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 | |
| PREFACE | |
| INTRODUCTION | |
| LIST OF PLATES | |
| I. | COLOR–BLINDNESS |
| II. | COLOR THEORIES |
| III. | COLOR QUALITIES |
| IV. | CONTRASTS AND COMPLEMENTS |
| V. | COLOR–HARMONIES |
| VI. | HISTORIC COLOR |
| VII. | NATURE COLOR |
| VIII. | SPECIAL SUGGESTIONS |
APPENDIX B – BOOKS FOR REFERENCE
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
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