Color problems

APPENDICES

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125

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 126combination 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;

127Tertiary „ „ „ 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 128or 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.

129NEUTRAL 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.

130RECEDING 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.

131TERTIARY 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.

133

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.

134A 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.)

135The 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.)

136Untersuchungen 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.)

137Colour-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 from Color problems: A practical manual for the lay student of color

Plate I WOOLS AS SORTED BY A COLOR-BLIND MAN

Plate II SOLAR SPECTRA

III

Plate III

TABLE OF SPECTRAL COLORS

Names Paints used Wave length Purity Luminosity Warm or Cold

Violet French Blue and Crimson Lake 4.059 As great as can be given by pigments 6 Cold

Blue French Blue 4.732 5 Cold

Green Emerald Green 5.271 3 Cold

Yellow Aurora Yellow 5.808 1 Warm

Orange Vermilion and Cadmium 5.972 2 Warm

Red Vermilion and Crimson Lake 7.000 4 Warm

Plate IV THE SPECTRAL COLORS

(a) In their order of Luminosity

(b) Pure and Grayed

Plate V ADVANCING AND RETIRING COLORS

Plate VI ADVANCING AND RETIRING COLORS See page 99. The color screens at end of volume are for use with this plate.

VII

Plate VII TINTS

VIII

Plate VIII SHADES

Plate IX VIOLET with its extremes

Plate X BLUE with its extremes

Plate XI GREEN with its extremes

XII

Plate XII YELLOW with its extremes

XIII

Plate XIII ORANGE with its extremes

XIV

Plate XIV RED with its extremes

Plate XV SHADES BY CONTRAST

XVI

Plate XVI SPECTRAL COLORS ON BLACK, WHITE AND GRAY

XVII

Plate XVII WHITE ON SPECTRAL COLORS

XVIII

Plate XVIII BLACK ON SPECTRAL COLORS

XIX

Plate XIX GRAY ON SPECTRAL COLORS

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.

XXI

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.

XXII

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.)

XXIII

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.)

XXIV

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.)

XXV

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.)

XXVI

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.)

XXVII

Plate XXVII MILTON-BRADLEY COLOR MACHINE

XXVIII

COMPLEMENTS SPECTRAL COLORS Yellow-Green Violet Yellow Blue Purple Green Blue Yellow Green-Blue Orange Blue-Green Red

Plate XXVIII TABLE OF COMPLEMENTS ARRANGED IN PAIRS

XXIX

Plate XXIX TABLE OF COMPLEMENTS ARRANGED IN A CIRCLE

XXX

Plate XXX CONTRAST DIAGRAM See page 58. Transparency accompanying the volume is for use with this plate.

XXXI

Plate XXXI COLOR ANALYSIS FROM A PRIZE DINNER TABLE A harmony of yellow and blue. See page 70.

XXXII

Plate XXXII

COLOR ANALYSIS FROM TEACUP AND SAUCER

Yellow Tint 65

Yellow Shade 5

Blue Tint 20

Spectral Blue 10

100

XXXIII

A HARMONY OF ONE COLOR A HARMONY OF CONTRAST COMPLEX HARMONY

Plate XXXIII

XXXIV

Plate XXXIV

COLOR ANALYSIS OF A BOOK ADVERTISEMENT

White 60

Black 22

Yellow 18

100

XXXV

Plate XXXV HARMONY HELPED BY OUTLINE

XXXVI

Spectral Red and Spectral Blue Spectral Red and Green-Blue Orange-Red and Green-Blue Spectral Orange and Green-Blue Spectral Yellow and Spectral Violet Green Yellow and Spectral Violet.

Plate XXXVI GOOD DYADS OR PAIRS

XXXVII

Spectral Red Spectral Yellow Spectral Blue Purple Red Spectral Yellow Green-Blue Spectral Orange Spectral Green Spectral Violet Spectral Orange Spectral Green Purple-Violet

Plate XXXVII GOOD TRIADS

XXXVIII

Plate XXXVIII HARMONY BY GRADATION

XXXIX

Plate XXXIX HARMONY BY CHANGE OF QUALITY (In the yellow.)

Plate XL HARMONY BY CHANGE OF QUANTITY

XLI

Plate XLI HARMONY BY CHANGE OF BOTH QUANTITY AND QUALITY Three yellows, two blues.

XLII

Plate XLII HARMONY BY THE ADDITION OF ANOTHER COLOR

XLIII

Plate XLIII HARMONY BY THE ADDITION OF BLACK

XLIV

Plate XLIV HARMONY FROM A DOMINANT HUE

XLV

Plate XLV HARMONY BY INTERCHANGE

XLVI

Plate XLVI HARMONY BY COUNTERCHANGE

XLVII

From Orange to Cream-White From Yellow to Yellow-White From Green to Green-White From Blue to Blue-White

Plate XLVII THE TRUE CHARACTER OF SOME OF THE SO-CALLED “WHITES” (which are really pale tints)

XLVIII

From Brown to Yellow From Green to Yellow From Pink to Yellow From Red to Yellow

Plate XLVIII SOME CHANGES BY GRADATION FROM ONE COLOR TO ANOTHER

XLIX

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.

Plate L

COLOR ANALYSIS FROM ASSYRIAN TILES

Blue 35

Yellow 30

White 15

Dull Red 10

Black 10

100

Plate LI

COLOR ANALYSIS FROM ASSYRIAN TILES

Blue 69

Deep Yellow 20

Light Yellow 10

White 1

100

LII

Plate LII

COLOR ANALYSIS FROM A MUMMY COVER

Pale Yellow 34

Green 27

Blue 25

Red 6

Gold 4

Black 2

White 2

100

LIII

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

LIV

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.

Plate LV

COLOR ANALYSIS FROM A MUMMY CLOTH

Purple Red 91

Black 5

Pale Gray 4

100

Dull yellow ground.

LVI

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

LVII

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

LVIII

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.

LIX

Plate LIX

COLOR ANALYSIS FROM A MUMMY CLOTH

Red 25

Green 25

Yellow 25

Blue 25

100

Gray ground.

Plate LX

COLOR ANALYSIS FROM A MUMMY CLOTH

Red 50

Green 24

Blue 20

Orange 6

100

Light gray ground.

LXI

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.

LXII

Plate LXII

COLOR ANALYSIS FROM AN EARLY GREEK VASE

Gray 72

Black 21

Dull Red 7

100

LXIII

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.

LXIV

Plate LXIV

COLOR ANALYSIS FROM A GREEK VASE

Dull Orange 60

Dull Red 10

Black 30

100

LXV

Plate LXV

COLOR ANALYSIS FROM A GREEK VASE

Gray Ground 71

Black 24

Red 5

100

LXVI

Plate LXVI

COLOR ANALYSIS FROM ARAB MOSAICS

Black 33

White 26

Light Red 21

Dull Red 20

100

LXVII

Plate LXVII

COLOR ANALYSIS FROM ARABIAN ILLUMINATION

Blue 20

Green 20

Red 20

Pale Red 10

Gray 8

Gold 10

White 12

100

LXVIII

Plate LXVIII

COLOR ANALYSIS FROM MOORISH TILES

Olive-Green 30

White 20

Yellow 20

Violet 30

100

LXIX

Plate LXIX

COLOR ANALYSIS FROM A PANEL OF THE ALHAMBRA

Blue 40

Red 30

Gold 24

White 6

100

LXX

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.

LXXI

Plate LXXI

COLOR ANALYSIS FROM DAMASCUS TILES

Pale Yellow Ground 40

Deep Cool Blue 25

Light Blue 20

Green 13

Brown 2

100

LXXII

Plate LXXII

COLOR ANALYSIS FROM CELTIC ORNAMENT

Green 50

Red 18

Yellow 17

Black 7

White 8

100

LXXIII

Plate LXXIII

COLOR ANALYSIS FROM ITALIAN MAJOLICA VASE

White Ground 38

Deep Blue 34

Yellow 16

Dark Yellow 6

Green 6

100

LXXIV

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

LXXV

Plate LXXV

COLOR ANALYSIS FROM SPANISH EMBROIDERY

Black Ground 50

Yellow Design 40

Red in Design 10

100

LXXVI

Plate LXXVI

COLOR ANALYSIS FROM SPANISH EMBROIDERY

A harmony of contrast.

Blue Ground 45

Dark Neutral Yellow 30

Pale Yellow 20

Gold 5

100

LXXVII

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.

LXXVIII

Plate LXXVIII

ANALYSIS FROM AN ANTIQUE RUG

Old Yellow 70

Old Rose 15

Green-Blue 9

Black 6

100

LXXIX

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.

LXXX

Plate LXXX

COLOR ANALYSIS FROM AN ANTIQUE RUG

Camel’s-Hair Gray 50

Cool Blue Tint 20

Green 20

Yellow 10

100

LXXXI

Plate LXXXI

COLOR ANALYSIS FROM AN ANTIQUE RUG

Green-Blue Ground 50

Red Tint 25

Yellow 25

100

LXXXII

Plate LXXXII

COLOR ANALYSIS FROM AN ANTIQUE RUG

Blue Shade 50

Yellow Shade 25

Red 15

Light Blue Tint 10

100

LXXXIII

Plate LXXXIII

COLOR ANALYSIS FROM AN ANTIQUE RUG

Neutral Red 65

Cold Blue 20

Silver 15

100

LXXXIV

Plate LXXXIV THE COLOR SCHEME OF AN ANTIQUE RUG FROM WHICH PLATE LXXXV IS AN ANALYSIS

LXXXV

Plate LXXXV

ANALYSIS OF AN ANTIQUE RUG

(See Plate LXXXIV)

Dull Blue Shade 62

Dull Yellow Shade 38

100

LXXXVI

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

LXXXVII

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

LXXXVIII

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

LXXXIX

Plate LXXXIX

COLOR ANALYSIS FROM BORDER OF JAPANESE CLOISONNÉ VASE, Pl. XC

Greenish White 66

Blue 34

100

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.

XCI

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

XCII

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.

XCIII

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.

XCIV

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

XCV

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

XCVI

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

XCVII

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.

XCVIII

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.

XCIX

Plate XCIX

COLOR ANALYSIS FROM A STONE

Pale Gray-Green 40

Gray-Green 35

Pale Red 25

100

Ground, pale green.

Plate C COLOR NOTE FROM AN OLD AND PARTLY DISCOLORED PROPELLER FLANGE

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.

CII