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.