Chapter II: Introduction

For some years I have known of the study and research the author of this book has devoted to problems in Color, and its uses in the arts of Design and Decoration, and it is gratifying to me that the result of much of this work is to be given to the public for the use of those who are interested in the subject.

A great deal will be found in these pages that will be of practical service, particularly to those who have not been able to read the works of Chevreul, Von Bezold, Rood, Church, and others. Indeed, even in these, careful study would be necessary to select passages describing combinations that could be applied to special work.

Much attention is here given to contrasts of modified or subdued colors, such colors as would be required constantly in decorative designs covering large spaces, against which points of more positive color would be placed. One of the greatest difficulties in arranging a color design is in determining the _qualities_ and _quantities_ of color in an effective and agreeable way, and very few works give the useful hints on this subject contained in this book. Under the heading of “Historic Color” are some very interesting and original diagrams, presented in a way easily to be understood and made use of in actual practice.

The study of color from the scientific side has very little attraction for the layman, and it is even difficult for a painter to get out of such study much that will help him in his work; but the presentation of some of the salient points of the scientific side, by one who has also borne in mind the artistic side, cannot fail to make this book attractive and useful to a great number who wish to know something of the laws that underlie agreeable arrangements of color.

R. SWAIN GIFFORD.

CONTENTS

CHAPTER PAGE
PREFACE vii
INTRODUCTION ix
LIST OF PLATES xiii
I. COLOR-BLINDNESS 3
II. COLOR THEORIES 13
III. COLOR QUALITIES 26
IV. CONTRASTS AND COMPLEMENTS 48
V. COLOR-HARMONIES 73
VI. HISTORIC COLOR 107
VII. NATURE COLOR 111
VIII. SPECIAL SUGGESTIONS 115
──────────────────────────────────────
APPENDIX A—DEFINITIONS 125
APPENDIX B—BOOKS FOR REFERENCE 133

LIST OF PLATES

I. Wools as sorted by a Color-Blind Man.

II. Solar Spectra.

III. Table of Spectral Colors.

IV. The Spectral Colors (_a_) In their order of Luminosity;

(_b_) Pure, and Grayed.

V. Advancing and Retiring Colors.

VI. Advancing and Retiring Colors.

VII. Tints.

VIII. Shades.

IX. Violet with its Extremes.

X. Blue with its Extremes.

XI. Green with its Extremes.

XII. Yellow with its Extremes.

XIII. Orange with its Extremes.

XIV. Red with its Extremes.

XV. Shades by Contrast.

XVI. Spectral Colors on Black, White, and Gray.

XVII. White on Spectral Colors.

XVIII. Black on Spectral Colors.

XIX. Gray on Spectral Colors.

XX. Spectral Red with its Complement.

XXI. Spectral Red Disk for Experiment in Complements.

XXII. Spectral Red and its Complement, Blue-Green, in their
relative Proportions.

XXIII. Spectral Orange and its Complement, Green-Blue, in their
relative Proportions.

XXIV. Spectral Yellow and its Complement, Spectral Blue, or
Spectral Blue and its Complement, Spectral Yellow, in
their relative Proportions.

XXV. Spectral Green and its Complement, Purple, in their relative
Proportions.

XXVI. Spectral Violet and its Complement, Yellow-Green, in their
relative Proportions.

XXVII. Milton-Bradley Color Machine.

XXVIII. Table of Complements arranged in Pairs.

XXIX. Table of Complements arranged in a Circle.

XXX. Contrast Diagram.

XXXI. Color analysis from a Prize Dinner-table.

XXXII. Color analysis from Teacup and Saucer.

XXXIII. Harmony of one Color; Harmony of Contrast; Complex Harmony.

XXXIV. Color analysis of a Book Advertisement.

XXXV. Harmony helped by Outline.

XXXVI. Good Dyads, or Pairs.

XXXVII. Good Triads.

XXXVIII. Harmony by Gradation.

XXXIX. Harmony by Change of Quality.

XL. Harmony by Change of Quantity.

XLI. Harmony by Change of Both Quality and Quantity.

XLII. Harmony by the Addition of another Color.

XLIII. Harmony by the Addition of Black.

XLIV. Harmony from a Dominant Hue.

XLV. Harmony by Interchange.

XLVI. Harmony by Counterchange.

XLVII. The True Character of some of the so-called “Whites.”

XLVIII. Some Changes by Gradation.

XLIX. Color analysis from Assyrian Tiles.

L. Color analysis from Assyrian Tiles.

LI. Color analysis from Assyrian Tiles.

LII. Color analysis from a Mummy Cover.

LIII. Color analysis from an Egyptian Mummy Case.

LIV. Color analysis from a Mummy Case.

LV. Color analysis from a Mummy Cloth.

LVI. Color analysis from a Mummy Cloth.

LVII. Color analysis from a Mummy Cloth.

LVIII. Color analysis from a Mummy Cloth.

LIX. Color analysis from a Mummy Cloth.

LX. Color analysis from a Mummy Cloth.

LXI. Color analysis from a Mummy Cloth.

LXII. Color analysis from an early Greek Vase.

LXIII. Color analysis from a Greek Vase.

LXIV. Color analysis from a Greek Vase.

LXV. Color analysis from a Greek Vase.

LXVI. Color analysis from Arab Mosaics.

LXVII. Color analysis from Arab Illumination.

LXVIII. Color analysis from Moorish Tiles.

LXIX. Color analysis from a Panel of the Alhambra.

LXX. Color analysis from a Panel of the Taj Mahal, India.

LXXI. Color analysis from Damascus Tiles.

LXXII. Color analysis from Celtic Ornament.

LXXIII. Color analysis from Italian Majolica Vase.

LXXIV. Color analysis from Panel of Dutch Inlaid Cabinet of the
15th Century.

LXXV. Color analysis from Spanish Embroidery.

LXXVI. Color analysis from Spanish Embroidery.

LXXVII. Color analysis from an Antique Persian Rug.

LXXVIII. Color analysis from an Antique Rug.

LXXIX. Color analysis from an Antique Rug.

LXXX. Color analysis from an Antique Rug.

LXXXI. Color analysis from an Antique Rug.

LXXXII. Color analysis from an Antique Rug.

LXXXIII. Color analysis from an Antique Rug.

LXXXIV. Color scheme of an Antique Rug.

LXXXV. Color analysis from an Antique Rug. (Plate lxxxiv.)

LXXXVI. Color analysis from Japanese Silk Tapestry.

LXXXVII. Color analysis from Japanese Silk Tapestry.

LXXXVIII. Color analysis from Japanese Silk Brocade.

LXXXIX. Color analysis from border of Japanese Cloisonné Vase.

XC. Color analysis from Japanese Cloisonné Vase.

XCI. Color analysis from Japanese Skirt Panel.

XCII. Color analysis from Japanese Brocade.

XCIII. Color analysis from Chinese Porcelain.

XCIV. Color analysis from a Black Hawthorn Vase.

XCV. Color analysis from a Rose-colored Vase.

XCVI. Color analysis from Yellow Chinese Porcelain Vase.

XCVII. Color analysis from a Chinese “Eggshell” Plate.

XCVIII. Color analysis from a Butterfly.

XCIX. Color analysis from a Stone.

C. Color note from a Discolored Propeller Flange.

CI. Color note from Leaves on a Tree.

CII. Color note from a Sunset Sky.

CIII. Color note from Bare Woods on the Edge of a Meadow.

CIV. Color note from Evergreens against a Gray-Blue Rain cloud.

CV. Color note from a Shadow on White Ground.

CVI. Color note from a Bluebird.

CVII. Color note from a Slice of an Orange.

CVIII. Color note from an Orange Canna Blossom.

CIX. Color note from a Bunch of Azaleas.

CX. Color note from Oak leaves against a Distant Hillside.

CXI. Color note from Oats seen from the Edge of the Field.

CXII. Color note from a Pussy Willow.

CXIII. Color note from a Trout Pond.

CXIV. Color note from a Tree Fungus.

CXV. Color scheme from Winter Landscape.

CXVI. Spectral Red, neutralized by Black and White.

CXVII. Spectral Yellow, neutralized by Black and White.

COLOR PROBLEMS