142. When, in view of all possible tones, as indicated in the
general classification of tones, according to value, color, and
color-intensity, or color-neutralization (Diagram of the Triangles),
we try to think what tones we shall use, what contrasts of tone we
shall produce, we are sure to be very much “at sea,” because of the
great number and variety of possibilities. Even when we disregard
differences of intensity and consider simply the possibilities of
value and of color, as shown in the general classification of tones
according to value and color (Diagram of Values and Colors, p. 137),
we have still too many possibilities to consider, and our choice of
tones is determined by accident or habit rather than by clear vision or
deliberate preference. We shall find it worth while to limit our range
in each experiment to some particular sequence of values and colors, or
to some particular combination of sequences. Instead of trying to think
in the range of all values, all colors, we ought to limit our thinking,
in each case, to the range of a few values and a few colors,—a few
definite tones with which we can become perfectly familiar and of which
we can have definite visual images. It is only when we can imagine
tones vividly that we can think satisfactorily in tone-relations. We
shall achieve this power of thinking in tones and tone-relations best
through self-imposed limitations.
143. We ought to begin our study of Tones and Tone-Relations with the
Scale of Neutral Values (see p. 135). We ought to work with the nine
tones of this scale or sequence until we know them well, until we can
visualize them clearly, and until we can produce them accurately; until
we can readily produce any single tone of the scale and any of the
thirty-six possible contrasts which the scale affords.
Besides the Scale of Neutral Values there are three types of Value and
Color Sequence which we may use.
144. First. We have the sequences which may be described as those of
the Vertical; sequences which may be indicated by vertical lines drawn
across the Diagram of Values and Colors. In each of these sequences,
twelve in number, we have one color in all the values of the Scale of
Values, except Black and White. These sequences of the Vertical, as I
shall call them, are of very little use in Pure Design. They give us
value-contrasts and contrasts of color-intensity (intensities of one
color), but no color-contrasts, no differences of color. The tones in
these sequences are monotonous in color.
145. Second. We have the sequences which may be described as those of
the Horizontal; sequences which may be indicated by horizontal lines
drawn across the Diagram of Values and Colors. In these sequences we
have differences of color and color-intensity, but all in one value.
These sequences give us color-contrasts (different colors in different
degrees of intensity), but no value-contrasts. The tones in these
sequences are monotonous in value. The sequences of one horizontal are
of very little use.
146. Third. We have the sequences which may be described as those
of the Diagonal; sequences which may be indicated by lines drawn
diagonally across the Diagram of Values and Colors. In drawing these
sequences the reader must not forget that the Scale of Colors is a
circuit, so when he reaches the end of the diagram he returns and
continues from the other end. The diagram might, for convenience in
drawing these sequences, be extended to several repetitions of the
Scale of Colors. In the sequences of the Diagonal we have contrasts
both of value and of color. The color in these sequences changes from
value to value through the Scale of Values. Each sequence gives us
certain colors in certain values, and in no case have we two colors
in the same value. To these sequences of the Diagonal we must give
our particular attention. They are the sequences which we shall use
constantly, in Representation as well as in the practice of Pure Design.
147. The sequences of the Diagonal fall into two divisions. First,
there are the sequences which we draw through the Diagram of Values
and Colors from Black up-to-the-right to White. I shall call these the
Sequences of the Right Mode (Sign ⍁). Second, there are the sequences
which we draw from Black up-to-the-left to White. I shall call these
the Sequences of the Left Mode (Sign ⍂).
Taking the lowest color in the sequence as the keynote, we have for the
Right Mode, in the Scale of Twelve Colors, twelve distinct sequences of
which this which follows is an example.