Part 8
Wt HLt - Y 3d Lt - O 5th LLt - V 3d M - B 5th HD - Y 3d D - O 5th LD - V Blk
The relation of a seventh followed by two fifths, when repeated, in either mode, gives a large number of sequences of very great interest, particularly for Representation.
151. Any two of the sequences which I have described as those of the Vertical, or more than two, may be combined and used together. In that case we have two or more colors to a value. The monotony which is inevitable in any single vertical sequence is avoided in the combination of two or more such sequences.
Seq. R and Seq. Y
Wt R HLt Y R Lt Y R LLt Y R M Y R HD Y R D Y R LD Y Blk
This is an example of the combination of two vertical sequences—the sequence of Red and the sequence of Yellow. I have not found the sequences of this type very interesting. In using them in Representation I have found it desirable to have the intensities increase gradually toward white, or, what amounts to the same thing, to have each color neutralized as it loses light. That happens, constantly, in Nature.
152. Any two of the sequences which I have described as of the Horizontal, or even more than two, may be combined and used together.
Seq. Lt and D, 3ds
Lt R O Y G B V D R O Y G B V
This scale gives us a variety of color-contrasts with one value-contrast. The colors are taken at the interval of the third. They might be taken at any interval up to that of the seventh, in which case we should have a contrast of complementary colors in two values, each color occurring in each value. The monotony of value which is inevitable in any single horizontal sequence is in the combination of two or more such sequences avoided. I have used the Red-Yellow-Blue triad in three and in five values with satisfaction. Each value represents a plane of light in which certain differences of color are observed.
153. Any two of the sequences which I have described as of the Diagonal may be combined, in two ways. First, two sequences of the same mode may be combined. Second, two sequences of different modes, one of the Right Mode and one of the Left Mode, may be combined.
LD-GB ⍂ 3ds with LD-RO ⍂ 3ds
Wt GB HLt RO BV Lt OY VR LLt YG RO M GB OY HD BV YG D VR GB LD RO Blk
In this case we have a combination of two diagonal sequences of the Left Mode in which the colors are taken at the interval of the third. Changing the mode of these two sequences we get them inverted, thus:—
LD-GB ⍁ LD-RO ⍁ 3ds
Wt GB HLt RO YG Lt VR OY LLt BV RO M GB VR HD YG BV D OY GB LD RO Blk
Here the mode is changed and the combined sequences inverted. The combined sequences may be both in the same mode or in different modes. When the modes are different the sequences come into contact, and in some cases cross one another.
LD-V ⍁ 2ds with LD-V ⍂ 2ds
Wt Y OY YG O G RO GB R B VR BV V Blk
In this case we have a combination of two diagonal sequences. One of the sequences is in the Right, the other is in the Left Mode. The colors are in the values of their greatest intensities.
Seq. LD-GB ⍁ 3ds with LD-GB ⍂ 3ds
Wt GB YG BV OY VR RO VR OY BV YG GB Blk
In this case the combined sequences cross one another in the tone of M-RO. The combined sequences have three tones in common. It may happen that the sequences combined will have no tones in common. This is shown in the sequence which follows:—
LD-O ⍂ 5ths with LD-B ⍁ 5ths
Wt O HLt B G Lt Y V LLt R O M B G HD Y V D R O LD B Blk
154. Instead of having two colors to a value in the combination of two vertical sequences, we may have an alternation of colors in the values, giving one color to a value, thus:—
Wt R HLt Lt Y R LLt M Y R HD D Y R LD Blk
It has seemed to me that the sequences in which we have one color to a value give better results than those in which we have two or more colors to a value.
155. Instead of having each color in two values in the combination of two horizontal sequences, we may have the colors, taken at equal intervals, occurring alternately first in one value and then in the other.
Lt R . Y . B . D . O . G . V
156. These alternating sequences may proceed, not only vertically and horizontally, but diagonally across the diagram. In that case the alternations will be between different value-intervals in a series of equal color-intervals or between different color-intervals in a series of equal value-intervals.
Wt HLt VR Lt BV LLt GB V M YG B HD OY G D Y LD O Blk
In this case the alternation is between different value-intervals through the Scale of Colors. The movement being, as a whole, up-to-the-right, is in the Right Mode. I have not used any of the sequences, of this type, in which the value-intervals alternate, first in one mode then in the other, with a constant color-interval, but I have used, frequently, the alternation of two different color-intervals in a series of equal value-intervals. The sequences produced in this way are among the most interesting of all the many I have used. I will give several examples.
Wt HLt Y 7th Lt V 5th LLt O 7th M B 5th HD R 7th D G 5th LD V Blk
In this case the alternation is from the keynote, Low Dark Violet, up first in the Left Mode a fifth, then up in the Right Mode a seventh, then in the Left Mode a fifth, and so on up to White. This particular alternation might be described as the relation of a fifth and a seventh repeated, in the Left Mode.
Wt HLt Y 7th Lt V 5th LLt G 7th M R 5th HD B 7th D O 5th LD V Blk
In the sequence just given the alternation is, from the keynote Low Dark Violet, first in the Right Mode a fifth, then in the Left Mode a seventh: this through the Scale of Values up to White. The order of the previous sequence is inverted. This particular alternation might be described as the relation of a fifth and seventh repeated in the Right Mode.
The alternation of intervals of the fifth with intervals of the third gives some interesting sequences, in which the alternation of intervals is, necessarily, an alternation of modes.
Wt HLt Y 3d Lt G 5th LLt O 3d M Y 5th HD R 3d D O 5th LD V Blk
157. I have by no means exhausted the possibilities of value and color combination, but I have indicated a sufficient number to serve the purposes of experimental practice in tone-relations, for a long time to come. The sequences which I have found most interesting, in my own experiments, have been the diagonal sequences of the two modes, using intervals of the fifth, and the diagonal sequences in which with equal value-intervals there is an alternation of certain color-intervals,—the seventh and the fifth, and the seventh and two fifths. It may very well be that these particular sequences interest me because I have used them more than others and consequently think in them more easily.
158. For the purposes of Pure Design the Scale of Nine Values, including Black and White, will be found sufficient; but when it comes to the combination of Design with Representation, and particularly to Representation in Full Relief, it will be necessary to introduce intermediates into the Scale of Values. With this purpose in view I give one more diagram in which intermediates of value have been introduced. For convenience in drawing out the different sequences upon this diagram I have repeated the Scale of Colors showing the connection of Violet-Red with Red. This diagram (5) is simply an extension of the Diagram of Values and Colors given on p. 137.
159. We may use the various sequences I have described without mixing the tones, using the tones one at a time as they may be required; but if we choose we may mix adjacents or thirds or even threes. In that way the tone-possibilities of each sequence may be very much extended. It may be well to show what the extension amounts to by giving one of the sequences with an indication of the result of mixtures within the limits described.
Seq. LD-R ⍂ 5ths
Wt HLt R Lt Y LLt B M R HD Y D B LD R Blk
This is the sequence in which we decide to mix adjacents, thirds, and threes.
A DIAGRAM OF VALUES AND COLORS
Wt Wt
R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR
HLt R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR HLt
R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR
Lt R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR Lt
R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR
LLt R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR LLt
R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR
M R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR M
R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR
HD R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR HD
R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR
D R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR D
R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR
LD R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR LD
R RO O OY Y YG G GB B BV V VR R RO O OY Y YG G GB B BV V VR
Blk Blk Diagram 5
2ds 3ds 3s Wt
HLt R O Lt Y V N G LLt B O N V M R G N O HD Y V N G D B O N V LD R
Blk
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.
TONE-HARMONY
162. By Tone-Harmony I mean a relation of likeness in tones. Tones are in Harmony when they resemble one another in all or in certain respects. To be in Harmony two or more tones must have at least something in common, either value or color. If they have the same color they may be in the same degree of intensity, giving a Harmony of Intensities. Tone-Harmony resolves itself into Value-Harmony, Color-Harmony, and the Harmony of Intensities. The Harmony of Intensities lies between tones of the same color, when they are equally neutralized or neutralized in approximately the same degree. When different colors are neutralized we have the Harmony of a common neutrality or grayness of color.
163. Tones may be harmonized on the palette before they are used, that is to say, before any positions, measures, and shapes are given to them on paper or canvas, or they may be harmonized after positions, measures, and shapes have been given to them. To harmonize tones on the palette, as to value, we must bring them approximately to the same value, with as little change of color as possible. To harmonize tones on the palette as to color we must bring them approximately to the same color, with as little change of value as possible. If two or more tones have the same color they may be intensified or neutralized until they are brought approximately to the same degree of intensity. The tones of Red showing a Harmony of Intensities would lie on a vertical line drawn through the triangle of Red in the Diagram of the Triangles.
As the tone-effect which we produce depends very largely upon the positions, measures, and shapes which we give to our tones, we may not be satisfied with an effect which has been produced with previously prepared and harmonized tones. We may wish to change the effect, to achieve a still greater Harmony. Given a certain arrangement or composition of tones, certain tones in certain positions, measures, and shapes, and given the problem to harmonize those tones, what do we do?
164. Suppose it is Value-Harmony which we want; what is our procedure?
Wt HLt - B Lt - V LLt - Y M - RO HD - G D - O LD - VR Blk
Here, let us say, are the tones of a design, certain colors in certain values. What shall we do with these tones to bring them into Value-Harmony?
[Illustration:
Wt HLt - B Lt - V LLt - Y M - RO HD - G D - O LD - VR Blk
Diagram 6]
For Value-Harmony we must diminish the range of values toward one value. In the above diagram I have shown a diminution of the range of values toward High Light: this in several degrees.
[Illustration:
Wt HLt - B Lt - V LLt - Y M - RO HD - G D - O LD - VR Blk
Diagram 7]
Following the indications of this diagram, we pull the colors together toward Light in one case (B), toward Middle in another (A), toward Dark in a third (C). As we do this we increase the Value-Harmony. In reproducing the tones in a diminished range of values, raising the colors in value or lowering them, we are not obliged to change the colors except in cases where they become, possibly, confounded with Black or with White. It will often happen, however, that the intensity of a color has to be diminished when the value is changed. For example, if Red Orange, in the illustration given, is in its greatest intensity, the color may remain unchanged in System “A,” but its intensity will be, necessarily, diminished in System “B,” or System “C.” See Diagram of the Triangles.
For the sake of Value-Harmony we diminish the range of values, making as little changes of color as possible, and only those changes of color-intensity which are inevitable. A complete and perfect Value-Harmony is, as a rule, undesirable because it means that all the colors are reduced to one value which gives a monotony of value. Approximate Harmony of Values is generally sufficient. The range of values is narrowed, the contrasts are diminished, and an even tonality is secured. That is all we require, in most cases, an approximation to one value.
165. Suppose it is Color-Harmony which we want to achieve: what procedure shall we follow?
Wt B V Y R G O Blk
Here are certain tones, certain colors in certain values. What shall we do with these tones to get Color-Harmony? We must diminish the range of color-contrasts by giving predominance to one color, either to one of the colors to be harmonized or to some other. That may be done by mixing one color into all our tones.
Wt Wt B V V VR Y Giving predominance to Red, we get: O R R G N O RO Blk Blk Diagram 8
The range of color-contrast is in this way diminished to the intervals between Violet, Orange, and Neutral. The process, so far as color is concerned, disregarding value-relations, is fully explained in the following diagram:—
[Illustration: Diagram 9]
Suppose, instead of giving predominance to Red, as in the example above, we give predominance to Blue, taking the same range of colors.
Wt Wt B B V BV Y Giving predominance to Blue we get: G R V G GB O N Blk Blk
Diagram 10
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.