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
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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.