Wt
O HLt B
G Lt Y
V LLt R
O M B
G HD Y
V D R
O LD B
Blk
154. Instead of having two colors to a value in the combination of two
vertical sequences, we may have an alternation of colors in the values,
giving one color to a value, thus:—
Wt
R HLt
Lt Y
R LLt
M Y
R HD
D Y
R LD
Blk
It has seemed to me that the sequences in which we have one color to
a value give better results than those in which we have two or more
colors to a value.
155. Instead of having each color in two values in the combination
of two horizontal sequences, we may have the colors, taken at equal
intervals, occurring alternately first in one value and then in the
other.
Lt R . Y . B .
D . O . G . V
156. These alternating sequences may proceed, not only vertically and
horizontally, but diagonally across the diagram. In that case the
alternations will be between different value-intervals in a series of
equal color-intervals or between different color-intervals in a series
of equal value-intervals.
Wt
HLt VR
Lt BV
LLt GB V
M YG B
HD OY G
D Y
LD O
Blk
In this case the alternation is between different value-intervals
through the Scale of Colors. The movement being, as a whole,
up-to-the-right, is in the Right Mode. I have not used any of the
sequences, of this type, in which the value-intervals alternate, first
in one mode then in the other, with a constant color-interval, but I
have used, frequently, the alternation of two different color-intervals
in a series of equal value-intervals. The sequences produced in this
way are among the most interesting of all the many I have used. I will
give several examples.
Wt
HLt Y
7th
Lt V
5th
LLt O
7th
M B
5th
HD R
7th
D G
5th
LD V
Blk
In this case the alternation is from the keynote, Low Dark Violet, up
first in the Left Mode a fifth, then up in the Right Mode a seventh,
then in the Left Mode a fifth, and so on up to White. This particular
alternation might be described as the relation of a fifth and a seventh
repeated, in the Left Mode.
Wt
HLt Y
7th
Lt V
5th
LLt G
7th
M R
5th
HD B
7th
D O
5th
LD V
Blk
In the sequence just given the alternation is, from the keynote Low
Dark Violet, first in the Right Mode a fifth, then in the Left Mode a
seventh: this through the Scale of Values up to White. The order of the
previous sequence is inverted. This particular alternation might be
described as the relation of a fifth and seventh repeated in the Right
Mode.
The alternation of intervals of the fifth with intervals of the third
gives some interesting sequences, in which the alternation of intervals
is, necessarily, an alternation of modes.
Wt
HLt Y
3d
Lt G
5th
LLt O
3d
M Y
5th
HD R
3d
D O
5th
LD V
Blk
157. I have by no means exhausted the possibilities of value and color
combination, but I have indicated a sufficient number to serve the
purposes of experimental practice in tone-relations, for a long time
to come. The sequences which I have found most interesting, in my own
experiments, have been the diagonal sequences of the two modes, using
intervals of the fifth, and the diagonal sequences in which with equal
value-intervals there is an alternation of certain color-intervals,—the
seventh and the fifth, and the seventh and two fifths. It may very well
be that these particular sequences interest me because I have used them
more than others and consequently think in them more easily.
158. For the purposes of Pure Design the Scale of Nine Values,
including Black and White, will be found sufficient; but when it comes
to the combination of Design with Representation, and particularly
to Representation in Full Relief, it will be necessary to introduce
intermediates into the Scale of Values. With this purpose in view
I give one more diagram in which intermediates of value have been
introduced. For convenience in drawing out the different sequences upon
this diagram I have repeated the Scale of Colors showing the connection
of Violet-Red with Red. This diagram (5) is simply an extension of the
Diagram of Values and Colors given on p. 137.
159. We may use the various sequences I have described without mixing
the tones, using the tones one at a time as they may be required; but
if we choose we may mix adjacents or thirds or even threes. In that
way the tone-possibilities of each sequence may be very much extended.
It may be well to show what the extension amounts to by giving one of
the sequences with an indication of the result of mixtures within the
limits described.