The range of color-contrast is in this way diminished to the intervals
between Green, Violet, and Neutral. The process, so far as color is
concerned, is fully explained in the following diagram:—
[Illustration: Diagram 11]
In the diagrams which I have given the predominance is in the
measure of one half. That is to say, the mixtures are half and
half, theoretically speaking. The theoretical result is a range of
intermediate colors. The predominance is not necessarily in the measure
of one half. It may be in any measure. The presence of Red or Blue in
all the tones may be hardly noticeable or it may amount to a general
redness or blueness in which other colors are distinguished with more
or less difficulty.
166. Suppose it is the harmony of grayness, a Harmony of
Neutralization, which we want. What is the procedure to follow?
[Illustration: Diagram 12]
The procedure is shown in this diagram. We see here what is meant by a
Harmony of Neutralization, without changes of value. The neutralization
is in the measure of one half in each case. Red Orange and Green
are the only colors which exist in their maximum intensities. Their
intensities are diminished to the half-point, without change of
value,—from RO to RO½ in one case, and from G to G½ in the other. The
other colors are reduced in their intensities proportionally. The value
in each case remains unchanged.
167. Having considered the methods of getting Value-Harmony and
Color-Harmony separately, I must now describe the method of getting the
combination of Value-Harmony with the Harmony of Neutralization. To do
this we must set the colors in positions regarding the Scale of Neutral
Values, which will indicate their several values, and in each case
the degree of intensity. We must then decide whether to neutralize
the several tones toward Black or White, or toward some neutral value
between these extremes.
[Illustration: Diagram 13]
This illustrates the method of a neutralization toward Black in the
measures of one quarter, one half, and three quarters.
[Illustration: Diagram 14]
This illustrates the method of a neutralization toward White in the
measures of one third and two thirds.
[Illustration: Diagram 15]
This illustrates the method of a neutralization toward the Middle
Neutral, between Black and White, a neutralization in the measures of
one quarter, one half, and three quarters.
In bringing tones into harmony, by one or another or all of these
various methods, we must remember that when we have diminished the
contrast of value and of color beyond a certain point the result is
monotony, a monotony which may be undesirable. It is easy to get into a
state of mind in which we dislike all contrasts. In this state of mind
we find no æsthetic satisfaction except in monotony. Such a state of
mind should be avoided. Monotony is the Nirvana of æstheticism.
168. We may have a Harmony in the repetition and recurrence of two or
more contrasting, even strongly contrasting, tones. We may have Harmony
in the repetition and recurrence of a contrast in which there is
perhaps no Harmony.
For example: I may repeat the contrast Orange-Blue any number of times
in a certain composition. There is no Harmony of Value or of Color in
the contrast, but in repeating the contrast I have the Harmony of a
Repetition, just as I have a Harmony in the repetition of a certain
line or outline in which there is no order of any kind. The Harmony
lies solely in the repetition or recurrence. In this way I may repeat,
at equal intervals all over a certain space, the various contrasts
indicated by the following diagram:—
[Illustration: Diagram 16]
There is no Harmony in the relation of tones here indicated, but we
shall get Harmony in the repetition of this relation.
[Illustration: Diagram 17]
The Harmony here indicated will lie in the repetition of certain
contrasts in which there is no Harmony.
The Harmony of a repeated contrast, or contrasts, is a very important
form of Tone-Harmony. It means that a certain effect of light due to
the juxtaposition or association of certain tones recurs repeatedly,
let us say at equal or approximately equal intervals, all over a
certain space. The result is sure to be harmonious, no matter how
strong the tone-contrasts are in the group or series, provided that the
repetitions are well within the range of vision so that they may be
compared, and the recurrence of the same effect of light appreciated.
We must not be too near to the arrangement, for in that case the
contrasts of the repeated group will be more noticeable than the even
tonality of the all-over repetition. Every even, all-over effect of
light, no matter what the contrasts are which produce it, gives us the
feeling of Harmony.
169. In such compositions as the one indicated in Diagram 17
predominance may be given to one tone by having it recur in larger
spots in each group or in a greater number of spots, two or more in
each group. In this way, in a composition of many colors in different
values, predominance may be given to Middle Blue or Light Orange or
Dark Blue-Violet, or any other particular tone. Predominance may be
given to neutral gray of a certain value, by having it recur in larger
spots or in numerous small spots.
170. Neutral gray may be made to predominate in another way; by so
composing the tones, in the group to be repeated, that they neutralize
one another at a certain distance,—the point of view of the observer.
+---+---+---+---+---+---+
| Y | G | Y | G | Y | G |
+---+---+---+---+---+---+
| R | V | R | V | R | V |
+---+---+---+---+---+---+
| Y | G | Y | G | Y | G |
+---+---+---+---+---+---+
| R | V | R | V | R | V |
+---+---+---+---+---+---+
Diagram 18
In this case Yellow and Violet will neutralize one another and Red will
neutralize Green. The effect of the repetition of these complementary
oppositions ought to be, at a certain distance, a very lively neutral.
It has been the idea of certain painters of our time to subject every
tone-impression to analysis, and to produce the effect of the tone by
an arrangement or composition of its elements. Many interesting and
some beautiful results have been produced in this way.
[Illustration: Diagram 19]
In this case we have a repetition of the triad Red-Yellow-Blue, which,
at a certain distance, ought to produce the effect of a middle neutral.
The principle of these arrangements is one of the most important in
tone-composition.
171. There is another consideration which ought to keep us from any
morbid interest in harmonious monotonies, which ought to reconcile
us to contrasts, even strong contrasts, and to a great variety in
tones. Harmony is only one principle of composition in Design; we
have two others which are equally important,—the principle of Balance
and the principle of Rhythm. The principles of Balance and Rhythm
are consistent with the greatest possible contrasts of tone. The
tone-contrasts in forms of Balance and Rhythm may be strong, even
harsh, and the appreciation and enjoyment of the Balance or of the
Rhythm in no degree diminished.
We will now proceed to the consideration of Tone-Balance and
Tone-Rhythm.