This diagram shows the results of mixing seconds, thirds, and threes.
It is evident that in mixing the tones of any sequence in this way
we go beyond the strict limitations of the sequence, particularly in
mixing thirds and threes. The results obtained are fairly definite,
however, and the tones obtainable are still within the range of
definite thinking. If we should go farther, to the mixture of tones
beyond the interval of the third, we should get into the region of
indefinite possibilities.
160. It must be clearly understood that our object in using these
sequences and more or less restricted mixtures is to limit our thinking
so that it may gain in definiteness what it loses in extent. When
we limit our thinking in any case to a few tones,—certain colors in
certain values,—we come to know those tones so well that we can imagine
any one of them vividly, without seeing it. It is only when we have in
mind definite tone-images that we begin to think in tone-relations and
rise to the possibilities of imaginative composition in tones.
In using the sequences which I have described the tones must be
carefully mixed and prepared upon the palette and set there in the
order of the sequence, whatever it is. That gives the painter certain
colors in certain values. That is to say, he has a certain number
of tones to consider and to use. He takes one of the tones into his
brush and gives it a position, a measure, and a shape. That done, he
takes another tone and gives to that a position, measure, and shape.
Proceeding in this way he creates a certain relationship of tones,
positions, measures, and shapes, the terms of which relationship are
perfectly definite. He repeats what he finds satisfactory. He avoids
what he finds unsatisfactory. Experimenting in this way, in such
definite terms, he ought to make a sure and steady progress toward the
discovery of what is orderly and beautiful. The use of any particular
sequence of values and colors is like the use, by the musician, of a
well-tuned instrument. It is at once a definition of terms and a source
of suggestion and of inspiration.
There is nothing occult or sacred about these sequences and
combinations of sequences. In using them we are in no way safeguarded
against error. Using these sequences, we can produce bad effects of
light and of color as well as good ones. Whether the results of using
these sequences are good or bad depends upon the user—what his thinking
amounts to. It will be a grave mistake to regard any of these sequences
as recipes for righteousness, when they are simply modes of thought.
They are nothing more than the sections or divisions of a general
classification of tones. In using any particular sequence we observe
that the same value and color-relations recur repeatedly. That is
always desirable from the point of view of Design. It means Harmony.
161. The beauty of any scheme of values and colors depends, not only
upon the pigment-materials used, upon the sequence of values and colors
chosen and upon the particular tones produced, but quite as much
upon the relative positions and juxtapositions given to the tones,
the quantities or measures in which they are used, and, lastly, the
way in which the paint is handled. To find out what tones to use as
ground-tones, what tones to put upon these ground-tones, and in what
quantities or measures, is a matter of experimental practice and of
visual and imaginative discrimination.
Having defined the word tone and its elements, value, color, and
color-intensity, and having established a general classification of
tones to show the possibilities of tone, I must go on to describe what
will be orderly in tone-relations. Order and Beauty in tone-relations
will be found in Tone-Harmonies, Tone-Balances, and Tone-Rhythms.