Part 4

With colored papers made in imitation of the six standards and two tints and two shades of each, six scales of colors may be produced by arranging the five different tones of each color in a row, as in Fig. 9, which represents the orange scale with tints at the left and shades at the right. If, in addition to these six scales, we have two scales between each two of the standards, we may have between the orange scale and the yellow scale a yellow orange scale and an orange yellow scale, and if we thus introduce the intermediate scales between each of the other two standards, and include the red violet and violet red, we shall have eighteen scales of five tones each.

The eighteen scales as above named may be arranged as shown in Fig. 10 to form a chart of pure spectrum scales which is very valuable for study and comparison and especially so in the study of the theory of harmonies. All these tones are called pure tones and this chart is therefore called a chart of Pure Spectrum Scales.

The idea that soft, dull, broken colors produce best harmonies when used in combination may or may not be a universally accepted truth, but there is a general belief that it is much easier to make acceptable combinations with broken colors than with pure spectrum colors and their tints and shades, and therefore the temptation has been strong to select a general assortment of colors which easily harmonize because of the pleasing effect, instead of having regard solely to the educational value of colors.

Truth in education requires that when colors are classified as spectrum colors they shall all be the nearest approach possible to the true spectrum colors, and in the spectrum there are no broken or impure colors. Therefore, whenever the spectrum is set up as nature's standard or chart of colors and an imitation is made in pigments or papers, great care should be used to secure the most accurate imitation possible, but in the past this has not been the case, because of the prevailing idea that the colors must all be possible combinations of three primaries, and hence the orange, green and violet have often been very broken colors. While pure colors and their tints and shades may be advantageously combined with various tones of broken colors in one composition for artistic effect, they should be definitely divided when classified for educational purposes, and their differences clearly explained to students.

In a scale of tones in any color the several papers will harmonize more easily if the tints and shades are not too far removed from the standard, but it is thought by many good judges that the educational advantage in learning to see the relationship of color in the more extreme tones is of greater importance in the elementary grades than the facility for making most pleasing combinations. Consequently in the Bradley colored papers the tints are very light and the shades quite dark.

If, instead of adding either a white disk or a black disk to a spectrum color, by which we make pure tints and shades, we add both white and black, a line of gray colors or so-called broken colors is formed. This is most beautifully shown with the disks, and in this way a line of _true broken colors_ is secured, because in each case a true neutral gray has been added to the color, which cannot be insured in the mixture of gray pigments. As an example, this may be shown with the three smaller sizes of the orange disks. With the medium size of these three make the combination Orange, 35; White, 10; Black 55. With the larger size disks make the proportions Orange, 16; White, 5; Black, 79, and with the smallest size Orange, 43; White, 33; Black, 24. Place these three sets of disks on the spindle at one time and you have the three tones of a broken orange scale.

With similar combinations applied to the six standards and one intermediate hue between each two, there will be material for a chart of Broken Spectrum Scales, as shown in Fig. 11, including twelve scales of three tones each. These are the most beautiful colors in art or nature when combined harmoniously. Because of the loss of color in broken colors it is not advisable to attempt so many different hues or so many tones of each hue as in pure colors, for slight differences in either hues or tones are not as readily perceived.

In these two charts of color scales two distinct classes of colors are represented, namely, pure colors and broken colors. The pure colors consist of the purest possible pigmentary imitations of spectrum colors, with their tints and shades, and the broken colors are these pure colors dulled by the admixture of neutral grays in various tones. This distinction is readily recognized under proper training, so that if a broken color is introduced into a combination of colors from a pure scale it will be readily detected, which always occurs when the attempt is made to produce a series of spectrum scales by the combination of the three primary colors red, yellow and blue. By this method, if logically carried out, the orange, green and violet are dark broken colors, and hence to a less extent the intermediate colors also, because each of these is a mixture of a pure color with a broken color. The usual result, however, is that the orange made from the red and yellow seem so out of place in the warm end of the spectrum that it is modified and made much nearer the pure color, usually, however, too yellow, while the greens and violets, which are deep and rich broken colors, may seem more harmonious, but are so dark as to be out of place among spectrum colors.

If light broken colors are properly combined a beautiful imitation rainbow is produced, which is more harmonious than the spectrum made from full colors. A series of such colors combined in spectrum order produce a more pleasing effect when separated by a small space of white, black, gray, silver or gold. The reason for this may be found in the discussion of simultaneous contrasts.

In nature nearly all colors are broken. First, there is always more or less vapor together with other impurities in the air, so that even in a clear day objects a few hundred feet from us are seen through a gray veil, as it were, and in a misty or hazy day this is very evident. In the case of somewhat distant foliage the general color effect is produced by the light reflected from the aggregation of leaves, some of which may be in bright sunlight and others in shadow, with a mixture of brown twigs. All these tints and shades of green and brown are mingled in one general effect in the eye. Also, owing to the rounded forms and irregular illumination of objects, we see very little full or local color in nature.

Therefore the study of broken colors becomes the most fascinating branch of this whole subject, and it also has an added interest because nearly all the colors found in tapestries, hangings, carpets, ladies' dress goods, etc., come under this head. In fact it would be hazardous for an artisan or an artist to use any full spectrum color in his work, except in threads, lines or dots. A considerable quantity of pure standard green, for instance, would mar the effect of any landscape.

It is a very interesting diversion to analyze samples of the dress goods sold each season under the most wonderful names. For example:--

"Ecru," a color sold a few seasons ago, is a broken orange yellow with a nomenclature O. 12, Y. 15, W. 17, N. 56, while this year "Leghorn" and "Furet" are two of the "new" colors, the former having a nomenclature of O. 16, Y. 54, W. 19, N. 11, and the latter O. 18, Y. 18, W. 8, N. 56, all of which are very beautiful broken orange yellows.

"Ashes of Roses" of past years is a broken violet red which can be analyzed as follows: R. 8-1/2, V. 2-1/4, W. 15-1/4, N. 74.

"Anemon" of this season is R. 28, V. 7, W. 5, N. 60, which is another broken violet red.

"Old Rose" is a broken red: R. 65-1/2, W. 24-1/2, N. 10.

"Empire" of past seasons is G. 18-1/2, B. 11, W. 16-1/2, N. 54, while "Neptune" of this season is G. 13-1/2, B. 2-1/2, W. 11, N. 73, both being broken blue greens.

"Topia," a beautiful brown, is O. 10, N. 90, a pure shade of orange, while "Bolide" is a lighter yellow orange with a nomenclature of O. 18-1/2, Y. 2-1/2, W. 1-1/2, N. 77-1/2.

We might analyze "Elephant's Breath," "Baby Blue," "Nile Green," "Crushed Strawberry" and others common in the market, but while the names will no doubt occur each season the colors will change with the fickle demands of the goddess of fashion and the interests of the manufacturers and dealers. In writing any color nomenclature the letters should be used in the following order: R.-O.-Y.-G.-B.-V.-W.-N., thus always listing the standard colors before the white or black. For example, never place Y. before O. or R., and never use N. before W. If this order is strictly adhered to the habit is soon acquired and a valuable point gained.

It has been shown that combined white and black disks form neutral gray, which is a white in shadow or under a low degree of illumination. If to such a gray a very small amount of color is added, as orange for example, by the introduction of an orange disk, this neutral gray becomes an orange gray, but unless the amount is considerable it can not be detected as an orange, but the gray may be termed a warm gray, denoting that it is affected by some one of the colors near the red end of the spectrum. If blue instead of orange is added to the neutral gray, a cool gray is produced. When green is added to a gray the result can not fairly be called either warm or cool, and hence we have termed it a green gray. According to this plan we have four classes of grays, Neutral, Warm, Cool and Green grays. As there may be many tones of each, and many intermediate combinations from red to green, or green to blue, the number of grays in nature is infinite, but these four classes with two tones of each in the papers form what may be called standards or stations from which to think of the grays, the same as the six standards in the spectrum constitute points from which to think of pure colors.

A careful consideration of the foregoing pages, accompanied with a color wheel or even a color top, can hardly fail to give a student who will make the experiments a clear idea of the use of the disks in the system of color education in which they form such an important feature, and therefore the old theory of three primaries, red, yellow and blue, and all that it leads to can be very intelligently considered and tested by them in the experiments which follow.

This old theory briefly restated is as follows: It is said "there are in nature three primary colors, red, yellow and blue; and by the mixture of these primary colors in pairs, orange, green and violet may be made." In fact leading educators have said that "in the solar spectrum, which is nature's chart of colors, the principal colors are red, orange, yellow, green, blue and violet; _of these_ red, yellow and blue are primaries from which may be made the secondaries, orange, green and violet." All such statements as heretofore made in any popular treatment of the subject are understood to mean that in a pigmentary imitation of a spectrum the secondaries as enumerated may be produced by the mixtures of the primary pigments, because pigmentary mixtures are the only combinations generally recognized.

This theory has also included the statement that the primaries are complementary to the secondaries in pairs, and that the combination of the secondaries in pairs may produce a distinct class of colors called tertiaries.

It will be the aim of the following pages to demonstrate that in all this there is neither scientific or æsthetic truth nor educational value.

The Old Theories Tested by Mixture of Three Pigments.

Experiments in mixing the three pigments, red, yellow and blue, to produce the secondaries, orange, green and violet, have been very carefully made with interesting and instructive results. All such experiments are valueless unless made with one accepted set of primaries for the three combinations, because it is self-evident that if we select a vermilion red which is very decidedly an orange red, and choose for our yellow one of the orange yellows, the mixture will more nearly approach a true orange than if a standard red and standard yellow are used. Also in making a violet, if we mix a carmine, which is a violet red, with a decidedly violet blue, of which there are many, the result will be a better violet than the combination of the standard red and blue. So also in the mixing of blue and yellow to make green, a greenish yellow and a greenish blue will necessarily produce better results than the standards. Therefore, to test the matter fairly, the same pigments which are used to coat the standard red, yellow and blue papers have been combined so as to produce the best possible orange, green and violet, and these results when analyzed on the color wheel are as follows:--

The orange made by mixing standard red and yellow pigments in the best proportions is equal to O. 46, W. 2, N. 52. The violet is equal to V. 20, W. 1, N. 79, and the nearest approach to a standard green is shown by disk analysis to be G. 37, W. 7, N. 56, which is better than the violet and nearly as good as the orange.

These experiments show that heretofore when a line of standards of six colors has been prepared from three primaries, red, yellow and blue, even though the purest possible colors may have been selected for the primaries, the secondaries have not been in the same class of colors, and that all of them are very dark broken colors. Therefore, in using educational colored papers based on such a scheme, the pupil has received no correct impressions of the relative values of the several colors involved in pure spectrum scales, but has been shown at the outset a mixture of pure and broken colors _as standards_.

This is not a matter of opinion regarding best harmonies, because it is easy to demonstrate that less skill is required to combine broken colors harmoniously than pure colors, but it is a choice between truth and error in the early education of color perception.

Old Theories Tested by the Color Wheel or Color Top.

While it may be impossible for the reader to secure pigments exactly like the standards, red, yellow and blue, used in the above experiments, and therefore the statement here made can not be accurately verified, any one having a color wheel or even a color top may test the same combinations by use of disks. If it is true, as claimed, that a good standard orange can be made by mixing red and yellow, then it should follow that when a red and yellow disk are combined and a smaller orange disk placed in front of them, that it ought to be possible to so adjust the proportion of red to yellow that by rotation the outer ring of color will match the central orange disk.

A trial of this experiment will show that while the color resulting from the best possible combination of red and yellow is a kind of orange, it is not even an approximation to the standard orange, but is a shade of orange which may be matched by combining the smaller orange disk with a black disk in the proportion of O. 45, N. 55, the larger disks being R. 89, Y. 11.

In combining red and blue disks to make a violet the result is more satisfactory, while if we attempt to produce a green by combining the yellow and blue disks the result will be surprising, but probably not convincing, because the statement that yellow and blue make green has been so persistently reiterated as a fundamental axiom that people who have given the subject but little attention will feel that to doubt it is rank heresy. In a text book treating of color is found the following passage: "Green substances reflect the green, i.e., the blue and yellow rays of the sunlight and absorb all the others." It is a fact, however, that in the mixture of blue and yellow light there is little or no trace of green, as a single experiment with a color top or color wheel will readily demonstrate.

In response to this convincing experiment a colorist of the "old school," (and there are few others) will doubtless say, "Such an assertion seems to be true when applied to these rotating disks, but we see no practical value in experiments of this kind, because in the use of color we must depend on pigmentary combinations, and in pigments yellow and blue do make green." The author of a statement of this kind is always honest in making it, and yet it is absolutely untrue, because as has already been shown, the green resulting from the mixture of yellow and blue can not be placed even approximately in the same class as the yellow and blue of which it is composed.

In accepting the disk combinations of standard pigmentary colors we are assuming a system of color investigation based on the combination of colored light rather than the mixture of pigments, and to an artist who has given the subject little thought this seems quite radical, not to say startling. But, logically, why is it not the most natural as well as the correct basis for this work?

Art in color must be based on the imitation of natural color effects. We must first learn to see color correctly and to know what we see, and after that it is a very simple matter to learn which pigments to combine for producing any desired result which is already clearly defined in the mind. In fact the best selection of pigments must often be based on their chemical and mechanical qualities as much as on their peculiar hues.

All color impressions of material substances are produced by colored light reflected from a material surface to the retina of the eye, through which by some unknown means it is conveyed to the brain. When the white sunlight falls on a material substance a portion of the rays are absorbed and others are reflected to the eye, thereby conveying impressions of color. If on a surface of yellow material we throw a strong orange light through a colored glass, some of the orange rays from the glass will mingle with the yellow rays and the two are reflected to the eye, thereby producing an orange yellow or yellow orange effect where before it was yellow. So in a summer evening landscape when there is a so-called red sunset, everything is illuminated by an orange light and each color in the landscape is affected by the orange rays which mingle with the rays of the local color and are reflected to the eyes of the observer, producing the effect of local colors mixed with orange.

In a room where the windows open on to a green lawn with many trees in close proximity to the house, nearly all the light is reflected from green surfaces, and hence is green light. In such a case a correct painting of objects in that room would have a general green effect.

The afternoon light in a room on the west side of a city street may be nearly all red light, reflected from an opposite red brick wall, and such a room would be ill-adapted to showing fine dress goods, because the hues of the more delicate colors would be entirely changed, and hence would give a false impression as to the relations of the several colors in combination as seen in white or clear daylight. If a piece of light blue silk is illuminated by sunlight passing through a bit of yellow glass, no trace of green effect will be produced, but a gray either slightly yellow or blue, according to the relative strength of the colors in the glass and the silk. This same effect would be secured if the yellow light of the setting sun illuminated the same material, but under such conditions everything else would be similarly affected so that the effect would not be so apparent.

The idea that all color is derived from the three primaries, red, yellow and blue, is so generally believed that our best writers among artists, colorists and educators have repeated it for many years. George Barnard, an English artist, in a very valuable book on water color painting, speaking of the colors of the spectrum which may be re-combined to form white light, says that if the yellow and blue rays are combined they produce green.

Chevreul also states in his invaluable book on color contrasts that yellow and blue threads woven into a texture, side by side, produce green. This statement is the more remarkable because the writer was a very careful investigator and is but another evidence of the strong hold which the Newton and Brewster theory has had on the public mind for so many years.

The story is told of an artist who wished to introduce into a composition of still life a blue vase with a bit of yellow lace thrown over a portion of it, and having been educated to believe that yellow and blue made green, gave a green effect to the portion of the vase covered by the lace. Had he known that blue and yellow light combined make gray instead of green he would have avoided the error.

The fact that gray is the product of blue and yellow light is sometimes taken advantage of in forming backgrounds in lithographic printing, in which a stippling of alternate dots of yellow and blue, very close together but not overlapping, is used to produce a beautifully transparent gray much more pleasing than any one tint of gray. This result is due to the blending of the two colors in the eye with the same effect as the colors of two rotating disks are mingled. The fact that there is a difference between the color effects produced by mixing two pigments and the mixing of the light reflected from similar colored surfaces is a very strong argument for a system of color instruction based on disk combinations, rather than on pigmentary mixtures.

In order to obtain the most truthful effects of color in nature the artist should have sufficient knowledge of the principles which govern the combination of colors by reflected light, so that his reason may aid his eyes.

A little experimenting with the rotating disks and with pigments will convince any one that the disk combinations form the only possible basis at present known for logical color instruction.

Concerning the Complementary Colors.

Having shown that the three colors, red, yellow and blue, can not be combined to make an orange, a green or a violet of a corresponding degree of purity, we will consider the other claim which is set up by the advocates of the Brewster theory, namely, that the secondaries are complementary to the primaries in pairs, the green to the red, the violet to the yellow and the orange to the blue.