINTS
Colors have three principal qualities, called scientifically “constants
of color,” which should be studied as a preparation for the study of the
harmony of colors. These qualities are hue, purity, and luminosity. To
make these as clear as possible, we will for the present, at least,
ignore the delicate divisions of the spectrum made by both scientists
and artists of which about one thousand have been counted, and divide it
arbitrarily into six pure spectral colors differing from each other by
their hues as by their wave lengths; the wave lengths we give according
to Rood, expressed in ten-millionths of a millimetre (¹⁄₁₀₀₀₀₀₀₀). (See
Plate III.) These six divisions can be placed beside and compared with
flowers and colored materials, and are printed to imitate colored light
as nearly as pigments and paper can give them. At best, any such
imitation falls far short of nature.
The first quality or constant of colors is _hue_, this term being
generally agreed upon by scientists to mean color pure and simple,
according to its wave length in the spectrum. Plate III gives us six
hues—violet, blue, green, yellow, orange, and red. Each of these is
quite different from the next one, as the violet hue is from the blue
hue, the blue hue from the green hue.
The second quality or constant of colors is _purity_, that is, its lack
of any mixture of white, black, or any other color. These not only
weaken the color but change its character, as will be found by mixing
white paint with vermilion paint, which will be seen to grow more pink,
as well as lighter, as the white is added.
The third quality or constant of colors is their _luminosity_ or
_brightness_, also sometimes called _clearness_. It is measured by the
total amount of light reflected to the eye, and is therefore independent
of hue and purity. The amount of luminosity of a color can be determined
correctly by means of an invention called Maxwell’s Disks. These disks
date back to the time of Ptolemy, but were brought into use early in
this century by Maxwell. A disk, or round piece of cardboard, painted
with the color to be tested, is put behind two smaller disks, one of
white and one of black, which can be so adjusted that on turning them
all rapidly the gray formed by the mingling of black and white matches
in luminosity the one back of it.
From such experiments we see that a room papered or painted in yellow
will give you the lightest room, because it will reflect more light to
the eye than any of the other colors; one done in orange will come next,
and so on through the list. A practical knowledge of these different
luminosities is most useful in decoration, both on account of the
contrast between colors for this reason as well as for their hues. Also
for the ability to lighten a dark part of a room by placing there a
piece of luminous coloring, and _vice versa_ to darken what is too
bright. We must here add that these terms, purity of color and
luminosity, are used by artists in quite a different sense, as they call
paintings noticeable for purity of color, meaning only that the tints in
them have no tendency to look dull or dirty, but not at all implying the
absence of white or gray light. They call color in a painting luminous
simply because it actually recalls to the mind the impression of light,
not because it actually reflects much light to the eye. Plate No. IV
gives the six spectral colors in their order of luminosity.
We will now take up in turn each of the six hues by itself and study it
in its variations towards its neighboring hues.
That we do not appreciate the influence of color upon man as well as
upon the lower animals, is true; but color has not been studied by us as
it probably will be in the near future. The powers of attraction of
different colors for ants and bees have occupied the time and close
observation of Sir John Lubbock and of many other scientists, and now
the effect of different colors is being tried on the children in some
schools and on the patients in certain insane asylums. A few facts are
enough to show that there is still much to learn in that direction, and
that these questions can be investigated with profit. One of these facts
is that a certain shade of purple always produced the condition of the
skin commonly known as “goose-flesh” upon a girl in a normal condition
of health.
Goethe in his _Theory of Colour_, as translated by Sir Charles Eastlake,
records observations and experiments of the most minute character with
regard to light and colors—of a character hardly touched upon by others.
His suggestion of using colored glass for study in colors is very
valuable. He says, “People experience a great delight in color
generally. The eye requires it as much as it requires light. We have
only to remember the refreshing sensation we experience, if on a cloudy
day the sun illumines a single portion of the scene before us and
displays its colors. That healing powers were ascribed to colored gems
may have arisen from the experience of this indefinable pleasure.
“From some of our earlier observations we can conclude that general
impressions produced by single colors cannot be changed, that they act
specifically and must produce definite specific states in the living
organ.
“They likewise produce a corresponding influence on the mind. Experience
teaches us that particular colors excite particular states of feeling.
It is related of a witty Frenchman, “Il pretendoit que son ton de
conversation avec Madame étoit changé depuis qu’elle avait changé en
cramoisi le meuble de son cabinet, qui étoit bleu.” (He imagined that
the tone of his conversation with Madame was changed since she had
changed the coloring of her sitting-room from blue to crimson.)
“In order to experience these influences completely, the eye should be
entirely surrounded with one color; we should be in a room of one color,
or look through a colored glass. We are then identified with the hue, it
attunes the eye and mind in mere unison with itself.[4]
“The colors on the _plus_ side are yellow, red-yellow and yellow-red.
The feelings they excite are quick, lively, and aspiring.
“The colors on the _minus_ side are blue, red-blue and blue-red. They
produce a restless, susceptible, anxious impression.”
Each of these six hues can be divided roughly into three, as they are
pure or tend toward their neighboring hues. So violet, of which we have
pure normal or spectral violet, with red-violet on one hand, blue-violet
on the other; or yellow, of which we have pure normal or spectral
yellow, with orange-yellow on one side, green-yellow on the other.
Violet is a cold color, red-violet warmer than blue-violet. It is grave,
dignified, as compared with the other colors. Being a retiring color, it
will serve well as a background, as it will throw forward any more
luminous color put upon it. In flowers we have examples of this color in
its variety in violets, lilacs, asters, sweet peas, and morning-glories.
In the latter it is exquisitely shaded from one extreme to the other.
The wild Eupatorium furnishes a fine example of red-violet, the
cultivated variety an equally good one of the blue-violet, almost cold
enough for a blue. There is no sound pigment which can be used alone to
paint this color. The violet in the originals for these plates was made
with French blue and crimson lake, and crimson lake is not considered a
permanent color. Violet of all kinds suffers from artificial light,
losing much of its blue, and becoming more red and dull.
Blue is a cold color, and a retiring one, especially suited for
backgrounds, as one will notice in studying a blue sky, against which
the landscape stands out with great beauty. In flowers, examples of this
color are more rare than of others. The blue gentian is not a true blue,
it is so close on blue-violet. Forget-me-nots, chicory, centaureas, and
larkspur give us blue in differing varieties. The sky from the deep
violet blue of a winter’s night to the pale, greenish tones near the
horizon on a summer’s day shows us an unsurpassed scale of this hue.
Goethe says of it, “It may be said that blue brings a principle of
darkness with it.
“This color has a peculiar and almost indescribable effect on the eye.
As a hue it is powerful, but it is on the negative side, and in its
highest purity is, as it were, a stimulating negation. Its appearance,
then, is a kind of contradiction between excitement and repose.
“As the upper sky and distant mountains appear blue, so a blue surface
seems to retire from us.
“But as we readily follow an agreeable object that flies from us, so we
love to contemplate blue, not because it advances to us, but because it
draws us after it.
“Blue gives us an impression of cold, and thus again reminds us of
shade. We have before spoken of its affinity with black.
“Rooms which are hung with pure blue appear in some degree larger, but
at the same time empty and cold.
“The appearance of objects seen through a blue glass is gloomy and
melancholy.
“When blue partakes in some measure of the _plus_ side the effect is not
disagreeable; sea-green is rather a pleasing color.”
Genuine ultramarine is an expensive but very pure blue paint made from
lapis-lazuli. Artificial ultramarine generally inclines towards violet.
A good deal of green and violet light is reflected from cobalt blue.
There is some green in Prussian blue, in indigo, and in cerulean blue.
Prussian blue, if used quite thickly, reflects some red. The blue for
the original of Plate X was made of French blue (artificial
ultramarine), tinged on the violet end with crimson lake, and on the
greenish end with emerald green, which latter is not a permanent color,
but which approaches nearest of any pigment to the green hue in the
spectrum. Blue is one of the colors most used in decoration.
Green may be cold or warm, retiring or advancing according as it
approaches blue or yellow, although pure spectral green is of a cold
nature. When one studies the great scale of greens as seen in a
landscape lit up with full sunshine, and notices the intense
yellow-green where the sun shines through the leaves, the pale gray
greens produced by the sun’s glancing over the polished surfaces of
others, and the rich dark green in the shadows, it seems as if no other
color would admit of so varied a scale or be more restful to the eye.
Goethe says: “The eye experiences a distinctly grateful impression from
this color. The beholder has neither a wish nor the power to imagine a
state beyond it. Hence for rooms to live in constantly, the green color
is most generally selected.” This assertion may be doubted, many persons
objecting to green, the truth probably being that it has been found
difficult to use, and not having been understood or well treated has not
been appreciated. Its healthfulness cannot be doubted if one considers
how refreshing the surroundings of trees and grass are to an invalid who
has been surrounded by city bricks and stones. Can we not derive a like
benefit from this color by decorating our city rooms with varying tones
of soft gray greens, like nature, relieved here and there with a touch
of brightness, as flowers, birds, and butterflies gleam amid the foliage
in their native haunts? The rules for heightening these contrasts with
certain varieties of green will be given in the chapter on contrasts.
The extremes of green blend better than those of other colors. Emerald
green has been used as being the best paint with which to imitate the
normal green of the spectrum, but it must be remembered that it is a
trifle bluer than it should be to be exact.
Of yellow Goethe writes, “This is the color nearest the light.
“In its highest purity it always carries with it the nature of
brightness, and has a serene, gay, softly exciting character.
“In this state applied to dress, hangings, carpets, etc., it is
agreeable. Gold in its perfectly unmixed state, especially when the
effect of polish is superadded, gives us a new and high idea of this
color; in like manner, a strong yellow, as it appears on satin, has a
magnificent and noble effect.
“We find from experience again that yellow excites a warm and agreeable
impression. Hence in painting it belongs to the illumined and emphatic
side.
“This impression of warmth may be experienced in a very lively manner if
we look at a landscape through a yellow glass, particularly on a gray
winter’s day. The eye is gladdened, the heart expanded and cheered, a
glow seems at once to breathe towards us.”
Yellow is both a warm and an advancing color, especially useful to apply
as ornament on other colors, as gold embroidery is beautiful on any
color. With the exception of white there are more yellow flowers than of
any other color. In Moorish decorations, which are some of the finest in
the world, gold is used as ornament on blue and red grounds; in fact,
throughout the history of ornament, yellow is more often used in that
way than as a groundwork.
A thin wash of Aurora yellow gave the color for the original of Plate
XII. This paint, when put on thickly, tends too much toward orange to
imitate well the very narrow band of yellow in the spectrum. It is made
from cadmium, and, according to Church,[5] the deep or orange cadmiums
are all more lasting than the pale or lemon-colored kinds.
Orange is still a warmer color than yellow, and is also an advancing
color. Goethe says, “All that we have said of yellow is applicable here
in a higher degree. The red-yellow (orange) gives an impression of
warmth and gladness, since it represents the hue of the intenser glow of
fire, and of the milder radiance of the setting sun.” Orange is perhaps
the most intense color and should be used sparingly in decoration, as it
needs great care as to the quality and quantity of other colors to
balance it. Orange cadmium was used for the original of Plate XI.
Red is a warm color and an advancing one. Goethe says, “The agreeable,
cheerful sensation which red-yellow excites increases to an intolerably
powerful impression in bright yellow-red.
“The active side is here in its highest energy, and it is not to be
wondered at that impetuous, robust, uneducated men should be especially
pleased with this color. Among savage nations the inclination for it has
been universally remarked, and when children left to themselves begin to
use tints (paints), they never spare vermilion and minium.
“In looking steadfastly at a perfectly yellow-red surface, the color
seems actually to penetrate the organ. It produces an extreme
excitement, and still acts thus when somewhat darkened. A yellow-red
(scarlet) cloth disturbs and enrages animals. I have known men of
education to whom its effect was intolerable if they chanced to see a
person dressed in a scarlet cloak on a gray, cloudy day.” In nature we
have red only in small portions, a few red birds or those with throats
or spots of red; almost no butterflies, but many flowers. The rose,
which leads in beauty the long procession of flowers, contains an
immense scale of this color on the violet side, from the palest blush to
the deepest crimson, almost purple. There being less of red in nature
than of any other color, it becomes by contrast the decorative color. It
has also the quality of changing less with lessening light than any
other color, and is particularly fine in combination with blue.
Vermilion and carmine were used to make the spectral red of Plate XIV,
though they are far from reproducing the vivid quality of the original.
Vermilion used with oil is much more permanent than with water. Of the
lakes, Church says in his _Chemistry of Paints and Painting_: “No artist
who cares for his work, and hopes for its permanency, should ever employ
them.”
There is another quality shown in Plate III by which colors may be
divided into the warm and cold classes. The six spectral colors we have
so far been studying in this chapter may be roughly divided as follows:
COLD. WARM.
Violet Yellow
Blue Orange
Green Red
although some varieties of green may be classed among the cold colors
because of the large amount of blue they seem to contain, and others may
be classed among the warm ones from their seeming to contain so large an
amount of yellow.
It is well to remember that cold colors seem to retire or go back from
the eye, while the warm ones seem to come forward, and that the right
use of these qualities greatly affects architecture and decoration. (See
Plates V and VI.)
To recapitulate, we have first, three qualities or constants of
_colors_: hue, purity, luminosity; then the qualities of being warm or
cold. Following upon these are divisions of the tones into three other
groups or scales of tints, shades, and gray or broken tints.
These scales have been confined to six for the sake of simplicity, but
the reader may multiply them infinitely to correspond with the infinite
gradations in nature.
1. TINTS.—“The reduced scale—that is, the normal hue mixed with
progressive increments (additions) of white, thus forming _tints_.” The
spectral hue of the color weakened by white. Plate VII.
2. SHADES.—“The darkened scale—that is, the normal hue mixed with
progressive increments (additions) of black, thus forming _shades_.” The
spectral hue of the color darkened with black. Plate VIII.
3. “The dulled scale—that is, the normal hue mixed with progressive
increments of gray, thus forming broken tints commonly called grays.”
The spectral hue of the color changed by black and white. Besides these
regular scales which can be approximately rendered in paint or colored
inks there is an infinite variety of what we might call irregular scales
which can never be given save in nature. They are those in which a color
is changed or neutralized by one or more of the other colors. These
cannot even be named, for their multitude.
With the aid of a color wheel on which he used disks of black, white,
and the six prismatic colors, Professor Rood has drawn up and formulated
the proportions of 488 of these compound or neutralized colors. With the
formulæ a number of them have been printed in color quite successfully.
It is probably the first attempt to establish standard colors, and a
most valuable one, which it is hoped may bear fruit. If those and the
arbitrary terms for colors and their different states could come into
general use it would greatly help all descriptions of color-harmonies.
Having become familiar with the six colors, we now arrive at the object
for which we have gone through the previous study; namely, the first
kind of _color harmony_, one-color combinations, also called
combinations of self-tones, the simplest and the preliminary harmony to
that of combined colors. The first rule to be observed in making
one-color combinations is to avoid putting together what we may call,
borrowing the term from the language of music, the large intervals, or
extremes, of a color in their pure spectral hues. For example, in
arranging a basket of flowers, never put those of a crimson or
violet-red, such as an American Beauty rose, next to a scarlet or
orange-red flower, such as a scarlet geranium. These are too unlike each
other, being at the large intervals of the hue. They injure each other
and are therefore disagreeable.
As a second rule, all colors, even those above-named, may be combined in
one harmony, but this harmony must be produced from the fact that tints,
or shades, or both combined, are used, rather than the simple spectral
hues. In fact, nature uses pure colors most sparingly; they appear, if
you will remember, in small bright spots in jewels, in somewhat larger
quantities in flowers and fruit, in the wings of butterflies and the
plumage of birds, to relieve and ornament the more subdued great masses
of neutral greens and grays that make up the ordinary garb of nature.
But to return to the combinations of larger intervals of color we were
considering. For instance, while scarlet (orange-red) and crimson
(violet-red) do not combine well, at a French sea-shore resort was seen
the combination of a pink (that is, a tint of violet-red) dress, shaded
by a brilliant scarlet (orange-red) parasol carried by its wearer. It
was as daring a combination as could be made; its success was complete
owing to the pale tint of the dress and the correspondingly correct hue
of the scarlet of the parasol. The effect was helped and complemented by
the large mass of the sea as background. No rule can prescribe these
tints or shades exactly, a gifted eye only can combine them with
success; but the fact might serve as a hint to those who find by
examination and experiment that they have such an eye.
Besides the use of tints and shades to help us in combining what would
otherwise be inharmonious color, gradation is another means we can
employ to serve our purpose. For instance, considering different blues,
which are not agreeable together, we will look at a cloudless sky; we
find that above us it may be of a deep blue verging on violet blue,
while, as we let the eye follow it down through the infinite and
exquisite gradations it contains, near the horizon we come gently upon
our other blue, the greenish one, and feel no discord. The rainbow,
which is, in fact, a kind of spectrum, is the best possible example of
the great use of gradation; there we have all the pure colors, one
differing immensely from the other, but the gradations between them are
so fine and complete as to prevent the least discord. In opals and pearl
shells, in peacock’s feathers and soap bubbles, such coloring is also
seen enhanced by being broken by soft grays and greens. It is caused by
what is scientifically called interference; that is, the thin layers of
the material interfere or break up the waves of light and so produce the
color.
Reflection in colored materials can be used to help greatly in
harmonizing them. Look at a piece of red sealing-wax. Hold it up by a
window and the high gloss on it will reflect so much light as to make
the side toward the light appear almost white. On another side the true
or local color, the brilliant red, will be seen, and the side in shadow
will be of another color still, darker and more crimson or violet-red.
Red satin will have the same varieties in its high lights, middle, and
shaded parts, and these whiter lights and shaded parts really gray and
subdue the color of the material. A woollen cloth of the same color
which has less power of reflection will therefore have less of the gray
about it. With practice, fine and beautiful one-color combinations,
greatly varied, can be made by using materials of different textures but
of the same color.
What has been said so far of colors applies to them as seen in ordinary
daylight, but we must also know how they are affected by lessened,
increased, and artificial light. Rood made many elaborate experiments in
this direction, too numerous to be given here. With these in view,
Church gives the following table of the main changes that occur in
colored objects from the changing of the light in which they are
commonly seen:
IF LIGHT INCREASE,— DIMINISH.
Red becomes Scarlet Purplish.
Scarlet „ Orange Red.
Orange „ Yellow Brown.
Yellow „ Paler Olive-Green.
Yellow-green „ Yellower Greener.
Blue-green „ More blue Greener.
Art’f. ultramarine becomes Blue More violet.
Violet „ More blue Purple.
Purple „ Redder More violet.
We must also note the effect produced by double light; as, for instance,
at sunset when we find in one direction the cool light from the blue of
the sky, in another the warm light from the setting sun. This is more
complicated and difficult to understand.
Reflections from near objects produce similar effects; as, for instance,
in the city, the light reflected from a red brick wall and that from a
blue sky. An artist painted a portrait in which the likeness was spoiled
by the unnatural amount of red in the complexion. On examination it was
found to have been put there rightly, inasmuch as the artist certainly
saw it; the error lay in choosing a place for the subject where the red
reflection from a brick wall was thrown on his face. In a room, a yellow
wall paper and a curtain of some other color may throw combined and
confusing though perhaps at the same time most interesting reflections
on some object. The combined effects of daylight and gas or lamp light
are similar.
We will next consider the effect upon colored objects of a light, itself
colored,—of what is called a dominant light. (See Plate VI, with
instructions.)
Chevreul made many experiments with these. Church gives them to us, with
modifications, in the following concise form:
Red rays falling on white make it appear red.
„ „ „ red „ „ deeper red.
„ „ „ orange „ „ redder.
„ „ „ yellow „ „ orange.
„ „ „ green „ „ yellowish-gray.
„ „ „ blue „ „ violet.
„ „ „ violet „ „ purple.
„ „ „ black „ „ rusty black.
Orange „ „ white „ „ orange.
„ „ „ red „ „ reddish-orange.
„ „ „ orange „ „ deeper orange.
„ „ „ yellow „ „ orange-yellow.
„ „ „ green „ „ dark yellow-green.
„ „ „ blue „ „ dark reddish-gray.
„ „ „ violet „ „ dark purplish-gray.
„ „ „ black „ „ brownish-black.
Yellow „ „ white „ „ yellow.
„ „ „ red „ „ orange-brown.
„ „ „ orange „ „ orange-yellow.
„ „ „ yellow „ „ deeper yellow.
„ „ „ green „ „ yellowish-green.
„ „ „ blue „ „ slaty-gray.
„ „ „ violet „ „ purplish-gray.
„ „ „ black „ „ olive-black.
Green „ „ white „ „ green.
Green „ „ red „ „ yellowish-brown.
„ „ „ orange „ „ grayish-leaf-green.
„ „ „ yellow „ „ yellowish-green.
„ „ „ green „ „ deeper green.
„ „ „ blue „ „ bluish-green.
„ „ „ violet „ „ bluish-gray.
„ „ „ black „ „ dark greenish-gray.
Blue „ „ white „ „ blue.
„ „ „ red „ „ purple.
„ „ „ orange „ „ plum-brown.
„ „ „ yellow „ „ yellowish-gray.
„ „ „ green „ „ bluish-green.
„ „ „ blue „ „ deeper blue.
„ „ „ violet „ „ bluer.
„ „ „ black „ „ bluish-black.
Violet „ „ white „ „ violet.
„ „ „ red „ „ purple.
„ „ „ orange „ „ reddish-gray.
„ „ „ yellow „ „ purplish-gray.
„ „ „ green „ „ bluish-gray.
„ „ „ blue „ „ bluish-violet.
„ „ „ violet „ „ deeper violet.
„ „ „ black „ „ violet-black.
In this table the effect of yellow light gives us the effect of gas or
lamp light on colors, as they are yellow in character. To make his
experiments with artificial light as sure as possible, Rood, or
Chevreul, in daylight, threw the light from a gas burner on colors set
in a camera so as to judge at the same time of the effects of the two
kinds of light, for we must remember that commonly when we see colors by
gas or lamp light we are so surrounded ourselves by the same yellow
light that everything is tinged by it, and our judgment is affected; all
we see being yellower, yellow objects will look less yellow for want of
the contrast seen in daylight. This effect is now understood and
provided for by dry goods merchants, who have for some time shown
materials for evening dresses in rooms lighted by gas. A fairly good
idea of the appearance which pictures, colored materials, articles of
dress and decoration will make by gas or lamp light can be had by
looking at them through a piece of pale orange-yellow glass.
Electric and calcium lights, being much whiter than that of gas or oil,
make less difference in colors, but their intensity being different from
that of ordinary diffused daylight, it produces different and more
intense effects.
CHAPTER IV
CONTRASTS AND COMPLEMENTS
Given a certain amount of any color, say normal or spectral red, and
wishing to make it look as bright as it can, what color shall we put
with it, and how much of that color, to attain our purpose? To answer
that question correctly, having in the last chapter studied the harmony
possible in what have been called self-tones, or one-color combinations,
we will take up contrasts, of which we have several kinds, as follows:
Simultaneous contrasts of tone, neutral.
Simultaneous contrasts of color on neutral grounds.
Successive contrasts.
Mixed contrasts.
Contrasts of complements.
Contrasts of other hues or lesser contrasts.
Contrasts of brightness.
Contrasts of purity.
Contrasts of cold and warm colors.
The first point to understand clearly is the law of simultaneous
contrast of tone as studied and written about by Chevreul in his
elaborate work on color. Church explains this law: “Contrast caused by
difference in brightness is commonly called contrast of tone. This kind
of contrast may occur alone or it may be associated with contrast of hue
and contrast of purity. It will be well to consider first the simplest
cases, in which contrast of tone is not accompanied by other contrasts.
It is impossible, however, to reduce experiments on tone-contrast to
their simplest expressions, because a third element always comes in,
namely, the background on which the pair of tones is placed for
examination. Whether this background be black, white, gray, or colored,
it must necessarily differ in some one direction from one or both the
trial pieces, and will therefore itself produce a contrast. To minimize
the complication thus introduced we may try an experiment for producing
the phenomena of tone-contrast in three ways, using three backgrounds
with identical trial pieces on each. We first take two strips of light
gray paper, A and A′, in Plate XV, and place them a few inches apart on
a large sheet of (white) paper in a good light. We then prepare two
similar strips of a considerably darker shade of gray, B and B′, and
place them, as shown in the diagram, B′ alongside of A′ and the other
the same distance from B′ as A is from A′. On close observation it will
be seen that A′ close to B′ appears lighter than A, which lies at some
distance, while B appears correspondingly darker than B′. The effect of
contrast in enhancing differences of tone may be studied thus: Make such
openings, five in number, in a piece of card, as will serve to divide
each of the strips A and B into three portions. When viewed through this
card, held between the trial pieces and the eye, it will be found that
the two adjoining parts of the strip are most contrasted in tone, and
the others less so in proportion to their distance from the line of
contact. The experiment should now be repeated with a background of
black velvet, and again with a background of gray paper lighter in tone
than either of the strips. The effect of contrast of tone is still
better seen in a series of toned strips placed next each other. In such
a case the effect on all the strips save the end ones is that of
_double_ contrast. For the second strip or second tone has one side of
it made apparently darker by reason of the contiguity of the lighter
tone of strip, while the other side seems lighter, owing to the
contiguity of the darker tone of strip 3. The general result of these
double contrasts is that the whole series or scale of tones gives the
appearance of a number of hollows, although, in fact, the apparent
hollows are perfectly flat areas of uniform shade. The effect of this
experiment is approximately represented in Plate XV, where the real
flatness of each tone of the six may be verified by covering up all the
others by a card. Tones of any one color instead of gray may be thus
employed to illustrate this kind of simultaneous contrast, but its
characteristic effect is not seen unless the contrasting tones differ
considerably in intensity, increase by regular gradations, and are near
each other, or in absolute contact. However, if tones of a color,
whether in tints or shades, be used, there is generally a complication
introduced, owing to the difficulty of getting a series of such tones
which shall be the same in hue.
“This phenomenon of simultaneous contrast of tone of course largely
affects ... all drawings in black and white and in monochrome.”
Following upon the law of simultaneous contrast of tone is the law of
simultaneous contrast of color formulated by Chevreul, as follows: “In
the case where the eye sees at the same time two contiguous (or
adjoining) colors, they will appear as dissimilar as possible, both in
their optical composition and the height of their tone. We have, then,
at the same time simultaneous contrast of color, properly so called, and
contrast of tone.” Plate XVI gives the simplest examples of this
simultaneous contrast of color, the six spectral colors we have been
studying on grounds of white, black, and gray. The colors seem brighter
on the black ground and darker on the white, while with the gray the
yellow alone is much affected, it seeming to grow brighter. The
following plates (Nos. XVII, XVIII, and XIX) give the same coloring, but
reversed, the white, black, and gray being in spots or disks on the six
colored grounds. By covering the squares on Plate XIX. with the prepared
sheet of paper having a square opening just large enough to allow but
one of its six divisions to be seen at a time, we shall find that each
one of the disks or spots looks, not pure gray, but tinged with another
color. This result gives us our first hint of what is called a
complementary color. In the case of the gray on blue the gray will
appear rusty or yellowish, yellow being the complement of blue; the gray
on yellow will appear bluer, blue being the complement of yellow; on the
green the gray will look purplish-red, on the orange greenish-blue, on
red bluish-green, and on the violet yellowish-green.
Black lace over colors is always affected by them in a similar way. Over
yellow, its complement being blue, the lace will look at its best, that
is, blackest; over blue, the lace will tend to yellow, and will lose
something of its strength and the fulness of its black; over greens, it
will partake of their complement, red, and tend to look rusty.
In connection with this tinging of black with the color complementary to
that of the color of the ground on which it is placed, Chevreul tells an
interesting anecdote. A manufacturer was given black and colored wools
with which to make some goods, the pattern to be black on colored
grounds. When they were delivered the man who had ordered the goods
complained that he had not been given the same black wool, that the
blacks were not pure and clear. The manufacturer declared he had used
the same wools. A lawsuit followed, in the course of which Chevreul was
called upon to give his testimony as to color, when he proved that,
according to the law of simultaneous contrast of color, the black wool
was the same, but when woven in figures, as for instance, black on blue,
the complementary color to blue, namely, yellow, being called up by the
eye, made the black look a rusty-brownish black instead of pure clear
black. He added that the only way to make the black on blue look pure
would be to color it with a little of the blue so as to overcome its
yellowish complement.
This delicate impression of the color complementary to the one we are
looking at, is called up involuntarily by the eye, of which the nerve
fibrils become fatigued by the strong color, and incline to see the
extreme opposite or complementary color. The complement of a color may
also be called up or produced by looking fixedly at a round spot like
that on Plate XX for some time. After a while there may be seen a faint
image of its complement on the white paper around it. A still better way
of seeing the complement of a color is by looking fixedly for some time
at a disk of the selected color placed on white paper (Use Plate XXI);
then suddenly slip a sheet of white paper over it, and, continuing to
look at the place where it was, the same-sized image of its complement
will be seen. Here we have the answer to the question at the beginning
of the chapter: bluish-green is the color complementary to spectral red.
The eye becomes tired with looking at the red, and the nerve fibrils
excited by it incline to see its complement, bluish-green. We can,
however, prove this conclusion most correctly by means of what are
called Maxwell’s disks. If we cut out a disk or circular piece of
cardboard and paint it spectral red, then cut a second one just like it
but paint it bluish-green, cutting a slit in both from the edge to the
middle so we can slip one into the other as shown in Plate XXII, and
then turn them rapidly, the color in both will seem to fade away until,
when turning fast enough, we shall see no color at all,—simply a
complete disk of light gray. That result proves that spectral red and
bluish-green are true complements of each other, because a certain
number of parts of red neutralize a certain number of parts of
bluish-green. If, instead of using paints and paper we were able to use
colored light, the result would be even better; we should have white
light as the result of mixing the red and the bluish-green in the right
quantities. Pigments are so dull or non-luminous compared with light
that with them we can only produce gray, or as it has been called, dark
white, or white in shadow. To be quite sure that we have gray, let us
add in front of our disks two smaller ones of black and white, and we
will find the gray produced by the mixture of the black and white to
match perfectly the gray made of spectral red and bluish-green. To
measure the quantity of each color necessary, we can put behind the two
disks a white disk that is not slit, the circumference of which is
divided, as in Plates XXII, XXIII, XXIV, XXV, and XXVI, into one hundred
parts. These are plates of the six specified spectral colors with their
complements. The numbers give the quantity in one-hundredths of each
color. The “number of luminosity” means the quantity of white in
proportion to black, in one-hundredths necessary to make the gray of
that particular degree.
The Milton-Bradley Company, of Springfield, Massachusetts, make an
excellent little machine, including several sets of disks of different
sizes and good colors, and a stout frame on which to put the disks, with
a crank by which to turn them. It can be set up and screwed on a table,
so that any one can make for himself these delightful experiments. Plate
XXVII is an illustration of this machine. There is hardly a limit to the
number of the other complementary colors that can be made with this set
of disks. Study of this set of complementary colors is most important as
a foundation for all contrasts. Experiment has also proved that colors
have more than one complement.
“Complementary colors of full brightness and purity afford the most
striking examples of the effect called contrast. When each of a pair of
such colors differs as much as possible from its fellow in hue, but is
of the same degree of brightness, it is found, while the brightness of
both is enhanced, that the hue of both is unchanged by the close
neighborhood or contiguity of the two colors. But if the pair be not
truly complementary, or if in brightness or purity one color differ from
the other, then such difference will not be seen exactly as it is, but
such dissimilarity as exists, whether it be of one hue, of purity, or of
brightness, will be increased or enhanced by juxtaposition. This is the
primary law of contrast, which embraces three varieties dependent
respectively upon differences as to the three constants of color,
namely, hue, purity, and brightness (or luminosity). If two adjacent
colors differ in brightness, that which is the brighter, or, in other
words, the more luminous, will increase in brightness, while the less
luminous will have its brightness diminished. If two adjacent colors
differ in hue, such difference will be increased, each hue tending to
change as if it had been mixed with the complementary of the other. In
the case of complementaries no increase of difference in hue is,
however, possible.”[6]
Plate XXVIII shows us the six spectral colors with their complements,
not in quantity, but as a table. After thorough study of this table of
first and simplest contrasts, the practical advantage of Plates XXII to
XXVI will be apparent. To make it easier we give Plate XXIX, which shows
the same set of complements. Here they are arranged in a circle in which
each color is opposite its own complement. This circle leads us from the
strongest contrasts of complements to _lesser contrasts_. This should
also be studied till it can be remembered for future reference. Being in
simple spectral colors, it is easier than the more numerous tints of
shades of neutralized colors, and is also a key for understanding and
classifying them. It is well here to note how many complements are green
or greenish in hue.
Concerning the law of simultaneous contrast, with regard more especially
to lesser contrasts, Rood says: “When any two colors of the chromatic
circle are brought into competition or contrasted, the effect produced
is apparently to move them both farther apart. In the case, for example,
of orange and yellow, the orange is moved toward the red, and assumes
the appearance of reddish-orange; the yellow moves toward the green, and
appears for the time to be greenish-yellow. Colors which are
complementary are already as far apart in the chromatic circle as
possible; hence they are not changed in hue, but merely appear more
brilliant and saturated.” Plate XXX will be found of great assistance in
comparing pairs of colors with each other. Here we have a diagram of a
chromatic circle. By placing over it the transparent color screen found
at the end of the book, and moving it slowly in the same direction, it
will be seen that red when contrasted with greenish-blue causes this
last color to move away from the centre of the circle in a straight
line; hence, as the new point is on the same diameter, but farther from
the centre, we know that the greenish-blue is not made more or less blue
or green, but is simply caused to appear more saturated or brilliant.
The new point for the red lies also on the same diameter, but is nearer
the centre of the circle; that is, the color remains red, but appears
duller or less saturated. Experience confirms this. If a considerable
number of pieces of red cloth, for example, are examined in succession,
the last one will appear duller and inferior in brilliancy to the
others, but it will still appear red. Proceeding with the examination of
the effects produced on the other colors, we find that the orange has
been moved toward yellow and also toward the centre of the circle; hence
our diagram tells us that red, when put into competition with orange,
causes the latter to appear more yellowish and at the same time less
intense. So we can go on comparing one color with another and find out
the effect of each by moving the one circle over the other in different
directions, always finding that the complements as moved away from each
other only grow more brilliant but more changing in color. Church gives
us a list of the changes due to the principal pairs of lesser contrasts
from the observations of Chevreul, Rood, etc., as follows:
(It may be remarked that this table of changes as here given is more
easily understood than in its original form as given by Church.)
PAIRS OF COLORS. CHANGE DUE TO SIMULTANEOUS CONTRAST.
Red with orange inclines to purple.
Orange with red „ yellow.
Red with yellow „ purple.
Yellow with red „ green.
Red with blue-green becomes more brilliant.
Blue-green with red „ „
Red with blue inclines to orange.
Blue with red „ green.
Red with violet „ orange.
Violet with red „ blue.
Red with purple „ orange.
Purple with red „ blue.
Orange with yellow „ red.
Yellow with orange „ green.
Orange with green „ red.
Green with orange „ blue-green.
Orange-yellow with turquoise becomes more brilliant.
Turquoise with orange-yellow „ „
Orange with violet inclines to yellow.
Violet with orange „ blue.
Orange with purple „ yellow.
Purple with orange „ blue.
Yellow with green „ orange.
Green with yellow „ blue-green.
Yellow with turquoise „ orange.
Turquoise with yellow „ blue.
Yellow with blue becomes more brilliant.
Blue with yellow „ „
Green with blue inclines to yellow-green.
Blue with green „ violet.
Green with violet „ yellow-green.
Violet with green „ purple.
Green with purple becomes more brilliant.
Purple with green „ „
Blue with violet inclines to green.
Violet with blue „ purple.
Violet with purple „ blue.
Purple with violet „ red.
“It must not be imagined that the changes enumerated in the above table
are at all equal to one another in amount. We have, indeed, always some
change, but it varies much in the case of different pairs. When the
chromatic interval (on the color-circle) is small, then the change of
_hue_, in virtue of simultaneous contrast, is large; when the interval
is large the change of hue is slight, but it is accompanied by change of
brightness; when the interval is as large as possible there is no change
of hue, but the brightness of both hues is increased.”
After simultaneous contrasts Chevreul gives us successive contrasts,
which latter “may be observed when we tire one set of retinal fibrils by
gazing for some time on a surface of a very decided color and
brightness. Afterward, on looking at a colorless surface of white, gray,
or black, it will be found to be tinctured with the complementary of the
first color.” If we stare at a piece of bright red paper and then look
at white paper we will see blue-green, the complement of the red. So, if
we look at a series of pieces of red cloth the first will appear the
brightest, the second less so, the third still less, but if the eye is
rested by looking at a piece of bluish-green cloth the red will then be
seen of its original brightness. When a black spot laid on red cloth is
looked at steadily for some time, then is taken suddenly away, the place
where the black spot was will appear to be of a brighter red than that
around it on account of the less fatigue there has been to that part of
the retina. A salesman who understood complementary colors could use
this law of successive contrasts with great effect in showing goods.
Still another form of contrast is called _mixed contrast_. “The
distinction of simultaneous and successive contrast renders it easy to
comprehend a phenomenon which we may call mixed contrast; because it
results from the fact that the eye, having seen for a time a certain
color, acquires an aptitude to see for another period the complementary
of that color and also a new color, presented to it by an exterior
object; the sensation then perceived is that which results from this new
color and the complementary of the first. The following is a very simple
method of observing this mixed contrast: One eye being closed, the right
for instance, let the left eye regard fixedly a piece of paper of the
color A; when this color appears dimmed, immediately direct the eye upon
a sheet of paper colored B; then we have the impression which results
from the mixture of this color B with the complementary color, C, of the
color A. To be satisfied of this mixed impression it is sufficient to
close the left eye, and to look at the color B with the right: not only
is the impression that produced by the color B, but it may appear
modified in a direction contrary to the mixed impression C + B, or, what
comes to the same thing, it appears to be more A + B.”[7]
That the complementary of a color exists in its shadow may be seen by
watching a stretch of snow when the sun is hidden by a cloud: the snow
is white, the shadow gray. When the cloud passes away, the light on the
snow makes it look yellow; the shadow will also be seen to be more or
less blue as the atmosphere is more or less clear and free from the
moisture which veils the sunlight. The same result in a greater or less
degree exists in all shadows, which shows how useful study of the
complementary colors is for painters.
The purple or violet shadows of the “impressionists” are in many cases
exaggerations. On snow, dust, or sand, violet shadows are to be found in
certain conditions of the atmosphere, but “impressionists” often do not
seem to take into sufficient account the color called by artists “local
color” of the substance or material on which the shadow is thrown, or
the color of the sky reflected in the shadow. A true colorist detects
these subtle varieties. An artist who has not a fine eye for color uses
the pure colors given by scientists, thus making the crude, harsh
pictures so much criticised. They are true to a great extent
scientifically, but are cold and glaring, and without the true spirit of
nature.
In studying the complements of these six spectral hues we come across
the theory that because a color and its complement together make white,
therefore they must prove to be an agreeable harmony. Now, is that true?
At first sight we answer, No. We do know that if we wish to make a color
as brilliant as possible, we must add to it its complement. Under
certain circumstances that may give us a good result, but artistic taste
declares that a pure spectral color and its complement make a
combination so strong and vivid as almost to amount to crudeness, and to
jar on a sensitive eye. Still, the theory that complementary colors make
a true and perfect harmony is well considered in the following extract
from Eastlake:
“Every treatise on the harmonious combination of colors contains the
diagram of the chromatic circle more or less elaborately constructed.
These diagrams, if intended to exhibit the contrasts produced by the
action and reaction of the retina, have one common defect. The opposite
colors are made equal in intensity; whereas the complemental color
pictured on the retina is always less vivid, and always darker or
lighter than the original color. This variety undoubtedly accords more
with harmonious effects in painting.
“The opposition of two pure hues of equal intensity, differing only in
the abstract quality of color, would immediately be pronounced crude and
inharmonious. It would not, however, be strictly correct to say that
such a contrast is too violent; on the contrary, it appears the contrast
is not carried far enough, for though differing in color, the two hues
may be exactly similar in purity and intensity. Complete contrast, on
the other hand, supposes dissimilarity in all respects. In addition to
the mere difference of hue, the eye, it seems, requires difference in
the lightness or darkness of the hue. The spectrum of a color relieved
as a dark on a light ground is a light color on a dark ground, and _vice
versa_. Thus, if we look at a bright red wafer on the whitish surface,
the complemental image will be still lighter than the white surface; if
the same wafer is placed on a black surface the complemental image will
be still darker. The color of both these spectra may be called greenish
(bluish-green), but it is evident that a color must be scarcely
appreciable as such, if it is lighter than white and darker than black.
It is, however, to be remarked, that the white surface round the light
greenish image seems tinged with a reddish hue, and the black surface
round the dark image becomes slightly illuminated with the same color,
thus in both cases assisting to render the image apparent.
“The difficulty or impossibility of describing degrees of color in words
has also had a tendency to mislead, by conveying the idea of more
positive hues than the physiological contrast warrants. Thus, supposing
scarlet to be relieved as a dark, the complemental color is so light in
degree and so faint in color that it should be called a pearly gray;
whereas the theorists, looking at the quality of color abstractedly,
would call it a green-blue, and the diagram would falsely present such a
hue equal in intensity to scarlet, or as nearly equal as possible.
“Even the difference of mass which good taste requires may be suggested
by the physiological phenomena, for unless the complemental image is
suffered to fall on a surface precisely as near to the eye as that on
which the original color was displayed, it appears larger or smaller
than the original object, and this in a rapidly increasing proportion.
Lastly, the shape itself soon becomes changed. That vivid color demands
the comparative absence of color, either on a lighter or darker scale,
as its contrast, may be inferred again from the fact that bright
colorless objects produce strongly colored spectra. In darkness the
spectrum, which is first white, or nearly white, is followed by red; in
light, the spectrum, which is first black, is followed by green. All
color, as the author observes, is to be considered as half light,
inasmuch as it is in every case lighter than black and darker than
white. Hence no contrast of color with color, or even of color with
black or white, can be so great (as regards lightness or darkness) as
the contrast of black and white, or dark and light abstractedly. This
distinction between the differences of degree and the differences of
kind is important, since a just application of contrast in color may be
counteracted by an undue difference in lightness or darkness. The mere
contrast of color is happily employed in some of Guido’s lighter
pictures, but if intense dark had been opposed to his delicate
carnations, their comparative whiteness would have been unpleasantly
apparent. On the other hand, the flesh-color in Giorgione, Sebastian del
Piombo (his best imitator), and Titian, was sometimes so extremely
glowing that the deepest colors and black were indispensable
accompaniments. The manner of Titian, as distinguished from his
imitation of Giorgione, is golden rather than fiery, and his biographers
are quite correct in saying that he was fond of opposing red (lake) and
blue to his flesh. The correspondence of these contrasts with the
physiological phenomena will be immediately apparent, while the
occasional practice of Rubens in opposing bright red to a still cooler
flesh-color will be seen to be equally consistent....
“It was before observed that the description of colors in words may
often convey ideas of too positive a nature, and it may be remarked
generally that the colors employed by the great masters are, in their
ultimate effect, more or less subdued or broken. The physiological
contrasts are, however, still applicable in the most comparatively
neutral scale.”
Chevreul gives us in his book, _Colour_ (a work published in 1835, which
has gone through many editions and translations, having finally been
edited and republished in 1889 by his son), an elaborate system of color
contrasts based upon the older theory of three primary colors, red,
yellow, and blue. There followed upon this in 1890 one by Charles La
Couture, _Répertoire Chromatique_, containing an ingenious and beautiful
system of color scales also founded upon the Brewster theory of red,
yellow, and blue as primary colors. Of these color charts it has been
well said that they are only able to display the effects, not of mixing
colored light, but colored pigments.
The following are rules to be used in regard to contrasting colors:
_Rule I._—A pair of complementary colors in their pure spectral tones in
the proportions in which they neutralize or complement each other, as in
Plates XXII to XXVI, should only be used if you wish to produce a bold,
striking, perhaps harsh effect; or if you wish to create a focus in your
picture, your room, or your decoration. In the latter case it will be
well to soften the effect (especially in the case of a picture) by
repeating the same colors in tints or shades in some other part of the
work.
_Rule II._—Harmony of contrast exists only in proportion to the changes
in quality or quantity in equal portions of pure spectral tones.
_Rule III._—The more neutral you make the tint or shade of one of the
pair of complements, so much the more may you add to its quantity. For
instance, a small quantity of bright spectral red will balance a large
quantity of pale blue-green.
_Rule IV._—By using two or more tints, or shades and tints, of one of
the pair of complements, so much the finer becomes the harmony. The
artist Turner sent to an exhibition of the Royal Academy in England a
marine which was accepted and hung, but which, being a quiet picture
consisting mainly of pale, grayish sea-greens, attracted little
attention. On varnishing day, however, he went to the Academy and
painted in the foreground of his picture a scarlet buoy, when to the
surprise of every one, owing to the correct balance of the quality and
quantity of his complementary contrast, the scarlet and blue-green so
intensified each other that the picture became a striking one, dulling
the others around it and drawing constant admiration.
From a dinner table set out at a flower show in the Madison Square
Garden, which took a first prize, Plate XXXI is taken. It was a harmony
of yellow and blue.
1. Yellow chrysanthemums.
2. Yellow lamp-shades.
3. Yellow satin centrepiece.
4. Yellow candies.
5. Yellow candies.
6. Yellow candies.
7. Yellow-brown almonds.
8. Gold ornament on glass, china, and candies.
9. Dark purple-blue grapes.
In this case some of the yellow was in pure spectral tones, the blue
very strong, dark, and neutralized.
_Rule VI._—The finest harmony of contrast will be found where tints and
shades of both the pair of complements can be combined. Then a small
amount of both in spectral tones may be introduced to give accent to the
rest. Plate XXXII gives a blue and yellow harmony taken from an English
china cup composed of two blues and two yellows, both neutral. The
ground, being of a pale tint of yellow, is greater in quantity according
to Rule III. The dainty pattern painted on it is in the two blues; the
delicate stems holding and uniting the conventional leaves and flowers
are of brown (or dark yellow). The brown, being the darkest color, is
the smallest in quantity, as the harmony is intended to be light and
cheerful.
Harmonies in blue and yellow have been used with great success in old
decoration, when blended, modified, and interchanged with each other,
and are one of the most useful combinations of colors that can be made.
They are largely used in Italian and Spanish tiles and other porcelains.
They are complementary colors strongly opposed to each other, but the
reason for their being more agreeable than other pairs of complements
seems to arise from the fact that one, the yellow, is so much more
luminous (or lighter) than the other that it affords a greater contrast
than appears in the other pairs of complements.
_Rule VII._—Even pure spectral colors may be used with good effect by
blending them in small portions, as in what are technically called
diaper patterns.
We have still a further power of adding to our harmony of contrasts by
the use of different materials, such as paper, paint, plaster, silk,
satin, velvet, plush, and metals, in which the variety of surfaces gives
an infinite number of tones, absorbing and reflecting, etc. These will
be considered in the chapter on color-harmonies, and seem really
inexhaustible. In that chapter is given a list of pairs of the lesser
contrasting colors, such as have been found by observation of historic
color to be the most agreeable to the eye.
CHAPTER V
COLOR-HARMONIES
HARMONIES OF COMPLEX OR VARIOUS COLORS
It is said that the use of agreeable and harmonious colors tends to the
sanity of the whole body by strengthening the nerves; so much so, that
part of the treatment of insane patients in a European asylum consists
in surrounding them with certain colors, and, probably, of changing
these according to certain rules. From these facts we surely learn that
there is reason beyond that of our mere enjoyment of colors to lead us
to study color-harmonies.
The most widely accepted division of these harmonies is that of
Chevreul, who in his life of over one hundred years had time to
formulate, revise, and amplify his laws of color, and, from his position
as director of the manufacture of the Gobelin tapestries, great
opportunities for experiment. The two chief groups, based respectively
on analogy and on contrast, are resolved into three sub-divisions each.
These are quoted as follows from Church, who has added some explanations
to them as given in _The Law of Simultaneous Contrast_:
“I.—HARMONIES OF ANALOGY.
“II.—HARMONIES OF CONTRAST.
“1. _The Harmony of Analogy of Scale._—This harmony is essentially that
of a series, the harmony of gradation. It includes those cases in which
is presented a simultaneous view of three or more tones of the same
scale, whether these tones be tints, or shades, or broken tones. It is
obtained in various degrees of perfection, according to the number of
tones present, and the value of the intervals between them. When the
tones are not easily separable by the eye, and pass into one another,
then the effect called ‘shading’ is produced.
“2. _The Harmony of Analogy of Tones._—When two or more tones of the
same depth, or of very nearly the same depth, but belonging to different
but related or neighboring scales, are viewed together, the harmony of
tone is produced. Many such assortments are, however, displeasing to the
educated eye, unless the tones be so selected as to fall into a series
with a gradually increasing quantity of some one of their color
elements, when they may be arranged in the third kind of harmonies of
analogy.
“3. _The Harmony of a Dominant Hue._—An example of this harmony is
afforded by viewing a contrasted color assortment, a bouquet of flowers,
or even a landscape, through a piece of glass so slightly tinctured with
a color as not to obliterate, but merely to modify, the various colors
belonging to the arrangement or composition.
“1. _The Harmony of Contrast of Scale_ is produced by the simultaneous
view of two or more distant tones of the same scale.
“2. _The Harmony of Contrast of Tones_ is produced by the simultaneous
view of two or more tones of different depths belonging to neighboring
or related scales.
“3. _The Harmony of Contrast of Hue_ is produced by the simultaneous
view of colors belonging to distant scales, and assorted in accordance
with the laws of contrast. This kind of contrast includes also those
cases in which the effect is still further enhanced by difference of
tone as well as of color.
“The distinction between these two classes or groups of harmonies is
somewhat arbitrary, for the collocation of any two tones or any two
colors, whether its results be agreeable or otherwise, inevitably
involves the element of contrast. Color-harmonies, so far as contrast is
concerned, differ in degree and complexity, but Chevreul’s harmonies of
analogy pass by steps more or less marked into distinct and undoubted
harmonies of contrast. In every harmony there is contrast of tone or of
color, and therefore contrast cannot be employed as a criterion of
classification. The two fundamental ideas underlying complex
color-harmonies may perhaps be expressed as those of _gradual change_
and of _abrupt change_. Instead of separating color-harmonies into two
distinct groups, it would be better to arrange them in order upon the
arc of a circle, placing at one extremity those harmonies on which the
succession of contiguous tones or hues is marked by the smallest
differences, and at the other extremity, those harmonies in which the
elements of contrast are most strongly developed. About the middle of
the arc will be arranged those transitional harmonies in which contrasts
of tone, contrasts of color, and contrasts of tone and color combined,
begin to make themselves felt as modifying the effect of the regular
sequence of tones and related hues. According to this scheme, we may
commence with harmonies in which the succession of tones is so gentle as
to be barely perceptible, and we may end with those harmonies in which
the change of hue and of tone is most abrupt. A list of illustrative
examples will help to elucidate the scheme:
“1. The passage, by insensible differences, of the tints, shades, or
broken tones of a single hue from light to dark.
“2. The passage, by small but regular, definite, and perceptible steps,
of the tints, shades, or broken tones of a single hue from light to
dark.
“3. The passage, as in the preceding example (2), of the tones of one
hue, from light to dark, when each step is separated by a neutral
element, such as white, gray, or black.
“4. The passage, by insensible differences, of one hue, or of the tones
of one hue into another related hue, or its tones.
“5. The passage, by definite steps, of one hue, or of the tones of one
hue, into another related hue or its tones.
“6. The passage, as above (5), of related hues into each other, each
step separated by a neutral element.
“7. The passage, by insensible differences, of one hue into another
chromatically remote hue.
“8. The passage, by definite steps, of one hue into another
chromatically remote hue.
“9. The passage, as above (8), of one hue into another, when each step
is separated by a neutral element.
“10. The collocation of distant tones.
“11. The collocation of chromatically distant hues with or without the
interposition of neutral elements.
“It will be noticed how the idea of seriation or gradation becomes more
and more involved with that of change as we follow the sequence of the
above examples. Gradually the notion of orderly succession, of a regular
series with the presence of a pervading and dominant constituent, is
lost by the abruptness of change caused by the introduction of foreign
elements, or by the contiguity of distant tones and distant hues.”
As both of these sets of rules for harmonies of colors are so elaborate
as to amount almost to color charts, and would be difficult and
complicated to print in colors, for our practical purpose we will
roughly divide harmonies of colors under three heads; as follows (See
Plate XXXIII):
Harmonies of one color.
Harmonies of contrast (of color).
Harmonies of complex or various colors.
This division is not strictly correct, because even in a harmony of one
color the element of contrast will appear; as, for instance, when we
combine a pale tint of yellow, say straw color, with brown, which is a
dark shade of yellow. As, however, in this case it is contrast of tone,
not contrast of color, we will not let that interfere with the order of
our arbitrary classification. The first class, harmonies of one color,
have been considered in Chapter III. When simple, refined color is
wanted in either dress or decoration, or where from inexperience one is
afraid to combine colors, it is best and safest to use this simplest
kind of color harmony. With this class, as black and white are not
colors, we will also include harmonies of one color combined with black,
or white, or gray, or two or all three of these. From a book
advertisement most successful in its clear, simple, and agreeable
character we give Plate XXXIV. It was on white paper, the proportions as
follows: Most white, less black, least yellow, this latter always
outlined with black. The white also showed through the yellow in some
places and served to lighten the design.
In decoration, when two tones of one color are used they are often
separated with a fine line of white or black or gray. In Plate XXXV the
useful effect of such a line of separation is shown. A light tint on a
dark shade does not so much need an outline, but a dark shade on a light
tint is much improved by white outlines. The white line increases the
apparent strength of both tint and shade, while black will increase
their brightness but diminish their purity.
“In the consideration of the specific effects of the association of
white, gray, or black with a single color, we follow the order in which
the colors succeed each other in the spectrum, adding purple at the end.
“1. RED.—_Red_ with _white_ becomes deeper, more saturated or purer, and
less bright. The combination, as to intensity of contrast, is similar to
that of green with white, being less than that of blue, violet, or
purple with white, but more marked than that of orange or yellow with
white.
“_Red_ with _gray_, when the latter is moderately pale, becomes brighter
and less saturated, sometimes acquiring an orange tinge.
“2. ORANGE.—_Orange_ with _white_ is rendered deeper, and perhaps a
trifle more reddish. The contrast of tone between orange and white is
much greater than that between yellow and white; the combination is
consequently more effective.
“_Orange_ with _gray_, when the latter is pale, is deepened and
reddened. With dark tones of gray orange becomes lighter.
“_Orange_ with _black_ becomes brighter and slightly yellower.
“3. YELLOW.—_Yellow_ with _white_ is rendered deeper, less bright, and
less advancing, acquiring a slight greenish hue. The lighter the tone of
the yellow the less pleasing is the combination.
“_Yellow_ with _gray_ is rendered brighter and perhaps slightly orange.
The combination is satisfactory when the gray is rather dark.
“_Yellow_ with _black_ is rendered paler, brighter, and more advancing.
The combination affords the most intense contrast of tone next to that
of white with black. The blackness of the black is modified by acquiring
a slight bluish hue which enriches it.
“4. GREEN.—_Green_ with _white_ becomes deeper and purer; the
combination is capable of yielding very beautiful effects.
“_Green_ with _gray_ becomes deeper only when the gray is pale; if the
gray be at all dark it acquires a purplish tinge.
“_Green_ with _black_ is rendered brighter and paler, while the black
suffers, being tinged with a reddish or purplish hue.
“5. BLUE.—_Blue_ with _white_ constitutes a generally pleasing
combination. The contrast of tone is very decided when the blue is at
once pure and bright. The effect of strongly illuminated white clouds in
deepening the tone of the blue of the sky bordering them is a good
example of one of the chief characteristics of this combination; under
such conditions the white often assumes a slightly yellowish tint.
“_Blue_ with _gray_. Gray, if pale, deepens and purifies blue; the
combination, though necessarily cold, is often most serviceable in
pictorial as well as in ornamental art.
“_Blue_ with _black_. This combination is less agreeable than that of
blue with gray, or of violet with black, especially when the tone of the
blue is deep. Light tones of blue are made still paler, but broken tones
more saturated, by contiguity with black.
“6. VIOLET.—_Violet_ with _white_ affords a strong contrast of tone; the
combination is an agreeable one, resembling that of blue with white.
“_Violet_ with _gray_. The distinctive hue of violet makes itself felt
strongly in this combination, which is a quiet and agreeable one.
“_Violet_ with _black_ gives but a slight contrast of tone when the
violet is pure. The black acquires a rusty brown hue, which reduces its
depth.
“7. PURPLE.—_Purple_ with _white_ affords a good contrast of tone. Pale
purples and rosy tints form agreeable combinations with white.
“_Purple_ with _gray_ resembles in effect the combination of violet with
gray; the gray, if of moderate area, becomes decidedly greenish.
“_Purple_ with _black_ is rarely a satisfactory combination; the black
acquires a greenish hue.”[8]
The second class, harmonies of contrast, have been studied in Chapter
IV. Where bold, striking, emphatic color is needed the complementary
colors may be used. The most prominent part of a picture, a room, or a
decoration will be, as far as color is concerned, where some color and
its complement in nearly, or quite, spectral hues are given. This
striking effect of contrast will lessen accordingly as the colors darken
into shades, or lighten into tints, or become more and more neutral from
the mixture with some other color. An eye untrained or inexperienced
will find these complementary contrasts difficult to use, there being
danger of producing a crude or harsh effect. Rules for their use are
given in Chapter IV. Classifying the complementary pairs according to
the pleasure we take in them we may put yellow and blue first, then
orange and green-blue, red and blue-green, finally violet and green.
Chevreul, Rood, Von Bezold, and Bruecke, having made many experiments
and observations in their attempts to lay down rules for harmonious
combinations, state that here we come upon problems that cannot be
solved by purely scientific reasoning. By comparing the art of one
country or of one period of one country with that of another, we find
that throughout them all, certain pairs of colors have been preferred to
certain others and we feel that æsthetic taste, which cannot be
explained, influences us greatly in our liking for certain combinations.
Beside taste, inheritance, training, environment, and contrast all have
their unconscious effect upon these preferences. Church divides pairs of
colors into three classes: Pairs of the small intervals, pairs of
decided differences, and the extremes or complements. The latter we have
considered in Chapter IV. Pairs of the small intervals are such as
Orange-red and yellowish-orange,
Reddish-orange and orange-yellow,
Orange and yellow,
which, being so close to each other in the color scale in decoration,
are apt to injure each other unless separated by outlines of black,
white, gray, or gold. Rood gives the following table of small intervals:
“DARKER. LIGHTER.
Red Orange-red.
Orange-red Orange.
Orange Orange-yellow.
Orange-yellow Yellow.
Yellowish-green Greenish-yellow.
Green Yellowish-green.
Cyan-blue Green.
Blue Cyan-blue.
Ultramarine-blue Blue.
Violet Purple.
Purple Red.”
Church gives us the following list of pairs as, from his and others’
observations, they have been found to have been more or less agreeable:
“An asterisk attached to the name of a color indicates that the mixture
of gray or black with it improves the effect of its association. It may
be further remarked that in many cases where two colors of full depth
yield a bad or unsatisfactory assortment the reduction of the tone of
one of them by a considerable addition of white often makes the
combination agreeable.
“Normal red with violet bad.
„ „ „ blue excellent.
„ „ „ blue-green good, but strong.
„ „ „ green good, but hard.
„ „ „ green-yellow fair.
„ „ „ yellow* unpleasing.
Scarlet „ violet bad.
„ „ turquoise good.
„ „ blue good.
„ „ yellow unpleasing.
„ „ green fair.
Orange-red „ violet good.
„ „ „ purple fair.
„ „ „ blue excellent.
„ „ „ turquoise good.
„ „ „ blue-green unpleasing.
„ „ „ yellow-green fair.
Orange „ purple bad.
„ „ violet good.
„ „ blue good, but strong.
„ „ turquoise good.
„ „ blue-green good.
„ „ green fair.
Orange-yellow „ purple good.
„ „ „ violet excellent.
„ „ „ blue good.
„ „ „ turquoise fair.
„ „ „ blue-green moderate.
„ „ „ green bad.
Yellow „ violet excellent.
„ „ purple good.
„ „ normal red poor.
„ „ turquoise moderate.
„ „ blue-green* bad.
„ „ green* bad.
Greenish-yellow „ purple good.
„ „ „ violet excellent.
„ „ „ scarlet strong, and hard.
„ „ „ orange-red fair.
„ „ „ turquoise bad.
„ „ „ normal blue good.
Yellowish-green „ normal red good, but hard.
„ „ „ purple difficult.
„ „ „ blue-green bad.
„ „ „ blue good.
Normal green „ purple strong, but hard.
„ „ „ scarlet difficult.
„ „ „ orange-red hard.
„ „ „ turquoise bad.
Blue-green „ purple fair.
„ „ „ violet good.
„ „ „ blue bad.
„ „ „ green bad.
„ „ „ yellowish-green bad.
„ „ „ turquoise bad.
“The above list comprises fifty-five only of the very numerous
combinations, in pairs, of some of the decided hues.... It is assumed
that in our experiments on their chromatic effects, pleasing or
otherwise, we have been using colored materials, which neither by any
peculiarity of texture, nor quality, nor design, are capable of
improving the results. Cloth and paper are suitable; silk, velvet,
glass, and enamel, for various reasons, give results which are
complicated by the introduction of new elements. Pairs in these latter
materials, in consequence of the presence of lustre, translucency, or
‘throbbing’ hues, in varying degrees, will often become quite
acceptable, while in prosaic cloth, or paper, they are just the
reverse.”
The third class, harmonies of complex or various colors, follows, and
includes groups of three or more colors. The difficulties of combination
increase as the number of colors increases. It is well to remember, if
one is bewildered with these difficulties, that, however fine the
harmony of many colors may be, it can hardly surpass the beauty of one
made of but two or three, provided that these are well proportioned to
each other in quantity and quality, suited to and combined in some good
design, or made up of various materials with differing surfaces. As to
triads, or three-color combinations, Rood gives us the following groups
as having been most extensively used, and if we draw on our memory we
may probably recall both paintings and decorations consisting of any one
of these combinations. (See Plates XXXVI and XXXVII.)
Spectral red, yellow, and blue.
Purple-red, yellow, cyan-blue (greenish-blue like a turquoise).
Orange, green, violet.
Orange, green, purple-violet.
With regard to these he calls our attention to the fact that in them the
colors are nearly, or quite, 120° apart on the chromatic circle, also
that artists in their choice of these colors have been evidently guided
by their wish to have two out of three warm colors. According to
Bruecke:
_Carmine_, _yellow_, and _green_, a favorite combination during the
middle ages, to us seems “somewhat hard and unrefined.”
_Orange-yellow_, _violet_, and _bluish-green_ are not so agreeable
because two of the colors are cold. In the triad _vermilion_, _green_,
and _violet-blue_, used greatly by the Italian schools, there seem at
first to be two cold colors, but as the _green_ was _olive_ it might be
called _vermilion_, _dark greenish-yellow_, and _violet-blue_.
Attempts have been made to give formulas of certain colors as they are
supposed properly to balance one another, or to make “chromatic
equivalents.” Field elaborated this theory in his _Chromatography_, and
it was adopted by Owen Jones in his _Grammar of Ornament_. Later writers
on color, however, show that Field’s experiments were not such as to
justify his conclusions. The leading idea he tried to prove was, that to
make a perfect harmony, each color in a given picture or design should
bear such a mathematical relation to the whole that the combination of
all should make, when seen at a distance, “a neutralized bloom, or a
whitish-gray.” He speaks, for instance, of red, yellow, and blue. This
has a plausible sound, but cannot be correct, for with a color wheel we
find that red, yellow, and blue will not in _any_ proportions make a
“whitish-gray,” also because almost all of the best works of good
colorists have throughout them some dominant hue, more generally on the
warm side, such as yellow, orange, or red. At the same time careful
study of texture will be very useful, as different weaves reflect and
absorb the colors so as to produce a sort of “neutralized bloom,” such
as Field speaks of.
That chromatic equivalents can be made is shown by Maxwell’s disks; as,
for instance, Church gives us the proportions of three colors which on
being turned on the wheel rapidly produce a neutral gray, as follows:
“Red 36½ + green 33¾ + blue 29¾ = 100.”
We have also already seen in the chapter on Contrasts that certain parts
of one color require certain parts of another color to neutralize it and
so make gray.
As there is no end to the possible combinations of colors we can only
give certain rules for making them, leaving it to the student to follow
up his previous practice with two colors and by experience to enlarge
his knowledge and ability to use all colors with skill.
A full harmony, in fact a symphony, of colors can hardly be better
explained than by describing one used in the trial scene in the
“Merchant of Venice,” as given by Mr. Mansfield. The tribune or desk
behind which Portia delivered her speech was white, draped with a
full-hued scarlet cloth. The black of her gown, the strongest contrast
to white, and the brilliant red, were admirably used to focus the eye
upon this part of the scene just as the ear was focused on the speech
“The quality of mercy is not strained.” The other principal actors,
Shylock, Antonio, and Bassanio, wore red, yellow, blue; bright colors,
but less bright and less contrasting than the white, black, and scarlet.
The attendants and spectators were in more neutral and subdued colors,
while away behind them all stretched a grayish blue sky seen between the
pillars of a wide porch which formed a background well calculated to
throw into relief the colors of the costumes.
From what we have learned we find the following ways of harmonizing
colors:
_First._ BY GRADATION, that is, the gradual blending of one color into
another, or one variety of one color into another variety of the same
color, as in the morning-glory blossom, in which the different hues
grade softly into one another from edge to heart; or as in a clear
sunset sky, where the blue above changes into green, the green into
yellow, and the yellow into red near the horizon, and where still we
cannot find the exact boundary of any one of the colors. (See Plate
XXXVIII.)
“These ever-present gentle changes of color in all natural objects give
to the mind a sense of the richness and vastness of the resources of
Nature; there is always something more to see, some new evanescent
series of delicate tints to trace; and, even where there is no conscious
study of color, it still produces its effect on the mind of the
beholder, giving him the sense of the fulness of Nature, and a dim
perception of the infinite series of gentle changes by which she
constantly varies the aspects of the commonest objects. This orderly
succession of tints, gently blending into one another, is one of the
greatest sources of beauty that we are acquainted with, and the best
artists constantly strive to introduce more and more of this element
into their works, relying for their triumphs far more on gradation than
on contrast. The greatest effects in oratory are also produced by
corresponding means; it is the modulation of the tone and thought, far
more than sharp contrasts, that is effective in deeply moving audiences.
We are very sensitive to the matter of modulation even in ordinary
speech, and instantly form a general judgment with regard to the degree
of cultivation and refinement of a stranger from the mode in which a few
words are pronounced. All this has its parallel in the use of color, not
only in painting, but also in decoration. Ruskin, speaking of gradation
of color, says: ‘You will find in practice that brilliancy of hue and
vigor of light, and even the aspect of transparency in shade, are
essentially dependent on this character alone; hardness, coldness, and
opacity resulting far more from _equality_ of color than from nature of
color.’ In another place the same author, in giving advice to a
beginner, says: ‘And it does not matter how small the touch of color may
be, though not larger than the smallest pin’s head, if one part of it is
not darker than the rest, it is a bad touch; for it is not merely
because the natural fact is so that your color should be gradated; the
preciousness and pleasantness of color depends more on this than on any
other of its qualities, for gradation is to colors just what curvature
is to lines, both being felt to be beautiful by the pure instinct of
every human mind, and both, considered as types, expressing the law of
gradual change and progress in the human soul itself. What the
difference is in mere beauty between a gradated and ungradated color may
be seen easily by laying an even tint of rose-color on paper, and
putting a rose-leaf beside it. The victorious beauty of the rose as
compared with other flowers depends wholly on the delicacy and quantity
of its color-gradations, all other flowers being either less rich in
gradation, not having so many folds of leaf, or less tender, being
patched and veined instead of flashed.’”[9]
In connection with gradation, Church says: “There is one _quality_ of
good color which lies at the very root of all successful employment of
vivid hues. It consists in minute variations of hue and tone within the
same surface. A color must not be absolutely uniform, flat, and
monotonous unless it be very pale, very dull, or very dark, when the
absence of this ‘throbbing’ or ‘palpitating’ quality, though
undesirable, is less observed. We have before us, as we write, a fine
old Chinese vase of turquoise crackle. Apart from the mosaic texture,
resulting from the innumerable fissures in the glaze, what a number of
variations in appearance does this turquoise color offer! Where the
color is thinnest it is paler, and verges more upon green; where it is
thickest, it is at once deeper, and more blue, and there are innumerable
hues and tones. In painting, similar effects may be produced by unequal
glazings and scumblings of one hue upon another, or by apposition of
minute dots and patches of closely related colors.”[10]
The following is a practical way of using this beauty of gradation: “For
instance, in the morning glory and the sweet pea we may observe a
perfectly beautiful combination of crimson, purple, and violet. Notice
the charming gradation of color in the morning glory; one tone runs into
the other with a subtlety which is quite wonderful, and all the colors
merge into the luminous green-white centre from absolute positivism to
perfect delicacy with an ease which is surprising. Now let us try to
mass a large group of crimson, purple, violet, and greenish-white asters
together with the same result. Alas! what a task it is and how confused
we become with the distracting color tones; but we must feel our way
carefully and systematically. First, our most powerful color—crimson or
violet—must be grouped gracefully and placed in a prominent position;
next, we must run our color tone either toward blue or crimson, as the
case may be. If we have any gaslight near we must make use of it to
accent our prominent group, and last, mingled slightly with the palest
tones of dull pink and purplish-blue, we may group our greenish-white
asters in some position where they will contrast well with the strong
color group, and where they will be sure to have the intermediate blue
and crimson tones act like a bridge to connect the color scheme. Nothing
distracts the eye so much as violent transitions of color.”[11]
A similar element of beauty in Oriental rugs, not always understood, and
one in which they differ from those made by machinery, arises from the
fact that being made by hand there are slight variations throughout,
even in the dyeing of the wools. In an unusually fine specimen the rich
green ground varied slightly in tone three or four times. To an
uncultivated eye this might seem a defect; to an artistic one, the play
of color, the variety in unity, is far finer than the even monotony of a
perfectly matched surface.
_Second._ BY CHANGE OF QUALITY; as from pure spectral colors to their
tints or shades. The greater we make this change either way, the more
sure we may be of harmony, as a color scheme of very pale tints or very
dark shades is almost sure to be good even if quite varied. In fact,
contrast of tone, which is change of quality, will harmonize any two
colors, as pale blue and dark green, or pale green and dark blue. Of
pairs of contrasts which in pure spectral colors we have seen to be
crude and harsh, Rood says, “Complementary colors are very valuable when
the artist is obliged to use dark, dull, or pale colors, and still is
desirous of obtaining a strong or brilliant effect.” Another kind of
change of quality helps us to make very beautiful combinations. It lies
in the use of colors that are neither spectral, nor pure tints, nor
shades, but of such as are neutralized by mixtures of other colors; as,
for instance, if instead of using pure yellow, pure red, and pure blue,
we use a yellow toned down by an admixture of a little red and blue, a
red toned in the same way with blue and yellow, and a blue that has in
it something of red and yellow; the colors will still be yellow, red,
and blue, but in approaching each other will become more related and so
far more harmonious. Still another change of quality allows us to put in
the place of one or more of the colors the same amount of a tint or a
shade of the same color which will improve the harmony by varying its
luminosity and by bringing all nearer together. (See Plate XXXIX.)
_Third._ BY CHANGE OF QUANTITY; as of a large amount of one of the
colors to a small amount of the other, so as to introduce another
element of contrast. For want of the better balance as given by the
fourth rule it is inferior to it. (See Plate XL.)
_Fourth._ BY CHANGE OF QUALITY AND QUANTITY; or by making a small amount
of a dark shade of one color balance a much larger amount of a light
tint of another color, or, _vice versa_, a small amount of a light tint
to balance a much larger amount of a dark shade, or a small amount of a
pure color to balance a large amount of a more neutral color. In this
case the rule is that accordingly as you lower or raise the quality of
your color so in proportion may you increase its quantity. (See Plate
XLI.)
_Fifth._ BY THE ADDITION OF ANOTHER COLOR, however unobtrusive, which
breaks the even balance between two colors, just as in form, where we
may find two trees of the same size and shape make an unpleasant
composition. There the effect can be much improved by the addition of a
third tree of a different size and shape. For instance, with yellow and
yellowish-green, the addition of violet would improve and harmonize
them. This third color can be added in different ways, by outlines,
small masses, etc. (See Plate XLII.)
_Sixth._ BY THE ADDITION OF BLACK, WHITE, GRAY, GOLD, OR SILVER.—When
two colors are not quite harmonious a small quantity of black will much
improve the combination. The strong contrast in depth between the black
and the colors seems to bring them together and so make them more
related. In Chinese coloring the happy effect of black should be noted,
also in old Japanese prints where the black hair of the figures acts in
the same way. This black, white, gray, gold, or silver may be added in
outlines, as the brass in Japanese cloisonné, or in such lines as these
| | | | | | | | drawn over the whole design, as seen in a wall paper,
softening the colors and blending them with each other. It may be as in
cement around and between the little bits of stone in mosaic, which
produces much the same effect in throwing a sort of bloom over the
colors. It may be in separating some part of the design from the other,
as seen in a wall decoration where there was a rectangle of
greenish-blue on a ground of dark violet-blue separated by white and
gold, of which the result was excellent; or it may be by little dots
over all the colors. (See Plate XLIII.)
_Seventh._ BY A DOMINANT HUE, which may run through all the design in
outlines, although colored outlines are not so good as those of black,
white, gray, gold, or silver, or those which may be added in small spots
over all the colors; or those which may be added in small quantities to
all the colors, changing their quality, and so bringing them to a
harmony of a dominant hue. To make this clear, look at Plate VI. In it
we have pure spectral yellow, pure spectral blue, and pure spectral red.
Put over it the blue screen found in the end of the book; the blue will
be seen to be bluer, the yellow will become a greenish-yellow, the red
will have a violet tinge to it. It will have become a harmony of the
dominant hue of blue, but as blue is a cold color the harmony will not
have become much more agreeable for the change. Try what making the same
colors a harmony of the dominant hue of yellow will do by putting over
it the yellow screen. The colors will be seen to be quite different. The
yellow will be changed very little, only growing slightly darker, the
red from the pure spectral hue will be moved toward the orange, and the
blue will be moved toward the green. This gives us a fine harmony, and a
favorite one with artists. Harmonies of the dominant hues of red,
orange, or yellow—warm colors—are much more generally liked than those
of blue, green, or violet, the cold colors. Age has done much for old
pictures by darkening and mellowing the paints and varnish so as to give
them harmony of the dominant hue. Jean François Millet’s have such
harmony already, owing to his fine eye for color; it will be noticed
that though he may have put many fairly bright colors, blue, red, green,
and yellow on one canvas, they all blend wonderfully together. “Harmony”
(we quote from Burnet on _Colour_, who speaks of Mengs) “he considers to
consist in the true equilibrium of the different colors regulated by the
general tone of light by which they are illuminated; thus, if the light
is yellow, all the colors will appear tinged with the same hue, as the
air interposed between them and the eye of the spectator is already
tinged with that color.” The harmony resulting from a dominant hue in
nature may also be seen in a spray of young leaves in spring when many
hues of green and yellow will be found connected and harmonized by the
red of the stem, which color runs through it all, carrying the red into
the greens and yellows. (See Plate XLIV.)
_Eighth._ BY INTERCHANGE.—If two unbroken masses of the same quantity of
strong color are put side by side the result may be unbearable. By
interchanging them, however, in this way, in what are called in design
diaper patterns, they may blend so as to be quite agreeable. Or they may
be blended in weaving by interchange, as if one thread be of green, the
next of purple, then again green. (See Plate XLV.)
_Ninth._ BY COUNTERCHANGE.—Examples of fine decorative art may be found
of two colors where the design and the ground change places at certain
intervals. It is an ingenious and beautiful way of obtaining variety of
coloring. To make it successful the amount of ground color should
balance that of the design. Plate XLVI gives us a good example.
_Tenth._ BY FORM AND TEXTURE, as by the curves in a vase or any object
which deepens the color as it goes away from the light and lightens it
as it turns toward the light; as in a curtain of which the folds modify
the color; as in rough and shaggy stuffs like plush, etc., which produce
constant variation and vibration of color, and just so much added charm.
The sparkle in jewels and colored glass, the sheen on satins, silks, and
metals, and the down on fruit also come under this rule, as so many
modifications of color tending to break up its flat surface and produce
harmony.
_Eleventh._ BY OUTLINING a mass of flat color in a design with black or
a dark color, then adding a second outline inside the first, but of
either a light tint of the same color as the dark mass or of another
color which harmonizes with it; then there will be found an agreeable
result. In fact, this will give a velvety appearance to the color.
In making a complex color arrangement it is well to begin by planning
first its leading parts; the additions will be much easier. Harmony of
color must come not alone from the object we are planning for, but also
from the place in which it is to be used, or the person who is to wear
it. The color of an object may be beautiful in itself, but much of that
beauty may be lost or neutralized by its surroundings. On the other
hand, an object giving but one good, simple color note may be so
appropriate to its position, may so exactly suit its surroundings, as to
complete a perfect harmony.
Colors should also be adapted to the form of the object or designs on
which they are to be used. Thus, when wishing to emphasize a part that
retires from the eye, retiring colors should be used, and _vice versa_.
In addition to the above rules a few suggestions for making
color-harmonies may be useful:
First, texture can be used to help the harmony.
Second, harmonies with warm colors predominating are preferred.
Third, if certain colors are to be used in any decoration it is wise to
put them together first in paint, paper, or plain materials, for the
reason that any unpleasant effect they may have on one another will show
more quickly in such materials; for the better the material, the more
readily the colors blend on account of the richer surfaces. In colored,
not painted, glass, this can be appreciated. It will be noticed that the
quality of the glass and the brilliancy of the light through it help to
harmonize the colors.
Fourth, a simple pattern, if pattern at all, should be tried first, as
the beauty of a good design may blind one to the quality of the
coloring.
Fifth, remember that combinations in which warm colors prevail are more
agreeable than those made mainly of cold colors, while it is also true
that the finest harmony of complex or various colors is that in which
there is a proper balance of both warm and cold colors, so used that
they enhance each other.
Sixth, it is safe to affirm that any colors may be used together with
success, provided that they are harmonized by the use of some of the
rules here given.
Any one unused to working with colored materials would do wisely to
begin cautiously, experimenting at first with simple combinations of one
color according to the first rule on page 75 for such combinations. In
some flowers we do see the two extremes of a color combined, as in a
jonquil the centre is of orange-yellow, the outer petals of
greenish-yellow, but they are rather the exception. Attention here
should also be had to the suggestion as to the use of differing
materials of one color. When some skill has been gained in the simplest
kind of color harmony, a single note of the complementary color may be
added. For example, see the dinner table harmony, page 69, of yellows
with a strong note of dark blue. When the eye has become somewhat
trained by practice of this kind, harmonies in triads or three colors
may be tried. Constant practice in pairs and triads cannot be too fully
recommended. Finally, trials may be made in complex combinations. One
other way to begin working in color is by the use of neutral or grayed
colors. Turner, the English artist, one of the greatest, if not the
greatest, of modern landscape painters, began in this way, in the use of
what are called “broken tints,” using finally in his pictures the
fullest palette of glowing colors.
Let us suppose three ways of being called upon to make a color harmony.
The first, that a designer has an order for a bouquet, a dress, a
curtain, or for the decoration of a room, but is limited by the terms of
the order to the use of certain colors. Then let him begin by studying
the qualities of those colors, and ask himself if they are cool or warm,
tints or shades, bright or dull, whether they are tones of one color,
contrasts or complex.
Again, suppose the order to be less limited in color, but that the
bouquet is to be put in a room of certain coloring, or the dress to be
worn by a person of such and such complexion and hair, or that the
curtain is to be hung in a north room where warm color is needed, or
perhaps in a light room where the southern sun needs to be toned down as
it enters, to prevent a glare. The general coloring of the room must
also be taken into account, but is it not seen that the answer must be
different in each case? One colored flower would give quite a different
effect from another, the dress that would suit a fair face with yellow
hair would be quite unlike one becoming to a dark skin with black hair,
while a curtain of soft yellow would tinge the northern light with some
of the sunshine color that never enters the dull room, and in the sunny
room a curtain of cool, non-luminous color would soften the glare and
add to its comfort and harmony. The light and shade in the room should
also be taken into account. The warm and cold tones can be arranged in
such balance that color will glow from the shadows.
In a third supposable case the designer is given unlimited choice of
colors. Then every resource can be called in, and the work resulting
should be beautiful in proportion to the freedom of the order.
Furthermore, colors should be appropriate; for a quiet room, a quiet,
commonplace person, for anything where quiet effect is desired, the
designer should adhere to quiet, neutral combinations, or to
combinations of one color. When a woman has a brilliant complexion,
black eyes and dark hair, gay colors may be worn and seem all in harmony
with the wearer, but these same gay colors would only emphasize the more
commonplace character and coloring of others.
Plates XLVII and XLVIII have been added here to show the true character
of _whites_ so-called; as blue-white, which is really a very pale tint
of blue; and how by _gradation_, one color changes into another in
nature.
CHAPTER VI
HISTORIC COLOR
To continue our color study we must next ask what has been done with it
in the past and how it has been used and combined. Our knowledge would
be incomplete without the experience of the past. The simplest and
easiest way will be to consult the _Grammar of Ornament_, by Owen Jones,
and _L’Ornement Polychrome_, by Racinet, the two best books of the kind,
remembering, however, that there are several editions of each, varying
in the quality of the coloring of the plates, and that even the best of
these do not succeed in thoroughly reproducing the rare harmonies of
color attained in the pictures, rugs, pottery, silks, metal, and jewel
work that served as models. For these we must turn to the museums, and
there is where the real lover of, and worker in, color must go for
examples of the most skilful use of color by man up to this time. To
many of them age has helped to give the great charm they possess, by
fading and refining the colors so that they blend more perfectly with
each other.
Unfortunately, no mention is made in the _Grammar of Ornament_ of
Japanese color, and Racinet gives but small space to it. Since the
publication of these books we have become familiar with it even in the
shop windows. We must bear in mind, however, that intercourse with
western nations and the increasing demand for Japanese goods is already
lowering their artistic standard, especially as they are making many
goods entirely for western markets, so that for their best work we must
look for old specimens made when Japan was a shut-in nation. As a whole,
nothing finer can be found. For pure coloring, for the most complex and
happiest combinations, they have no equals. Thorough study of these is
one of the best schools for designers. The Japanese themselves are
taught by being made to copy the best old works.
The Japanese love of color and their sense of fitness went so far that
they even changed the ornaments of their rooms with the changing
seasons. Nay, more, their women wore garments of which the embroidery
harmonized with the different months: cherry, apple, pear blossoms when
the fruit trees bloomed, colored leaves in the autumn, and so on,
keeping in tune with the year, and getting great enjoyment out of things
too little thought of by us.
At this point in his course the student will be wise to bear four things
in mind: First, that as this is the study of color, not form, he should
confine his attention to the colors as far as possible, as a fine design
may tend to warp the judgment of them. Secondly, that different lights
may vary what is really the same color. Thirdly, that if he isolates one
color from another by means of such a card with a small opening in it as
is to be found with the color screens at the end of this book, he will
be greatly helped to understand it. Fourthly, that he should pay special
attention to the proportions of the colors.
The following plates have been taken from specimens of color of
different nations, and are given in simple proportions of quality and
quantity, the latter in one-hundredths, as nearly as it is possible to
measure, when the design may be much complicated and broken up. In
studying these with reference to making the plates, it has seemed
probable that those who made them took their color in many instances
directly from nature; as, for instance, Plate LIV reminds one of the
qualities and quantities of color of a gayly feathered parrot. It is
hoped that these plates may help to create a taste for hard study of
whatever originals may be at hand in books, shops, private houses, or
museums.
Plate LXXXIV is a drawing of the antique rug from which Plate LXXXV is
reduced. By comparison the student will see how these and the other
plates have been made.
CHAPTER VII
NATURE COLOR
“And you, painter, who are desirous of great practice, understand that
if you do not rest it on the good foundation of Nature, you will labor
with little honor and less profit; and if you do it on a good ground,
your works will be many and good, to your great honor and advantage.
“A painter ought to study universal Nature, and reason much within
himself on all he sees, making use of the most excellent parts that
compose the species of every object before him. His mind will by this
method be like a mirror, reflecting truly every object placed before it,
and become, as it were, a second nature.”
From the _Treatise on Painting_, by Leonardo da Vinci, we copy the above
passages. May they serve as an introduction to the next branch of our
color study, and prove a stimulus of the highest kind not only to
painters, but to other artists. This final step in our study leads us to
Nature, a step easy to make, but once made, it places us in a school as
vast as it is great, and in one which we should never leave. Until our
attention is called to it, we are unconscious what apparently
unpromising material may yield new and beautiful motives for
color-harmonies.
“We do not sufficiently study from nature; we ought to draw and study
vegetable forms, shells, fishes, birds, beasts. A continual use of your
notebook should enable you to lay up an inexhaustible store of artistic
materials and suggestions.... Then, again, the study of the arrangement
of color of natural objects is almost entirely ignored; yet how pregnant
would it be with the most valuable and original suggestions. There is
hardly anything in nature that is not perfect in color. A dead sparrow
would enable you to arrange the marquetrie of a cabinet with faultless
harmony. Then, again, the varied tints of any color in light, shade, and
half tint are always harmonious. The gradations of color in a flower, if
properly studied, would teach a lady to dress with a taste that would be
the envy of her sex. That dress is not, more than it is, the study and
recognized province of an artist, is a matter of wonder.”[12]
Following closely upon this advice of Mr. Moody, an artist tells us that
in Algiers he has seen the Arab girls working the beautiful embroideries
so much admired with boxes of butterflies beside them, that from their
harmonious blending of colors they may gain fresh enthusiasm and
inspiration for their work. Those who are not privileged to go to
foreign lands in search of color motives can find them in our own
country, and those who can leave the city’s walls for but a day’s
holiday may find in the suburbs much that is new and helpful. Why not
make excursions for the purpose? A color hunt would surely be as cheap
and harmless as it would be enjoyable and helpful. In New York City
itself, the Museum of Natural History holds case upon case of birds,
butterflies, shells, and minerals that can give an infinite number of
novel motives, the florists’ shops contain many more, and, if one keeps
his eyes about him, even in the street he may meet with good and
unexpected combinations, as, for instance, Plate C, which is from the
flange of a propeller, of which the discoloration of the metal gave a
fine color motive.
The Japanese have always been distinguished for their intense sympathy
with nature, and we find that a large part of the enjoyment of their
lives the year round comes from their constant study and observation of
nature, the result, of course, showing itself in their art.
Condor says, in _The Flowers of Japan_, “Flower-viewing excursions,
together with such pastimes as shell-gathering, mushroom-picking, and
moon-viewing, form the favorite occupations of the holiday seeker
throughout the year,” and “Snow-viewing is included as one of the flower
festivals of the year.”
One caution must be given to those looking to nature for color motives,
which is this: to make allowance for the modifications of form,
contrast, composition, gradation, and atmosphere which may deceive us as
to the true color of our object. It can be more truly judged by being
looked at through a card with an opening in it, which thus isolates it
from the adjoining colors. “We should be cautious in basing our
conclusions even on observations made directly from nature itself; for
here our judgment is liable to be warped by the presence of beautiful
form, good composition, exquisite gradation, and high luminosity.”[13] A
few plates made directly from nature are given, not for the sake of the
imitation, but to suggest some of the many directions in which to look
for fresh inspiration in color-designing.
Students in art and science are constantly bidden to go to nature for
the abundant secrets she is ready to reveal to those who seek and prize
them, and why should not workers in simpler, if not lower, occupations,
be sent to the same source, which is so bountiful as to contain
something for every one, and so, profiting by her fulness, learn at the
same time to find contentment and joy in their work?
CHAPTER VIII
SPECIAL SUGGESTIONS
After having carried the study of color as far as the limits of our plan
allow, a few simple, practical suggestions may not come amiss.
Students of painting and design will find Rood’s many experiments with
colors in his _Modern Chromatics_ minute and valuable, especially those
on the effects of mixing paints and their consequent loss of luminosity.
If their time for the scientific study of color be limited, _Colour_, by
Church, is well adapted for their purpose, being small, clear, and
admirably illustrated. It gives briefly the gist of what has been
written heretofore on the subject.
Burnet, in _Colour in Painting_, is helpful on the artistic side. He
says, “Harmony arising from the reflection of one color upon the
adjoining, so as to produce a blending and union of the several hues,
has been practised with the greatest success by many of the Dutch
school, producing a chain of connections between the two extremes of hot
and cold.”
As to materials for painting, Church’s _Chemistry of Paints and
Painting_ gives much useful information as to their substance,
permanence, adulteration, and effect upon one another. Recollecting, as
we do from experiments with Maxwell’s disks, that neutral colors are
simply any one of the six colors diluted or changed by black or white,
or black and white, or other colors, it is interesting to know that an
ingeniously illustrated book, published in Paris by E. Guichard, _La
Grammaire de la Couleur_, gives abundant examples of neutral colors, and
printed beside them samples of the colors of which they are made. The
author suggests that in embroidery any of these combinations can be made
by twisting together threads of each of the colors required to make the
neutral color, as by Plates CXVI and CXVII.
In the matter of the choice of draperies and any kind of still life to
be used to paint from, one of our leading artists advised his pupils
generally to select _old_ things as being usually finer than new ones,
because age mellows and refines colors; and also that objects of _one
country_ harmonize better with each other than those of different
countries, and those of _one period_ of _one country_ still better.
Florists, gardeners, and fruit-dealers will find a large part of
Chevreul’s book devoted to color as applied to horticulture, with notes
of his experiments in the arrangement of plants and flowers.
While other nations love flowers and use and cultivate them, the
Japanese, along with their great skill in growing them, have elaborated
an art of arranging them, of which art a full and clear account,
admirably illustrated, is given in _The Flowers of Japan, and the Art of
Floral Arrangement_, a recent work published in Tokio. Many features of
this art are very attractive, and much can be learned from them even if
we do not wish to carry it to the same extent of form and ceremony. They
make much of common flowers, and while our admiration is mainly given to
the blossoms, they value every part of the plant, using stem, leaf, and
bud in their arrangements so as to display each to advantage, with the
flower as the crowning beauty of the whole. The author writes, “The
arrangement of flowers has always been regarded in Japan as an
occupation befitting learned men and literati. Ladies of the aristocracy
have practised it, as they have other arts, but it is by no means
considered as an effeminate accomplishment. Priests, philosophers, and
men of rank who have retired from public life have been its most
enthusiastic followers. Various virtues are attributed to professors of
the art, who are considered to belong to a sort of aristocracy of
talent, enjoying privileges of rank and precedence in society to which
they are not by birth entitled. A religious spirit, selfdenial,
gentleness, and forgetfulness of cares are some of the virtues said to
follow from a habitual practice of the art of arrangement of
flowers.”[14]
The fact that flowers usually make a focus wherever they may be
placed,—on a table, in a room, or in a landscape,—on account of their
comparative purity and luminosity of color, increases their beauty and
shows the skill of the person who arranges them, but there is also a
corresponding disadvantage that if discord there be, the arrangement is
all the more prominent, the eye being called to it immediately.
While we speak of the “comparative purity and luminosity” of colors we
may at the same time quote from one of a series of interesting articles
by F. Schuyler Matthews:[15]
“Even our anxiety to obtain definite names for definite colors is
completely overshadowed by the stronger wish to understand the secret of
their harmonious relationship.
“Now let us try to discover if we can some small portion of this secret.
Why is it that nature nearly always puts yellow stamens in her white
flowers? Why is it that nearly all of her white flowers are _not_ a
colorless pure white? Why is it difficult for us to find a positively
blue or positively yellow flower? What is the reason that there is such
a multitude, such an infinity of color tones in the flowers, on the
earth, over the sea, in the sky, everywhere? What a perplexing,
changeable, evasive thing the whole world of color is! What is the
reason of it all? Simply this: Nature abhors the commonplace—she
despises crude red, yellow, and blue. Variety she _will_ have; harmony
she insists upon; positivism she only employs to emphasize her love of
the infinite. Thus we have one rather questionably perfect yellow
marigold and a dozen others which have more orange in them than yellow;
one scarlet-lake colored gladiolus and an infinity of red roses, which
cannot be called anything which is an approach to the pure red color
which scarlet-lake nearest resembles. We have the forget-me-not, which
is nearly a true blue, but we have a host of so-called blue flowers,
every one of which has barely fifty per cent. of the true sky blue in
its composition.”
It seems as though in the face of these facts it would be hardly
possible to designate any special flowers which possess the prismatic
colors in an absolutely pure form.
The rules for making harmonies can be made to apply to the arrangements
of gardens, shop windows, bouquets and other decorations, as well as to
the catalogues of florists, etc. A recently issued catalogue strikes a
true color chord in its cover. It shows a bunch of sweet peas and leaves
of agreeable colors well balanced by the background of pale neutralized
green, thus making a true and tempting harmony to lovers of flowers and
color.
Salesmen and women would be helped in their line of work by studying
particularly the qualities of colors, and the effect on them of
different kinds of artificial light. Knowledge of the contrasts of color
will help greatly in showing goods to advantage, as one color may be
made to heighten the color of another, and counters and shop windows may
be well arranged according to the rules given for different classes of
harmonies.
Women in their dress, embroidery, and house decorations have immense
opportunities; no art is finer or higher for a woman however placed than
that of being a harmonious whole herself, and of making or adding to a
harmonious home, in which the unconscious influence of good color holds
a large share. To do this it must not be thought that much money is
necessary; it adds, of course, to the ability of choice among fine
goods, but cheap materials of good colors wisely combined may produce a
far happier, we may even say healthier, result, than an unlimited purse
without knowledge and taste. This is difficult to overestimate. No woman
has a right to say she has no influence, conscious or unconscious, on
the world around her. Does not much of the influence for good or ill
come from a woman’s dress? It may be cheap, it may be plain, but it
should be, and can be, in good taste and in harmony with the character
and position of the person who wears it, and knowledge of one’s own
coloring and of that suited to it is one of the most important details.
Women in their dress, milliners and dressmakers, would do well to
realize that a dress or bonnet may be good in color in itself, when it
is a whole, but when worn it becomes only part of a whole and will be
harmonious and becoming, or inharmonious and unbecoming, as it does, or
does not, suit the coloring of the wearer. To wear anything simply
because it is beautiful is unwise; it should first of all be suitable.
Study of the law of contrast of color will here help immensely.
For instance, according to that law, red and yellow next to each other
make the yellow seem more yellow, the red more red, so if a woman with a
sallow, colorless complexion wears pink roses or pink ribbons, the
yellow in her skin is intensified and the small amount of pink in her
cheeks is lost. As blue is the complement of yellow, a bright blue will
have a still worse effect, but let her try a shade of not too intense
yellow; the skin will seem to lose _its_ yellow, and whatever pink there
may be will be brought out by the contrast. So other peculiarities may
be softened or increased by contrast or harmony of color. White hair is
made to seem whiter by the contrast of black or a very dark color; black
hair and rosy cheeks are made more brilliant by a white surrounding;
delicate blonde coloring will be made insipid and colorless by too
strong colors, and a plain face may be made attractive by surrounding it
with harmonizing coloring.
APPENDICES
APPENDIX A
DEFINITIONS
ABSOLUTE COLORS: _see_ Local Colors.
ADVANCING COLORS: those of the longer wave lengths; those that seem to
come forward; but each color only advances or recedes according to
its relation to some other color. _See_ Luminosity.
ANALOGOUS HARMONY: _see_ Harmony.
BEAM OF LIGHT: a linear portion[16] of light made of a number of rays.
BRIGHTNESS: _see_ Luminosity.
BROKEN COLOR: a color changed by the addition of black and white or
gray.
COLD COLORS: those of the shorter wave lengths, such as green, blue,
and violet.
COLOR: an internal sensation, produced by various causes, chiefly by
waves of incomplete light acting on the eye; as used by artists,
the rich, harmonious effect, or full appearance produced by
certain combinations of colors.
COLOR CHART: a systematic arrangement of colors in a geometrical
design such that every variation and combination of hue, tint, and
shade is in its proper place and in correct relation to all other
hues, tints, and shades.
_Advancing_ _Colors_, see under Advancing;
_Bright_ „ „ „ Brightness;
_Broken_ „ „ „ Broken;
_Cold_ „ „ „ Cold;
_Complementary_ „ „ „ Complement;
_Complements of_ „ „ „ „
_Constants of_ „ „ „ Constants;
_Contrast of_ „ „ „ Contrast;
_Harmony of_ „ „ „ Harmony;
_Hue of_ „ „ „ Hue;
_Intense_ „ „ „ Saturated;
_Local_ „ „ „ Local;
_Luminosity of_ „ „ „ Brightness;
_Luminous_ „ „ „ Luminous;
_Neutral_ „ „ „ Neutral;
_Normal_ „ „ „ Normal;
_Opaque_ „ „ „ Opaque;
_Pigment_ „ „ „ Pigment;
_Primary_ „ „ „ Primary;
_Prismatic_ „ „ „ Prismatic;
_Pure_ „ „ „ Pure;
_Quality of_ „ „ „ Constants;
_Saturated_ „ „ „ Saturated;
_Secondary_ „ „ „ Secondary;
_Spectral_ „ „ „ Normal;
_Tertiary_ „ „ „ see under Tertiary;
_Transparent_ „ „ „ Transparent;
_Value of_ „ „ „ Values;
_Warm_ „ „ „ Warm.
COMPLEMENTS or
COMPLEMENTARY COLORS: any color and the color of its after-image; any
two colors which when mixed make white.
COMPOUND or MIXED COLOR: a color changed or neutralized by the
addition of another color or colors.
CONSTANTS or QUALITIES OF COLORS: Hue, Purity, and Luminosity.
CONTRAST: _see_ Simultaneous Contrast, page 53.
CONTRASTED HARMONY: _see_ Harmony.
DIFFRACTION GRATING: a polished metal or brass surface ruled with fine
lines and used instead of a prism to divide a ray of light and
produce a spectrum.
DOMINANT HARMONY: _see_ Harmony.
DOMINANT HUE: _see_ Hue.
HARMONY: the pleasing effect due to the action upon each other of
colors improved and made more beautiful by being put together;
such an agreement between the different hues, tints, or shades of
a design as will produce unity of effect.
_Analogous Harmony_: an agreeable combination of colors that are
related to a fundamental color.
_Complex Harmony_: an agreeable combination of three or more
colors, or with the addition of black or white, or gray, or
gold, or silver, or any or all of them.
_Contrasted or Complementary Harmony_: an agreeable combination
of any pair of complementary colors, or of their tints or
shades, or tints and shades.
_Dominant Harmony_: an agreeable combination of colors in which
one color predominates by modifying all the other colors, by
serving as a ground, or by being added in small portions all
over the design.
_One-color Harmony, also called a Harmony of Self-tones_: an
agreeable combination of one color used in tints or shades, or
tints and shades, or hue and tints, or hue and shades, or hue,
tints, and shades.
HUE: color, by wave length, much the same as color; the chief
quality by which one color differs from another color, as red
differs from blue or green.
_Dominant Hue_: the hue which predominates through the larger
part of a design or composition.
INTENSE: _see_ Saturated.
LIGHT: the chief agent that produces vision.
LOCAL COLOR: the actual color of an object unaffected by shadows
or reflected lights.
LUMINOSITY: the strength of the light sent to the eye by any
color; a luminous color sends more than a non-luminous one.
LUMINOUS COLORS: those which reflect light in large quantities;
the colors of the long wave lengths are more luminous than those
of the short ones.
NEUTRAL COLORS: a term often incorrectly applied to black, white,
gray, gold, and silver.
NORMAL, SPECTRAL, PRIMITIVE, or PRISMATIC COLORS: those seen in
the rainbow and the solar spectrum are generally accepted as such
and are used as the standard for the study of colors. Pigment
colors can only imitate these colors imperfectly.
OIL COLORS: pigments ground in oil.
OPAQUE COLORS: pigment colors which are so thick that paper or
canvas cannot be seen through them.
PIGMENTS: materials from which paints, inks, dyes, and stains are
made.
PIGMENT COLORS: paints, inks, dyes, and stains used in the fine
and industrial arts.
PRIMARY COLORS: red, blue, and yellow; so called because it was
supposed that all other colors could be made from them.
PRIMITIVE COLORS: _see_ Normal Colors.
PRISM: a triangular or three-sided bar of clear glass.
PRISMATIC COLORS: those that appear when a ray of white light
shines through a prism. _See_ Normal Colors.
PURE COLORS: those unmixed with white light or any other color;
those of the spectrum.
PURITY OF COLORS: the absence of an admixture of any other color
or colors, or white or black.
QUALITIES OF COLORS: _see_ Constants of Colors.
RAY OF LIGHT: a small linear portion or streak of light which may
be white or any color.
RECEDING COLORS: those which seem to retire or recede from the
eye; those of the short wave lengths.
RETINA: a thin inner lining of the eye. _See_ page 20.
SATURATED or INTENSE COLORS: colors that are pure and luminous to
their greatest extent; without any mixture of white light.
SECONDARY COLORS: orange, green, and violet; so called because it
has been thought they were made from combinations of the primary
colors.
SELF-TONES: _see_ Tone.
SHADE: a tone of a color darkened by the addition of black
pigments to paints, inks, dyes, and stains, or by the action of
diminished light on immaterial colors.
SHADOW: about the same as _shade_, as generally used, but for the
sake of clearness it is best to designate by _shadow_ those parts
of an object which do not receive any direct rays of light, while
those surfaces which receive but little direct light, and are thus
intermediate in value between the light and the shadow, are called
_shade surfaces._ Then the term _cast-shadow_ denotes the shadow
projected by one body on another body or surface.
SOLAR SPECTRUM: _see_ Spectrum.
SPECTRAL COLORS: _see_ Normal Colors.
SPECTRUM: the result of the decomposition of a ray of sunlight
into all the colors which form it; the streak of colors formed by
a ray of light that has passed through a prism or over a
Diffraction Grating.
STANDARD COLORS: those of the spectrum.
TERTIARY COLORS: citrine, olive, and russet, so called because it
has been thought that they were made from combinations of the
secondary colors.
TINT: a tone of a color produced by the addition of white to oil,
water to water, and white light to immaterial colors.
TONE: the given state of a color as it may be pure, luminous,
broken, compound, a tint, or a shade.
_Self-tones_: tones of the same color.
TRANSPARENT COLORS: those in which the color tints the paper or
canvas, which shows through the color, thus helping to produce the
effect.
VALUES: the relative amount of light contained in the different
colors of a picture, design, or composition; the lightest or most
luminous being called the highest in value.
WARM COLORS: those of the longer wave lengths, as yellow, orange,
and red.
WATER COLORS: pigments prepared to be used with water.
WAVE LENGTHS OF COLORS: objects having no color in themselves
possess the power of reflecting waves of light; waves of light of
varying lengths give us the effect of color. Either the amount of
motion of the ether, or _height_ of the wave, produces the
intensity or brightness of the light, and the _length_ of the wave
produces the color; _red_ has a wave length of about
7000/250,000,000 of an inch, _orange_ 5979/250,000,000, _yellow_
5802/250,000,000, _green_ 5272/250,000,000, _blue_
4732/250,000,000, and _violet_ 4059/250,000,000.
APPENDIX B
As whatever may be of value in this little work on a theme so large and
complex as color must of necessity be drawn largely from what has been
written before, the following list of books and authors is given, partly
as having been referred to during its preparation, and partly as a
suggestion for further reading to any student of color who can afford
the time and labor necessary to the acquisition of a larger and wider
comprehension of a subject which can be treated only scantily enough
within the scope of a single small volume.
Although no pretence is here made to completeness as bibliography, yet
it is believed that the fifty works enumerated below fairly cover the
history of color and of its ever-growing relation to Art and
Manufacture. For the sake of convenience the list is chronologically
arranged.
A TREATISE ON PAINTING. By Leonardo da Vinci. (London, 1835: Nichols &
Sons.) (Translation.)
COLOUR. By M. E. Chevreul. (London, 1839: Geo. Bell & Sons.)
(Translation.)
THEORY OF COLOUR. By J. W. von Goethe. (London, 1840: J. Murray.)
(Translation, with notes, by Sir Chas. Eastlake.)
RUDIMENTS OF THE PAINTER’S ART; OR A GRAMMAR OF COLOURING. By George
Field. (London, 1850: Weale.)
DARSTELLUNG DER FARBENLEHRE UND OPTISCHE STUDIEN. By W. H. Dove.
(Berlin, 1853.)
RESEARCHES ON COLOUR-BLINDNESS. By G. Wilson. (Edinb., 1855:
Sutherland & Knox.)
GRAMMAR OF ORNAMENT. By Owen Jones. (London, 1856.)
ON COLOUR (ETC.). By Sir J. S. Wilkinson. (London, 1858: J. Murray.)
DIE FARBENHARMONIE IN IHRER ANWENDUNG AUF DIE DAMENTOILETTE. By R.
Adams. (Leipzig, 1862: J. J. Weber.)
PRACTICAL HINTS ON COLOUR IN PAINTING. By John Burnet. (London, 1865:
J. & J. Leighton.)
DES COULEURS AU POINT DE VUE PHYSIQUE, PHYSIOLOGIQUE ARTISTIQUE ET
INDUSTRIEL. By Ernst Bruecke. (Paris, 1866: J. B. Baillière &
fils.)
THE PRINCIPLES OF THE SCIENCE OF COLOUR. By William Benson. (London,
1868: Chapman & Hall.)
COLOR. By M. É. Cavé. (New York, 1869.) (Translation.)
MANUAL OF THE SCIENCE OF COLOUR. By W. Benson. (London, 1871: Chapman
& Hall.)
THE THEORY OF COLOURING. By J. Bacon. (London, 1872: G. Rowney &
Company.)
L’ORNEMENT POLYCHROME. By A. Racinet. 2 vols. F^o. (Paris, 1873–86:
Firmin Didot.)
A GRAMMAR OF COLOURING APPLIED TO DECORATIVE PAINTING AND THE ARTS. By
George Field. (London, 1875: Lockwood & Company.)
THEORY OF COLOR. By Dr. Wilhelm von Bezold. (Boston, 1876: L. Prang &
Company.) (Translation.)
DIE GESCHICHTLICHE ENTWICKELUNG DES FARBENSINNES. By Hugo Magnus.
(Leipzig, 1877: Veit.)
THE PRINCIPLES OF LIGHT AND COLOR. By E. D. Babbitt. (New York, 1878:
Babbitt & Company.)
COMPLÉMENT DES ÉTUDES SUR LA VISION DES COULEURS PAR E. CHEVREUL. By
M. E. Chevreul. (_In_ Institut de France. _Académie des
Sciences_—Memoires. T. 41, partie 2.) (Paris, 1879.) (English
translations exist.)
MODERN CHROMATICS, WITH APPLICATION TO ART AND INDUSTRY. By O. N.
Rood. (New York, 1879: D. Appleton.)
THE COLOUR SENSE: ITS ORIGIN AND DEVELOPMENT. By Grant Allen. (London,
1879: Trübner & Company.)
COLOR-BLINDNESS. By B. Joy Jeffries. (London, 1879.)
A HANDBOOK FOR PAINTERS AND ART STUDENTS ON THE CHARACTER AND USE OF
COLOURS. By W. J. Muckley. (London, 1880: T. & C. Baillière.)
SIGHT; AN EXPOSITION OF MONOCULAR AND BINOCULAR VISION. By Joseph Le
Conte. (New York, 1881: D. Appleton & Company.)
UNTERSUCHUNGEN ÜBER DEN FARBENCONTRAST VERMITTELST ROTIRENDER
SCHEIBEN. By G. B. T. Schmerler. (Leipzig, 1882: W. Engelmann.)
LA GRAMMAIRE DE LA COULEUR. By E. Guichard. 3 vols. (Paris, 1882: H.
Cagnon.)
DIE FARBENWELT. By Max Schasler. (Berlin, 1883: C. Habel.)
THE LAWS OF CONTRAST OF COLOUR AND THEIR APPLICATION TO THE ARTS AND
MANUFACTURES. By M. E. Chevreul. (London, 1883: Routledge.)
(Translation.)
COLOUR. By A. H. Church. (London, 1887: Cassell & Company.)
IL LIBRO DEI COLORI. SEGRETI DEL SECOLO XV. Da O. Guerrini & C. Ricci.
(Bologna, 1887: Romagnoli Dall’ Acqua.)
COLOUR, AN ELEMENTARY TREATISE. By C. T. Whitmell. (Cardiff, 1888: W.
Lewis.)
F. C. SCHROEDER’S “SYSTEMATIC INDEX.” By F. C. Schroeder. (Boston,
1888: F. C. Schroeder.)
IRIS: STUDIES IN COLOUR AND TALKS ABOUT FLOWERS. By A. F. Dielitzsch.
(Edinburgh, 1889: T. & T. Clark.) (Translation.)
RÉPERTOIRE CHROMATIQUE. By Charles La Couture. (Paris, 1890: Gauthier,
Villars & Fils.)
THE CHEMISTRY OF PAINTS AND PAINTING. By A. H. Church. (London, 1890:
Seeley & Company.)
COLOUR IN WOVEN DESIGN. By R. Beaumont. (London, 1890: Whittaker &
Company.)
COLOUR-BLINDNESS AND COLOUR-PERCEPTION. By F. W. Edridge Green.
(London, 1891: Kegan Paul, Trench, Trübner & Company.)
A TEXT-BOOK OF PHYSIOLOGY. By M. Foster. (London, 1891: Macmillan &
Company.)
FLOWERS OF JAPAN AND THE ART OF FLORAL ARRANGEMENT. By Condor.
(Yokohama, 1891: Kelly & Walsh.)
COLOUR MEASUREMENT AND MIXTURE. By W. de W. Abney. (London, 1891.)
HARMONIOUS COLOURING. 3 vols. F^o. By C. H. Wilkinson. (Manchester,
1891: Harmonious Colouring Company.)
COLOUR VISION. By E. Hunt. (Glasgow, 1892: Smith.)
ON A COLOR SYSTEM. By O. N. Rood. (New Haven, 1892.)
STUDENTS’ TEXT-BOOK OF COLOR; OR, MODERN CHROMATICS. By O. N. Rood.
(New York, 1892: D. Appleton & Company.)
COLOUR VISION. By W. de W. Abney. (London, 1895; Low.)
COLOR-VISION AND COLOR-BLINDNESS. By J. E. Jennings. (Phila., 1896:
Davis Company.)
COLOUR IN NATURE. A STUDY IN BIOLOGY. By M. I. Newbegin. (London,
1898: J. Murray.)
[Illustration:
PLATE I
WOOLS AS SORTED BY A COLOR-BLIND MAN
]
[Illustration:
PLATE II
SOLAR SPECTRA
]
[Illustration:
PLATE III
]
TABLE OF SPECTRAL COLORS
┌──────┬───────────────┬──────┬────────────────────┬──────────┬───────┐
│Names │Paints used │ Wave│Purity │Luminosity│Warm or│
│ │ │length│ │ │Cold │
├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
│Violet│French Blue and│ 4.059│As great as can be │ 6 │Cold │
│ │Crimson Lake │ │given by pigments │ │ │
├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
│Blue │French Blue │ 4.732│ „ │ 5 │Cold │
├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
│Green │Emerald Green │ 5.271│ „ │ 3 │Cold │
├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
│Yellow│Aurora Yellow │ 5.808│ „ │ 1 │Warm │
├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
│Orange│Vermilion and │ 5.972│ „ │ 2 │Warm │
│ │Cadmium │ │ │ │ │
├──────┼───────────────┼──────┼────────────────────┼──────────┼───────┤
│Red │Vermilion and │ 7.000│ „ │ 4 │Warm │
│ │Crimson Lake │ │ │ │ │
└──────┴───────────────┴──────┴────────────────────┴──────────┴───────┘
[Illustration:
PLATE IV
THE SPECTRAL COLORS
]
(a) In their order of Luminosity
(b) Pure and Grayed
[Illustration:
PLATE V
ADVANCING AND RETIRING COLORS
]
[Illustration:
PLATE VI
ADVANCING AND RETIRING COLORS
See page 99. The color screens at end of volume are for use with this
plate.
]
[Illustration:
PLATE VII
TINTS
]
[Illustration:
PLATE VIII
SHADES
]
[Illustration:
PLATE IX
VIOLET
with its extremes
]
[Illustration:
PLATE X
BLUE
with its extremes
]
[Illustration:
PLATE XI
GREEN
with its extremes
]
[Illustration:
PLATE XII
YELLOW
with its extremes
]
[Illustration:
PLATE XIII
ORANGE
with its extremes
]
[Illustration:
PLATE XIV
RED
with its extremes
]
[Illustration:
PLATE XV
SHADES BY CONTRAST
]
[Illustration:
PLATE XVI
SPECTRAL COLORS
ON BLACK, WHITE AND GRAY
]
[Illustration:
PLATE XVII
WHITE
ON SPECTRAL COLORS
]
[Illustration:
PLATE XVIII
BLACK
ON SPECTRAL COLORS
]
[Illustration:
PLATE XIX
GRAY
ON SPECTRAL COLORS
]
[Illustration:
PLATE XX
SPECTRAL RED WITH ITS COMPLEMENT
N. B. The blue-green complementary is here imitated as closely as
possible, but when spontaneously called up by the eye it is really
brighter than the white paper.
]
[Illustration:
PLATE XXI
SPECTRAL RED DISK FOR EXPERIMENT IN COMPLEMENTS
Gaze steadily at the red disk for three minutes, cover it quickly with
the preceding blank page without removing the eyes and you will see
its complementary image.
]
[Illustration:
PLATE XXII
SPECTRAL RED AND ITS COMPLEMENT, BLUE-GREEN, IN THEIR RELATIVE
PROPORTIONS
The gray in the centre of this Plate is the gray produced by the above
two complements when mixed on a color wheel, and corresponds exactly
to the gray produced by the given amounts of black and white.
(N. B. The above proportions were obtained in an average light. They
will vary with all variations in the quality and quantity of the
illumination. This applies as well to the following four Plates.)
]
[Illustration:
PLATE XXIII
SPECTRAL ORANGE AND ITS COMPLEMENT, GREEN-BLUE, IN THEIR RELATIVE
PROPORTIONS
The gray in the centre of this Plate is the gray produced by the above
two complements when mixed on a color wheel, and corresponds exactly
to the gray produced by the given amounts of black and white.
(N. B. The above proportions were obtained in an average light. They
will vary with all variations in the quality and quantity of the
illumination.)
]
[Illustration:
PLATE XXIV
SPECTRAL YELLOW AND ITS COMPLEMENT, SPECTRAL BLUE,
OR
SPECTRAL BLUE AND ITS COMPLEMENT, SPECTRAL YELLOW, IN THEIR RELATIVE
PROPORTIONS
The gray in the centre of this Plate is the gray produced by the above
two complements when mixed on a color wheel, and corresponds exactly
to the gray produced by the given amounts of black and white.
(N. B. The above proportions were obtained in an average light. They
will vary with all variations in the quality and quantity of the
illumination.)
]
[Illustration:
PLATE XXV
SPECTRAL GREEN AND ITS COMPLEMENT, PURPLE, IN THEIR RELATIVE
PROPORTIONS.
The gray in the centre of this plate is the gray produced by the above
two complements when mixed on a color wheel, and corresponds exactly
to the gray produced by the given amounts of black and white.
(N. B. The above proportions were obtained in an average light. They
will vary with all variations in the quality and quantity of the
illumination.)
]
[Illustration:
PLATE XXVI
SPECTRAL VIOLET AND ITS COMPLEMENT, YELLOW-GREEN, IN THEIR RELATIVE
PROPORTIONS
The gray in the centre of this plate is the gray produced by the above
two complements when mixed on a color wheel, and corresponds exactly
to the gray produced by the given amounts of black and white.
(N. B. The above proportions were obtained in an average light. They
will vary with all variations in the quality and quantity of the
illumination.)
]
[Illustration:
PLATE XXVII
MILTON-BRADLEY COLOR MACHINE
]
[Illustration:
PLATE XXVIII
TABLE OF COMPLEMENTS ARRANGED IN
PAIRS
]
[Illustration:
PLATE XXIX
TABLE OF COMPLEMENTS ARRANGED IN A
CIRCLE
]
[Illustration:
PLATE XXX
CONTRAST DIAGRAM
See page 58. Transparency accompanying the volume is
for use with this plate.
]
[Illustration:
PLATE XXXI
COLOR ANALYSIS FROM A PRIZE DINNER
TABLE
A harmony of yellow and blue.
See page 70.
]
[Illustration:
PLATE XXXII
]
COLOR ANALYSIS FROM TEACUP AND SAUCER
Yellow Tint 65
Yellow Shade 5
Blue Tint 20
Spectral Blue 10
———
100
[Illustration:
PLATE XXXIII
]
[Illustration:
PLATE XXXIV
]
COLOR ANALYSIS OF A BOOK ADVERTISEMENT
White 60
Black 22
Yellow 18
———
100
[Illustration:
PLATE XXXV
HARMONY HELPED BY OUTLINE
]
[Illustration:
PLATE XXXVI
GOOD DYADS OR PAIRS
]
[Illustration:
PLATE XXXVII
GOOD TRIADS
]
[Illustration:
PLATE XXXVIII
HARMONY BY GRADATION
]
[Illustration:
PLATE XXXIX
HARMONY BY CHANGE OF QUALITY
(In the yellow.)
]
[Illustration:
PLATE XL
HARMONY BY CHANGE OF QUANTITY
]
[Illustration:
PLATE XLI
HARMONY BY CHANGE OF BOTH QUANTITY AND QUALITY
Three yellows, two blues.
]
[Illustration:
PLATE XLII
HARMONY BY THE ADDITION OF
ANOTHER COLOR
]
[Illustration:
PLATE XLIII
HARMONY BY THE ADDITION OF BLACK
]
[Illustration:
PLATE XLIV
HARMONY FROM A DOMINANT HUE
]
[Illustration:
PLATE XLV
HARMONY BY INTERCHANGE
]
[Illustration:
PLATE XLVI
HARMONY BY COUNTERCHANGE
]
[Illustration:
PLATE XLVII
THE TRUE CHARACTER OF SOME OF THE SO-CALLED “WHITES”
(which are really pale tints)
]
[Illustration:
PLATE XLVIII
SOME CHANGES BY GRADATION FROM ONE COLOR TO ANOTHER
]
[Illustration:
PLATE XLIX
]
COLOR ANALYSIS FROM ASSYRIAN TILES
Blue-Green Ground 60
Greenish Yellow 3
Orange 6
Purple-Brown 6
White 20
———
100
The variation of color in the blue-green tiles is especially fine.
[Illustration:
PLATE L
]
COLOR ANALYSIS FROM ASSYRIAN TILES
Blue 35
Yellow 30
White 15
Dull Red 10
Black 10
———
100
[Illustration:
PLATE LI
]
COLOR ANALYSIS FROM ASSYRIAN TILES
Blue 69
Deep Yellow 20
Light Yellow 10
White 1
———
100
[Illustration:
PLATE LII
]
COLOR ANALYSIS FROM A MUMMY COVER
Pale Yellow 34
Green 27
Blue 25
Red 6
Gold 4
Black 2
White 2
———
100
[Illustration:
PLATE LIII
]
COLOR ANALYSIS FROM AN EGYPTIAN MUMMY CASE
Black Ground 63
Yellow (all through design) 17
Green 9
Red 4
Light Red 3
Blue 3
White 1
———
100
[Illustration:
PLATE LIV
]
COLOR ANALYSIS FROM A MUMMY CASE
Green 36
Blue-Green 24
Yellow 14
Red 11
White 10
Dull Red 3
Black 2
———
100
Much like a parrot’s plumage.
[Illustration:
PLATE LV
]
COLOR ANALYSIS FROM A MUMMY CLOTH
Purple Red 91
Black 5
Pale Gray 4
———
100
Dull yellow ground.
[Illustration:
PLATE LVI
]
COLOR ANALYSIS FROM A MUMMY CLOTH
Dull Green 29
Bright Green 10
Red 10
Blue 5
Orange 4
Yellow 2
Ground Color 40
———
100
[Illustration:
PLATE LVII
]
COLOR ANALYSIS FROM A MUMMY CLOTH
Deep, Dull Blue 50
Gray 43
Green 3
Dull Red 2
Pale Red 1
Yellow 1
———
100
[Illustration:
PLATE LVIII
]
COLOR ANALYSIS FROM A MUMMY CLOTH
Light Blue 32
Dark Blue 17
Light Red 33
Dark Red 12
Black Stems 5
———
100
Gray ground; the ornament a stripe of embroidered leaves and stems.
[Illustration:
PLATE LIX
]
COLOR ANALYSIS FROM A MUMMY CLOTH
Red 25
Green 25
Yellow 25
Blue 25
———
100
Gray ground.
[Illustration:
PLATE LX
]
COLOR ANALYSIS FROM A MUMMY CLOTH
Red 50
Green 24
Blue 20
Orange 6
———
100
Light gray ground.
[Illustration:
PLATE LXI
]
COLOR ANALYSIS FROM A MUMMY CLOTH
Maroon 92
Dull Yellow 5
Cream White 3
———
100
Green linen ground with red border. Cream and yellow runs through
design in small portions.
[Illustration:
PLATE LXII
]
COLOR ANALYSIS FROM AN EARLY GREEK VASE
Gray 72
Black 21
Dull Red 7
———
100
[Illustration:
PLATE LXIII
]
COLOR ANALYSIS FROM A GREEK VASE
Light Red 35
Dark Red 19
Black 45
White 1
———
100
The Ground partly red, partly black, white in fine outlines or small
dotted outlines.
[Illustration:
PLATE LXIV
]
COLOR ANALYSIS FROM A GREEK VASE
Dull Orange 60
Dull Red 10
Black 30
———
100
[Illustration:
PLATE LXV
]
COLOR ANALYSIS FROM A GREEK VASE
Gray Ground 71
Black 24
Red 5
———
100
[Illustration:
PLATE LXVI
]
COLOR ANALYSIS FROM ARAB MOSAICS
Black 33
White 26
Light Red 21
Dull Red 20
———
100
[Illustration:
PLATE LXVII
]
COLOR ANALYSIS FROM ARABIAN ILLUMINATION
Blue 20
Green 20
Red 20
Pale Red 10
Gray 8
Gold 10
White 12
———
100
[Illustration:
PLATE LXVIII
]
COLOR ANALYSIS FROM MOORISH TILES
Olive-Green 30
White 20
Yellow 20
Violet 30
———
100
[Illustration:
PLATE LXIX
]
COLOR ANALYSIS FROM A PANEL OF THE ALHAMBRA
Blue 40
Red 30
Gold 24
White 6
———
100
[Illustration:
PLATE LXX
]
COLOR ANALYSIS FROM A PANEL OF THE TAJ MAHAL, INDIA
White Ground 52
Pale Yellow 10
Deep Yellow 7
Red 5
Pale Green 10
Medium Green 5
Dark Green 5
Black 3
Pale Pink 3
———
100
Lilies and leaves on white ground.
[Illustration:
PLATE LXXI
]
COLOR ANALYSIS FROM DAMASCUS TILES
Pale Yellow Ground 40
Deep Cool Blue 25
Light Blue 20
Green 13
Brown 2
———
100
[Illustration:
PLATE LXXII
]
COLOR ANALYSIS FROM CELTIC ORNAMENT
Green 50
Red 18
Yellow 17
Black 7
White 8
———
100
[Illustration:
PLATE LXXIII
]
COLOR ANALYSIS FROM ITALIAN MAJOLICA VASE
White Ground 38
Deep Blue 34
Yellow 16
Dark Yellow 6
Green 6
———
100
[Illustration:
PLATE LXXIV
]
COLOR ANALYSIS FROM PANEL OF DUTCH INLAID CABINET OF THE 15TH CENTURY
Brown Wood 58
Light „ 19
Yellow „ 5
Green „ 15
Dull Red „ 2
Black „ 1
———
100
[Illustration:
PLATE LXXV
]
COLOR ANALYSIS FROM SPANISH EMBROIDERY
Black Ground 50
Yellow Design 40
Red in Design 10
———
100
[Illustration:
PLATE LXXVI
]
COLOR ANALYSIS FROM SPANISH EMBROIDERY
A harmony of contrast.
Blue Ground 45
Dark Neutral Yellow 30
Pale Yellow 20
Gold 5
———
100
[Illustration:
PLATE LXXVII
]
COLOR ANALYSIS FROM AN ANTIQUE PERSIAN RUG
Old Rose 55
Old Yellow 40
Black 5
———
100
The black was used in fine outlines between the rose and
yellow to harmonize them.
The following eight examples have had their harmony greatly increased
by time which has toned their colors.
[Illustration:
PLATE LXXVIII
]
ANALYSIS FROM AN ANTIQUE RUG
Old Yellow 70
Old Rose 15
Green-Blue 9
Black 6
———
100
[Illustration:
PLATE LXXIX
]
COLOR ANALYSIS FROM AN ANTIQUE RUG
Pale Green Tint Ground 50
Yellow-Pink 15
Yellow 13
Blue 10
Black 7
White 5
———
100
Black used in fine lines.
[Illustration:
PLATE LXXX
]
COLOR ANALYSIS FROM AN ANTIQUE RUG
Camel’s-Hair Gray 50
Cool Blue Tint 20
Green 20
Yellow 10
———
100
[Illustration:
PLATE LXXXI
]
COLOR ANALYSIS FROM AN ANTIQUE RUG
Green-Blue Ground 50
Red Tint 25
Yellow 25
———
100
[Illustration:
PLATE LXXXII
]
COLOR ANALYSIS FROM AN ANTIQUE RUG
Blue Shade 50
Yellow Shade 25
Red 15
Light Blue Tint 10
———
100
[Illustration:
PLATE LXXXIII
]
COLOR ANALYSIS FROM AN ANTIQUE RUG
Neutral Red 65
Cold Blue 20
Silver 15
———
100
[Illustration:
PLATE LXXXIV
THE COLOR SCHEME OF AN ANTIQUE RUG
FROM WHICH PLATE LXXXV IS AN
ANALYSIS
]
[Illustration:
PLATE LXXXV
]
ANALYSIS OF AN ANTIQUE RUG
(See Plate LXXXIV)
Dull Blue Shade 62
Dull Yellow Shade 38
———
100
[Illustration:
PLATE LXXXVI
]
COLOR ANALYSIS FROM JAPANESE SILK TAPESTRY
Old Gold Ground 77.5
Blue 8
Brown 5
Light Brown 1
Gray 1
Dark Green 1
Light Green 1
Gray-Green 1
Dull Red 1
Light Red .5
Gold 2
White 1
———
100
[Illustration:
PLATE LXXXVII
]
COLOR ANALYSIS FROM JAPANESE SILK TAPESTRY
Gray Ground 64
Dark Blue 8
Light Blue 7
Gray-Blue 10
Brown 10
Green 1
———
100
[Illustration:
PLATE LXXXVIII
]
COLOR ANALYSIS FROM JAPANESE SILK BROCADE
Yellow-Gray Ground 60
Blue-Gray Leaves 15
White Daisies 16
Pink Tips to Daisies 5
Gold Veins to Leaves and Centres to Daisies 4
———
100
[Illustration:
PLATE LXXXIX
]
COLOR ANALYSIS FROM BORDER OF JAPANESE CLOISONNÉ VASE, Pl. XC
Greenish White 66
Blue 34
———
100
[Illustration:
PLATE XC
]
COLOR ANALYSIS FROM JAPANESE CLOISONNÉ VASE
Green-Blue Ground 43
Dark Blue 14
Black 7
Red 9
Yellow 5
Violet 4
White 4
Light Red 3
Lightest Red 3
Greenish Blue 3
Green 2
Gray 1
Brass 2
———
100
The fine brass outlines add much to the harmony.
[Illustration:
PLATE XCI
]
COLOR ANALYSIS FROM A JAPANESE SKIRT PANEL
BORDER
White Ground 23
Black 11
Gold Edge 2
Purple-Blue 4
Dull Gold 6
Dull Pink 4
CENTRE
Green Ground 26
Shades of Red 11
Yellow 2
Blue 2
Greens 4
Lavender 1
Gold Edge 1
Black 1
Orange 2
———
100
[Illustration:
PLATE XCII
]
COLOR ANALYSIS FROM JAPANESE BROCADE
Brown 50
Red 10
Dark Blue 8
Dark Green 8
Light Blue 7
Light Green 7
Light Brown 5
White 5
———
100
Fine example of a harmony of a dominant hue.
[Illustration:
PLATE XCIII
]
COLOR ANALYSIS FROM CHINESE PORCELAIN
Deep Lapis Lazuli Blue Ground 50
Turquoise Blue 29
Ochre Yellow 12
Violet 9
———
100
Plates XCIII to XCVII inclusive are from Chinese porcelain, the colors
having remained brilliant.
[Illustration:
PLATE XCIV
]
COLOR ANALYSIS FROM A “BLACK HAWTHORN VASE”
Black Ground 30
Green-White Flowers 26
Green Leaves 20
Yellow-Green Leaves 10
Brown Stems 3
Pale Red Flowers 5
Yellow „ 6
———
100
[Illustration:
PLATE XCV
]
COLOR ANALYSIS FROM A ROSE-COLORED VASE
Rose Ground 50
White Panel 23
Blue-Green 10
Yellow-Green 3
Yellow 7
Deep Pink 5
Blue 2
———
100
[Illustration:
PLATE XCVI
]
COLOR ANALYSIS FROM YELLOW CHINESE PORCELAIN VASE
Yellow Ground 44
Light Green Leaves 23
Dark Green „ 8
Cream White Flowers 16
Brown Stems 9
———
100
[Illustration:
PLATE XCVII
]
COLOR ANALYSIS FROM A CHINESE “EGGSHELL” PLATE
Blue 18
Yellow 18
White 18
Green 18
Pink 18
Dark Pink 3
Dark Green 3
Black 2
Gold 2
———
100
Pale tints with delicate decoration in strong tones.
[Illustration:
PLATE XCVIII
]
COLOR ANALYSIS FROM A BUTTERFLY
Dark Yellow Shade 30
Medium Yellow 25
Light Yellow 20
Silver 15
Black 10
———
100
The black was well placed to contrast with the light tones, the silver
to contrast with the dark tone.
[Illustration:
PLATE XCIX
]
COLOR ANALYSIS FROM A STONE
Pale Gray-Green 40
Gray-Green 35
Pale Red 25
———
100
Ground, pale green.
[Illustration:
PLATE C
COLOR NOTE FROM AN OLD AND PARTLY
DISCOLORED PROPELLER FLANGE
]
[Illustration:
PLATE CI
COLOR NOTE FROM LEAVES ON A TREE
The sun glancing across the smooth leaves makes a cool gray, and
shining through them makes a warm green.
The shaded leaves are a deep green.
]
[Illustration:
PLATE CII
COLOR NOTE FROM A SUNSET SKY
]
[Illustration:
PLATE CIII
COLOR NOTE FROM BARE WOODS ON THE
EDGE OF A MEADOW
]
[Illustration:
PLATE CIV
COLOR NOTE FROM EVERGREENS AGAINST
A GRAY-BLUE RAIN CLOUD
]
[Illustration:
PLATE CV
COLOR NOTE FROM A SHADOW ON
WHITE GROUND
]
[Illustration:
PLATE CVI
COLOR NOTE FROM A BLUEBIRD
A harmony of cobalt and light red.
]
[Illustration:
PLATE CVII
COLOR NOTE FROM A SLICE OF AN ORANGE
]
[Illustration:
PLATE CVIII
COLOR NOTE FROM ORANGE CANNA BLOSSOM
with part of leaf
]
[Illustration:
PLATE CIX
COLOR NOTE FROM A BUNCH OF AZALEAS
]
[Illustration:
PLATE CX
COLOR NOTE FROM OAK LEAVES AGAINST
A DISTANT HILLSIDE
]
[Illustration:
PLATE CXI
COLOR NOTE FROM OATS SEEN FROM THE
EDGE OF THE FIELD
So the top was a mass of soft blue-gray-green, while the
stalks were highly colored.
]
[Illustration:
PLATE CXII
COLOR NOTE FROM A PUSSY WILLOW
]
[Illustration:
PLATE CXIII
COLOR NOTE FROM A TROUT POND
]
[Illustration:
PLATE CXIV
COLOR NOTE FROM A TREE FUNGUS
Texture like velvet.
]
[Illustration:
PLATE CXV
COLOR SCHEME FROM WINTER LANDSCAPE BETWEEN BALTIMORE AND WASHINGTON
]
[Illustration:
PLATE CXVI
SPECTRAL RED
NEUTRALIZED BY BLACK AND WHITE
]
[Illustration:
PLATE CXVII
SPECTRAL YELLOW
NEUTRALIZED BY BLACK AND WHITE
]
[Illustration: Circular color wheel diagram: a circle divided into 10
wedge-shaped sectors by radiating lines from the center, labeled around
the rim (clockwise) Red-purple, Violet, Blue, Green-blue, Blue-green,
Green, Yellow-green, Yellow, Orange, and Red.]
-----
Footnote 1:
Church, _Colour_.
Footnote 2:
Rood, _Modern Chromatics_.
Footnote 3:
“Mind,” n.s., Vol. II. 1893.
Footnote 4:
The use of this suggestion as to colored glass is strongly urged by
the author, as it is a capital way of seeing how the world would look
were everything in it blue, or any other color.
Footnote 5:
_The Chemistry of Paints and Painting._
Footnote 6:
Church.
Footnote 7:
Chevreul.
Footnote 8:
COLOUR. By A. H. Church. Ch. X., p. 116.
Footnote 9:
MODERN CHROMATICS. By Prof. O. N. Rood. Ch. XVI.
Footnote 10:
COLOUR. By A. H. Church. Ch. XI., p. 144.
Footnote 11:
F. Schuyler Matthews.
Footnote 12:
Lectures and Lessons on Art. F. W. Moody. P. 131.
Footnote 13:
Rood.
Footnote 14:
FLORAL ART OF JAPAN. By Condor.
Footnote 15:
In THE AMERICAN FLORIST.
Footnote 16:
NOTE.—“A streak of light.”—_Rood._
------------------------------------------------------------------------
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