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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