| Experience has taught us that certain
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| | interest. But there are no arbitrary
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| combinations of colors, whether in nature
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| | rules to be followed with regard to area
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| or art, affect the eye and mind
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| | and color harmony.
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| agreeably, while others give offense. We
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| | Nor are there definite laws governing the
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| call the former "harmonies," the latter
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| | use of such phenomena when alternating
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| "discords."
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| | bands of complementary colors were viewed
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| Just as numerous attempts have been made
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| | from a certain distance. Yet effects such
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| to discover the laws of light and of
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| | as this are capable of making some
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| color vision, and to invent practical
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| | schemes disagreeable and others pleasing
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| systems of color measurement and
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| | or telling.
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| notation, great effort has been expended
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| | Texture, although not a quality of color,
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| in trying to ferret out the reasons why
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| | is another influence that can seldom be
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| some combinations of color are pleasing
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| | ignored. In architecture and decoration,
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| and others are not, and to devise laws to
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| | for example, materials harmonious in
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| insure harmonious color employment. We
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| | color often show textural inconsistency
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| have finally learned, however, that even
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| | or discord. A mere coating of varnish,
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| if it were possible to grasp all such
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| | changing dull woodwork to shiny, can be
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| reasons, workable laws guaranteeing
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| | enough to upset a scheme completely. Even
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| immunity against chromatic discord still
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| | in painting pictures, textural harmony is
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| could not be devised.
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| | almost as important as color harmony the
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| In view of the contrary claims of some
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| | two are closely wedded yet there are no
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| writers, we offer the following arguments
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| | clear cut laws.
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| to substantiate our statement.
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| | Color fitness or suitability must also be
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| First, as we have demonstrated, colors
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| | considered, as must that ever present
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| change in effect according to their
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| | matter of personal taste. After all, who
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| environment, each hue being modified by
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| | is to say which colors harmonize and
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| those adjacent to it. Color harmony is
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| | which do not? We have all seen that
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| not merely a matter of selection,
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| | changing fashions can have a considerable
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| therefore, but also of arrangement a
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| | effect on the average person`s ideas of
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| fact not nearly as commonly recognized as
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| | what colors are or are not attractive and
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| it should be. A color scheme extremely
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| | suitable for particular purposes,
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| pleasing to the average person can
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| | especially in relation to women`s
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| become, in rearrangement, positively
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| | clothing and interior decoration. There
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| disturbing. Arrangement obviously cannot
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| | are also, as we are all aware, attitudes
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| be controlled wholly by rule at least
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| | toward particular colors and color
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| in representational paintings.
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| | combinations that stem from temperament,
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| Area, like arrangement, influences color
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| | national traditions, climate, environment
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| appearances, as we have seen. Harmonious
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| | and other unpredictable factors.
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| schemes can often be made discordant, or
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| | This should be enough to warn the student
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| at least uninteresting, simply by
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| | against the exaggerated statements of
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| increasing or decreasing certain color
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| | writers who claim or imply that their
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| areas. Of course, the reverse is also
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| | methods or systems of obtaining color
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| true. It is easy to see that a small spot
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| | harmony are infallible or universally
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| of vivid red, which delightfully
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| | applicable. Printed laws and clever
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| reinforces, through contrast, a large
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| | devices designed to reveal color schemes
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| area of bright green, might, if
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| | can certainly be of help, but only in a
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| sufficiently expanded, rival the green,
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| | very limited way.
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| causing a disturbing division of
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|
