imperceptible, by the addition of yellow, to a reddish orange, and so on gradually to orange, continuing on to yellowish orange, finally revealing pure yellow.

DIAGRAM II

DIAGRAM III

12. The contrasting color at any stage may be determined by proceeding in a direct line across the circle: Red has for its contrasting color green; hence, reddish orange would have for its contrasting color a bluish green, for the simple reason that if red contrasts with green and orange contrasts with blue, the color between the red and the orange would contrast with the color between the green and the blue. Let us determine the contrasting color for crimson. Crimson is simply a red slightly tinged with blue. If red contrasts with green, a shade a little to the left of red slightly tinged with blue would contrast with a shade a little to the right of green slightly tinged with yellow. In other words, crimson, RV, would contrast with yellowish green, YG. Determine at what point of the circle any color that you have in mind will come, and the contrasting color would be immediately opposite.

13. The harmony of analogy consists of the harmony of related colors or tones of one color. (See ¶ 17.)

14. The harmony of contrast consists of colors in no way related. As an example of the harmony of analogy, we would mention red and orange, because both of these colors have ingredients in common, red being one of the two component parts of orange. As an example of the harmony of contrast, we suggest red and green, because there is nothing in common between the two, red being a primary color, and green a secondary, composed of the other two primaries, yellow and blue. (See ¶ 17.)

15. Green is called the complement of red. The complement of blue would be orange, because orange is formed by combining the remaining primaries, red and yellow; and the complement of yellow would be violet, because violet is composed of blue and red, the other primaries.

16. In Diagram II we have arranged at opposite points the primaries 1, the secondaries 2, the tertiaries 3, the quaternaries 4.

But Diagram III goes further into the subject.

It is easy to understand the composition of secondaries, but it is not so easy to know the tertiaries and quaternaries. (See also Diagram I.)

CONTRAST ANALOGIES

17. Diagram III is of the utmost value to the colorist, illustrating not only the composition of color, but showing the origin of each secondary from the two primaries, the origin of each tertiary from two secondaries, and of each quaternary from two tertiaries. It shows by groupings the harmonies of analogy or related colors; also the harmonies of contrast: By moving on the board one color on one line to another color upon another line, like the moving of a knight in a game of chess, and confining the moves always to adjoining lines, like yellow to violet, violet to citrine, citrine to plum, plum to brown. Yellow and violet are true contrasts, the one color having nothing in common with the other. The citrine and the plum, however, are approximate contrasts. For greater convenience, we have numbered the contrasting colors A’s and B’s. Absolute contrast is where the two colors have nothing in common. For composition purposes, however, citrine and violet may be considered contrasts, or correctly speaking, contrast analogies. (See ¶ 19.)

18. A harmony of contrast means the utilization of a primary color with its complementary, or a color in conjunction with another color in no degree related: a primary with a secondary. But when we soften these contrasting colors by the addition of white we have in the lighter tints a scale of chroma that is a form of analogy.

19. All combinations of secondary and tertiary colors, while apparently harmonies of contrast (the tertiary being made by the composition of two secondaries), constitute, in fact, contrast analogies, because by analysis we find that all tertiaries possess color components occurring in the apparently contrasting secondaries. (See Diagram III.)

20. The harmony of contrast, literally, can only occur in the pure primary colors juxtaposed to the pure secondary colors, for in no case does the color formed by the combination of the two primaries have anything in common with the third primary; while a tertiary composed of two secondaries invariably has qualities possessed by the third secondary.

21. In a room which is small or dark, the light tints in harmonies of analogy are advisable.

PROPORTIONS

22. In the use of one color with another of contrasting character the question frequently arises, what proportion of each should be used to obtain the best effect? Illustrative color books show usually samples of color of the same size, leading one unconsciously to the error that contrasting colors should occupy the same surface dimensions.

23. In every room there must be a prevailing or dominant color, and the use of a contrasting color must be limited to proportions which give simply a pleasing emphasis. Let us assume that a room has a deep frieze pronouncedly green. To treat the rest of the wall in red of a direct contrast would be ineffective.

24. If a rule can be applied we would say that no strong normal color should be used in large surfaces. If we were dealing with pigments we would say that if one-sixth of a side-wall is devoted to a frieze in green, the balance of the wall space should be treated with the same amount of red, mixed with the same amount of gray.

25. For a room that is small and well lighted the fresh tints are not as desirable as the gray shades or tertiaries in conjunction with secondaries.

COLOR IN LARGE OR SMALL ROOMS

26. For a