COLOR VOCABULARY

126. In music, a tone which is formed by a certain number of vibrations per second is the same the world over, and each and every tone has a name; but in color no such standards exist. People have attempted to formulate a system by denominating the primary colors, red, yellow and blue, respectively as R, Y and B, and the combinations of these colors as combinations of letters. For example, red, with varying degrees of yellow added, is denominated by the letters R R O, or R O R, or O O R. This system tends to confusion, and is inadequate to express tints and shades. Various other systems have been devised. Color charts have been made, and in each system arbitrary names have been assigned, so that each color may be known by one of several names. The difficulty of insuring accuracy under these circumstances becomes very evident.

127. In discussing color combinations, one is usually confused because the subject is not a tangible expression that can be grasped like the sound of a note in music. With color charts, every maker has a standard of his own and the term “red” may mean anything within a wide range; a yellow-red or a blue-red, the yellow-red perhaps being cherry, the blue-red perhaps being carmine. An appreciation of the Harmonies of Contrast or Harmonies of Analogy or Relationship is accompanied by great confusion because of this lack of standardization.

128. There is only one true standard of color, and that is the standard as shown in the prism, and expressed by the spectrum. It is within the province of any man to determine the proper relationship of color if he starts with the chart we here present. We fix definitely the three primary and the three secondary colors, the primaries, red, yellow and blue, being those indicated by the heavy black lines; the secondaries, orange, green and violet, being indicated by the broad stipple lines.

All other lines are the tertiary or quaternary colors.

If we have clearly in our minds the appearance of the normal red and yellow, and clearly in our minds the orange that is made up by combining the two, we ought to be able to fix in our imagination the colors that come midway between the red and the orange, or the colors that come nearer the red or nearer the orange. Let us assume we are to select colors in the harmony of contrast. Take a ruler and lay across the chart and the contrasting colors are always opposite; the direct contrast of red is green because green is composed of the other two primary colors, yellow and blue; the contrast of blue is orange because orange is a combination of the other two primaries, yellow and red; the contrast of yellow is violet, a combination of blue and red.

Now, to determine the niceties of distinction, let us take a red that is a little off shade, a little yellowish; one must determine in the mind’s eye about how much yellow there is in it and, to determine the true contrast, carry your line across from the point which you think is represented by the yellowish and you find that it is green with a little blue added, or bluish-green.

129. One must also determine the scale of color. The parallel circular lines on the chart designate four scales, or four grades, of each color, growing lighter by adding white, to the center; as you add more and more white the tint becomes more and more light. In determining contrast, be careful to stick to your scale. Contrasts, to be in harmony, must be colors of the same scale.

130. Harmony of analogy or relationship is clearly expressed in the chart. The family relations of red are the things which go with red. We may have a harmony of analogy in violet which includes the relations of red and blue. We must not attempt to carry the family relationship too far. There is a wide range of variety in these combinations of analogy because they may include not only all scales of each color from the darkest tones to the lightest tints but they include tertiaries and quaternaries.

Each man must establish his own standard, and by establishing it he forms unconsciously a very comprehensive understanding of color. It has never been possible to print a true colored chart because no two copies of the sheet off the press would be alike. A little more ink or a little less ink, or a little lighter or a little heavier impression, changes the values.

The chart illustrates contrasts of all of the primaries and secondary colors and the broken colors or hues. In the same way the tertiary or quaternary colors may be arranged, but for convenience we show the contrasts as follows:

Russet:
Tertiary,
32 parts Red, 16 parts Yellow, 16 parts Blue
31 parts Red, 16 parts Yellow, 17 parts Blue
30 parts Red, 16 parts Yellow, 18 parts Blue
29 parts Red, 16 parts Yellow, 19 parts Blue
28 parts Red, 16 parts Yellow, 20 parts Blue
27 parts Red, 16 parts Yellow, 21 parts Blue
26 parts Red, 16 parts Yellow, 22 parts Blue
25 parts Red, 16 parts Yellow, 23 parts Blue

Slate:
Tertiary,
32 parts Blue, 16 parts Red, 16 parts Yellow
31 parts Blue, 16 parts Red, 17 parts Yellow
30 parts Blue, 16 parts Red, 18 parts Yellow
29 parts Blue, 16 parts Red, 19 parts Yellow
28 parts Blue, 16 parts Red, 20 parts Yellow
27 parts Blue, 16 parts Red, 21 parts Yellow
26 parts Blue, 16 parts Red, 22 parts Yellow
25 parts Blue, 16 parts Red, 23 parts Yellow

Citrine:
Tertiary,
32 parts Yellow, 16 parts Blue, 16 parts Red
31 parts Yellow, 16 parts Blue, 17 parts Red
30 parts Yellow, 16 parts Blue, 18 parts Red
29 parts Yellow, 16 parts Blue, 19 parts Red
28 parts Yellow, 16 parts Blue, 20 parts Red
27 parts Yellow, 16 parts Blue, 21 parts Red
26 parts Yellow, 16 parts Blue, 22 parts Red
25 parts Yellow, 16 parts Blue, 23 parts Red

Sage:
Quaternary,
24 parts Blue, 16 parts Red, 24 parts Yellow
25 parts Yellow, 23 parts Blue, 16 parts Red
26 parts Yellow, 22 parts Blue, 16 parts Red
27 parts Yellow, 21 parts Blue, 16 parts Red
28 parts Yellow, 20 parts Blue, 16 parts Red
29 parts Yellow, 19 parts Blue, 16 parts Red
30 parts Yellow, 18 parts Blue, 16 parts Red
31 parts Yellow, 17 parts Blue, 16 parts Red

Buff:
Quaternary,
24 parts Yellow, 16 parts Blue, 24 parts Red
25 parts Red, 23 parts Yellow, 16 parts Blue
26 parts Red, 22 parts Yellow, 16 parts Blue
27 parts Red, 21 parts Yellow, 16 parts Blue
28 parts Red, 20 parts Yellow, 16 parts Blue
29 parts Red, 19 parts Yellow, 16 parts Blue
30 parts Red, 18 parts Yellow, 16 parts Blue
31 parts Red, 17 parts Yellow, 16 parts Blue

Plum:
Quaternary,
24 parts Red, 16 parts Yellow, 24 parts Blue
25 parts Blue, 23 parts Red, 16 parts Yellow
26 parts Blue, 22 parts Red, 16 parts Yellow
27 parts Blue, 21 parts Red, 16 parts Yellow
28 parts Blue, 20 parts Red, 16 parts Yellow
29 parts Blue, 19 parts Red, 16 parts Yellow
30 parts Blue, 18 parts Red, 16 parts Yellow
31 parts Blue, 17 parts Red, 16 parts Yellow

131. One who attempts to make color compositions with no more reliable guide than taste can expect to accomplish no more than he who in music possesses a good ear but no musical training.

132. The note of discord in color is best avoided by an infallible guide, as the discord in music is best avoided by thorough training in the law of harmony. The color chart on page 73 has been so arranged that each of the shades is in exact harmony with the shade directly opposite.

133. For example, to ascertain the color that is in harmony with the shade denominated Red-Orange, it is necessary simply to lay a ruler across the diagram to find the corresponding harmony, which is Blue-Green.

134. We know that the primary colors are red, yellow and blue, and that the combination of any two of these gives a secondary color. The secondary color is the complement of the remaining third color; thus yellow and blue form green, and green is the complement or contrasting harmony of red. Red and yellow form orange, and orange is the complement of blue. Blue and red form violet, and violet is the complement of yellow. These are facts we all know. Now, if red is the complement or contrasting harmony of green, and yellow contrasts with violet, then red with one, two or three degrees of yellow added will contrast with green with one, two or three degrees of blue added.

Assume, for example, that a decorator dealing with a red side-wall wishes upholsterings in the correct shade of green. He knows he has a red wall, he knows also that he wishes to use some shade of green, but without some fixed standard it is impossible for him to do more than approximate the correct shade of green to use. If, however, he could compare the red of his wall with his color chart and determine exactly which of the many shades of red, or which of the many yellow reds, or blue reds, the wall is toned in, it is a simple process to ascertain the exact green harmonizing with this red.

The second great use of the color chart is then an infallible guide to color harmony, whether analagous or contrasting.

ARTIFICIAL LIGHTING

135. In considering artificial light, we will avoid all efforts to analyze the different forms of energy, magnetic energy, electric energy, heat energy, mechanical momentum, radiating energy, and deal with result rather than with cause and effect. It will be sufficient to state as the deduction of the scientist that certain waves or vibrations which affect the fibers of the optic nerve are transmitted by the brain into color. (¶ 3.) Self-luminous bodies are bodies which produce light. Illuminated bodies shine by borrowed light, and are distinguished by the different amounts and quantities of light which they reflect. A dense cloud which appears nearly black when between the observer’s eye and the sun, owing to the degree of density with which it intercepts the light, may become brilliantly white when the sun’s rays fall upon its constituent particles, for the light which cannot penetrate the cloud is continually reflected to and from the surface of its minute parts. Thus it happens that the lower part of a cloud seen against a background of dark mountain may appear white, while the upper part may appear dull gray. In the alteration of reflection we have an alteration of color. A stick of sealing wax will show in some positions white reflected light, while in other positions we see only the red. A polished plane furnishes one kind of reflection, a piece of chalk another.

136. The decorator has for years past been disposed to defer to the illuminating engineer in the artificial lighting of a home. But while the technical man or engineer may have a knowledge of power and energy, he has not studied the decorative value of lighting. His problem has been economic rather than psychologic. The illuminating engineer cannot be expected to appreciate fully the harmonies of color in decoration.

137. It is the decorator’s province to consider not only the power of light in the furnishing of a house, but the character of the light—not only its color influence, but the structural character of its introduction, as affecting these furnishings. It is beyond his province to determine whether carbon should be replaced by tantalum, osmium or tungsten to get higher efficiency, but he must understand the effects of these lights and prescribe accordingly.

ABSORPTION AND REFLECTION

138. The architect who designates the number and location of outlets for the lighting sources, and specifies the candle-power of the lamps, knows nothing of the ultimate decoration of the house. Very often the specifications are finished before the color scheme has been decided upon, and as a result the degree of illumination either falls short of what is needed in case of dark-colored interiors, or proves excessive with light-tinted rooms. The architect works from one point, economy, the decorator from another, æsthetic; while the householder, the consumer who pays the illuminating bills, cannot comprehend why his lighting bills increase as his taste for luminous or dark-colored furnishings is gratified. Many houses are left in the white plaster for a year or more until the plaster settles. In this condition a small unit of light is sufficient, but when the decorator completes his work, adding fabrics and wall-papers which absorb and diminish the light, the householder, unaware of the cause, notices a material increase in his bills for illumination. These facts must be understood to be remedied, and it remains for the illuminating engineer to determine by direct experiment the value of any light as it affects and influences color, as well as the value of color as it affects light. It may be assumed without danger that the softest light is that of the candle, but we are not living in the candle age, and have to deal with either gas or electricity as the main illuminating agents.

139. We have to consider the mercury arc light, the yellow flame carbon, the white magnetite and titanium arc—all of high efficiency, giving orange yellow in the flame-carbon to yellow and yellow white in the acetyline of the tungsten filaments. Then we have the greenish yellow of the Welsbach mantle, the bluish green of the mercury arc, the yellowish white of the carbon arc, as well as the clear white of the titanium arc.

140. The subject may be divided into three heads: Quality, or approximation to natural light. Quantity, as demanded by reflection or absorption. Installation, diffusion or mechanical distribution.

142. The illuminating engineer treats the home as he treats a public hall. He ignores the individuality of the room; the ball-room and the sickroom are lighted alike. He does not always consider the diminished force of light as it passes through a refracting surface, for it must be borne in mind that any method of indirect lighting by refraction is apt to cause a loss of volume. The use of various kinds of globes or lamp shades must all be considered. A light-colored wall reflects illumination, a dark-colored wall absorbs it; hence the amount of illumination is increased or diminished by the color of the walls.

LIGHT EFFECT ON COLOR

143. To illuminate a city, with the dull grim environment of streets and houses, a soft yellow glow will give warmth and tone; the greenish yellow of the Welsbach or the blue green of the mercury arc may even be desirable, but the same green or violet rays are ghastly in a house, and should never be permitted.

144. The warm glow of the yellow light, while pleasing to the complexion, is, however, objectionable as disturbing the color composition of dress or furnishings. A gaslight sends a yellow glow over all that it reaches, and has the same effect as the introduction of yellow into every color tint in the room. The walls that are red take on a scarlet hue; the scarlet ones are yellowed to orange; the blues become greenish.

145. In order that the decorator may more readily grasp the subject, we have arranged a table showing the color changes effected by rays of yellow, blue, green and violet:

Orange rays falling on white make it appear orange.
“ “ red it appears reddish-orange.
“ “ orange it appears deeper orange.
“ “ yellow it appears orange-yellow.
“ “ green it appears dark yellow-green.
“ “ blue it appears dark reddish-gray.
“ “ violet it appears dark purplish-gray.
“ “ black it appears brownish-black.

Yellow rays falling on white make it appear yellow.
“ “ red make it appear orange-brown.
“ “ orange make it appear orange-yellow.
“ “ yellow make it appear deeper yellow.
“ “ green make it appear yellowish-green.
“ “ blue make it appear slaty-gray.
“ “ violet make it appear purplish-gray.
“ “ black make it appear olive-black.

Green rays falling on white make it appear green.
“ “ red make it appear yellowish-brown.
“ “ orange make it appear grayish-leaf-green.
“ “ yellow make it appear yellowish-green.
“ “ green make it appear deeper green.
“ “ blue make it appear bluish-green.
“ “ violet make it appear bluish-gray.
“ “ black make it appear dark greenish-gray.

Blue rays falling on white make it appear blue.
“ “ red make it appear purple.
“ “ orange make it appear plum-brown.
“ “ yellow make it appear yellowish-gray.
“ “ green make it appear bluish-green.
“ “ blue make it appear deeper blue.
“ “ violet make it appear bluer.
“ “ black make it appear bluish-black.

Violet rays falling on white make it appear violet.
“ “ red make it appear purple.
“ “ orange make it appear reddish-gray.
“ “ yellow make it appear purplish-gray.
“ “ green make it appear bluish-gray.
“ “ blue make it appear bluish-violet.
“ “ violet make it appear deeper violet.
“ “ black make it appear violet-black.

146. The pale tints of electric lights, which make every face in a room look ghastly, will affect quite as disastrously every soft color in the furnishings. In ordinary gaslight a pair of white gloves looks yellow, and we have seen Welsbach lamps which threw out a violet-blue illumination, depressing in the extreme. Under a yellow glow, blues, greens, violets and purples are greatly changed. Under a violet glow, yellows and greens are ruined. To see all colors in about the same value that they possess by daylight one must have a light in which no color tone is apparent.

The question as to the disposition and intensity of the lights is of vital importance, and must be considered with the requirements of each particular room in mind.

147. For the drawing-room and reception-room it is desirable that all parts of the room be evenly lighted, without a pronounced glare in any particular part of the room. One of the most effective ways of accomplishing this is by distributing the lights around the room, either on the ceiling, in the cove or above a wide molding, so that the ceiling acts as a reflecting agent, and distributes an even tone of light to all parts.

ILLUMINATION

148. For the dining-room and living-room a different plan must be used, because of the different requirements. The table is usually in such rooms the chief feature of the furnishings, and it is customary to focus upon it the main body of light. While this is obviously necessary, the surroundings must not be ignored; neither is it possible to raise the center light to such a height that its radiation may reach all parts of the room, because in so doing the light reaches the eye at an extremely unpleasant angle. The drop fixture should be low enough to effectively light all parts of the table, while at the same time its shade should screen the light from the eyes of the room’s occupants. To illuminate the surrounding parts of the room other lights should be distributed where they will most effectively supply what further illumination is required.

149. For the bedroom or boudoir the location of the lights should also be subordinated to the purposes of the room, and in addition to providing sufficient illumination to the entire area, special illumination should be provided for the mirrors and the dressing-table. The lights for the mirrors should be planned to illuminate the person and not the image.

150. For large reception-rooms in hotels and public institutions the plan is frequently adopted of having all light provided by small table lamps with opalescent shades. These provide a medium glow throughout the entire room that is pleasing, and avoid entirely the garishness usually associated with such rooms. One of the mistakes of the day is the use of high-power lights, which are so intense that they require to be screened or shaded, involving waste of light and concentrating an unnecessary amount of illumination upon a narrow sphere.

REFLECTIVE POWER OF COLOR

The following table will give an idea of the percentage of light reflected from ordinary wall-hangings and papers:

151. It is very difficult to select practical artificial illuminants, because of the various color properties possessed by each. A Welsbach mantle, which gives a greenish tint, is pretty sure to alter the character of any color other than green. Incandescent electric light, as well as ordinary gaslight, contains a yellow tint.

THE COLOR OF ARTIFICIAL LIGHTS

152. In planning or matching colors for a room, it is best to consider the purpose for which the room is to be used, and match the colors under the same light conditions that will prevail in the finished room.

Deep, full colors are less affected by the shadings in artificial illuminants than lighter tones of the same color.

ARTIFICIAL LIGHT APPLICATION

153. The introduction of light by the medium of a wire, which may be carried to any point in a room, encourages so many possibilities for comfort and effect that it behooves us to forget traditional customs which were established during the gaslight period. The introduction of gaslight through tubes was a rather complex problem, and the carrying of the pipes into the room through a main chandelier was the most advisable constructive form. But we have no need for such cumbersome fixtures in this day of wiring.

A mere cord takes the place of an inch pipe. Modern German and Austrian lighting fixtures frequently are mere pendants, with the cord frankly in evidence. In this way the lights may be placed wherever needed—at the head of the lounge, so one may read more clearly by it; close by the piano; over the tea-table. In fact, supplementary lights to the general illumination are a convenience that the decorator should consider.

154. The lighting of a house is a matter so dependent upon æsthetic conditions that it is never within the scope of the electrician. It is a problem for a decorator alone to solve. Intense and glaring lights of unusual power must be avoided. Luminants of low intrinsic brilliancy are preferable.

157. While the list which we give herewith is based largely upon area, it may be taken as a basis of calculation for lighting equipment.

It is estimated that 300 square feet of a hallway requires four sixteen-candlepower, or eight eight-candlepower units.

In a room 20 x 20 feet, with furnishings of mahogany and green, broken up by bookcases and other furniture producing heavy shadows, it is estimated that twelve eight-candlepower lights are sufficient if worked into the frieze, and that a reading lamp of not less than thirty-two-candlepower be used as a drop light.

Assuming a room is 15 x 15 feet, and furnished in light tones, four eight-candlepower lamps are ample.

A living-room 20 x 25 feet, in light tones of color, requires two thirty-two-candlepower lights, centrally located, and about twelve eight-candlepower lights. This should provide brilliant illumination.

A room 15 x 20 feet, in dark wood and hangings, needs eight eight-candlepower reflector lamps, backed up by six more eight-candlepower lamps.

Bedrooms 15 x 15 feet in size, where they are not furnished in deep colors, should be equipped with two sixteen-candlepower lights.

COLOR CONTROL

158. Mechanical lighting is so easily undertaken that it predisposes one to extravagance. Properly applied, artificial light adds materially to the charm of a room, but with illumination secured by the mere twist of the wrist one is prone to ignore the value of shadows and kill the beauty of light and shade by throwing illumination into the remotest corners. The danger to good decoration is not only in overlighting, but in overdecorating, and commercialism naturally encourages this tendency. The floor is frequently best treated if not entirely covered with a one-pattern treatment; the walls are frequently most pleasing if done in several papers instead of one. The most effective room is the one lighted in various degrees of strength, and while the decorator unconsciously follows this idea and avoids superabundance of pattern by using panels, friezes and wainscotings, we believe that each and every section or part of a room should be treated separately, observing, of course, a consistent spirit of design, preserving the period style and the general color effect; we would vary the actual shade of coloring and the size of pattern according to the dimensions of the wall space it occupies. The large patterns and the strong colorings which may be appropriate to an exposed wall are all out of proportion in narrow or darkened confines. Dark and deep recesses should obviously be treated differently to advanced or conspicuous spaces.

159. At a recent meeting of the Illuminating Engineering Society, D. McFarlan Moore made the following observations: “A few years ago there was practically no way of changing the colors of the various forms of lamps, that is, the candle had its color perforce; such a thing as modifying it was not dreamed of. The oil lamp had its color; the open burner gas flame its color, the incandescent lamp its color, and the arc lamp its color. At the present time there are only two ways widely in use of varying the color; that is, if a person wishes to have a light of a different color, there are two main ways of getting it. One way is to get another light source, and the other way is to use a diffusion globe of some kind, which in any instance is extremely unscientific and inefficient. Some of the most recent advances in this line are connected with the flaming arc lamp. There we have an instance where the first step, at least, was taken toward scientifically controlling the color value. I refer to placing different chemicals in the carbon and thereby obtaining a color which can, to a very great extent, be determined previously. But still it by no means can be said that by means of the flaming arc lamp the color factor is under perfect control. However, it is possible now to have the color value under perfect control, and this is obtained by utilizing a vacuum tube, and by changing the various gases used in the tube to change the color. This has many advantages, and from a scientific standpoint it cannot be criticised, as can the other methods which have been used. For example, if you use a properly regulated vacuum tube and feed it with air only, a pink light results; if you feed it with nitrogen a yellow light results, and such a light can be used for a great many purposes; in fact its range of usefulness so far as the color is concerned, is about the same as that of the ordinary incandescent lamp, and therefore can be used by florists or by clothing merchants, and the distortion is not any worse than that of the ordinary incandescent lamp. However, it is not by any means claimed that when a tube is fed nitrogen, that the color is at all near daylight; it is simply a color which appears about the same as that produced by the ordinary incandescent lamp. Due to the enormous radiating surfaces of the tube, the color in day time looks considerably redder than that of the incandescent lamp because the lamp is extremely small as compared with the tube. When such a tube is fed with carbon dioxide at a definite pressure, and at a definite intensity, a light is obtained that undoubtedly is closer to average daylight color values than any light which has ever been produced before, and we can almost say that it is entirely satisfactory. For instance, experts in matching colors in the largest dye works of this country, men who have tried all other forms of light, and found them not at all suitable for their uses, have matched their colors under a vacuum tube supplied with carbon dioxide and have found after months of practical use that they could not detect any difference between most delicate lavender shades, when they are matched at night time under the tube and in day time by daylight, not direct sunlight.”

DRESS AND COMPLEXION

160. The nerves of the eye, exhilarated by any pronounced color, unconsciously observe the complement of that color when turned from it. The eye accustomed to the red of a woman’s dress, unconsciously sees a greenish cast in the face that is naturally pale, and in the same way the pallor of a woman’s face takes on a tint of red as the complement or contrast of a green dress. As one’s appetite for the thing that is sweet becomes exhausted by a superabundance of sweets, so the eye resting upon a mass of red in the dress of a woman fails to appreciate the red tint in the face, and the face thus juxtaposed becomes pallid. A red-faced woman often wears brighter red in dress, so that her face may appear less red. The blue dress gives yellow to the face; the yellow dress gives blue; these results are altered materially by the intervention of white between the face and the dress. White intensifies color. If there is a tinge of pink in the face white brings it out. If there is sallowness in the face white accentuates it. It is for this reason that many women wear yellow instead of white at the neck, so that the yellow of the face becomes less conspicuous by contrast. (See ¶ 31.)

161. It is dangerous, however, in matters of dress to strictly apply this rule, because color has a temperamental influence apart from the purely visual. Some women are positively depressed by certain colors; such colors are to be avoided, no matter what the deductions of theory. (See ¶ 94.)

162. The black dress will make a woman look pale, for the reason that the black absorbs whatever color there may be in her face. A dark color has also absorbent characteristics. The lighter the color, the less absorbent. Hence light greens are preferable to bring out the color in the face than dark greens, assuming that we are to consider only this point, which is all that is necessary to consider in house decoration. Therefore light greens as a background to theater boxes or as a wall background are always desirable.

COLOR TERMS

Broken Color. Color changed by the addition of black, white or gray.

Chroma. Color.

Cold Colors are colors containing very little, if any, red or yellow.

Contrast Analogies. Apparent contrasts of secondary and tertiary colors which have constituent parts that are related. Thus compositions of citrine and plum are apparent contrasts, citrine being one of the three tertiary colors, russet, slate and citrine, and plum being composed of russet and slate, but in both citrine and plum there is red, yellow and blue; hence related. There can be no true contrasts excepting between primaries and secondaries.

Gray. Normal gray is black and white mixed, but quaternary colors are also called grays, or colors of the dull or neutral scale.

Harmony of Analogy is produced by using related colors.

Harmony of Contrast. The juxtaposition of a primary color, for example, with a secondary made of the other two primaries. Thus of the primaries red, yellow and blue, the contrasts would be red and green. Of the two colors thus forming contrast the one is said to be the Complementary of the other.

Hue. Applied to the predominating color in a composition.

Intense or Saturated Colors. Colors that are pure, having no tint or shade.

Neutral Colors. Applied to black, gray and quaternary colors.

Normal. Intense colors of the prism. Colors of the natural scale.

Prismatic Colors are the colors viewed through a prism.

Quaternary Colors. Made by combining two tertiary colors. Quaternary colors are plum, sage and buff.

Scale. Relates to colors of the same degree of tone.

Secondary Colors. Orange, green and violet, each a combination of two primaries.

Shade. Produced by the addition of black to a normal color.

Sombre Colors. Blue, violet and the subdued tones of luminous colors.

Spectrum. The illusion of color produced by means of the prism.

Tertiary Colors. Made by combining two secondary colors; tertiary colors are slate, russet and citrine.

Tint. Produced by the addition of white to a normal color.

Tones are the gradations of color by adding either black or white.

Warm Colors or luminous colors are those having normal yellow or red in the preponderance.

Advancing Colors. Reds and bright yellow arouse the nerve sense more quickly than blue or tones of color predominating in blue. Hence they are called advancing colors.

Receding Colors. Blue colors or colors in which blue predominate or the exciting influences of yellow or red are subjugated, are cold or receding colors.

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