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:—
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:—
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?
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.
This illustrates the method of a neutralization toward Black in the measures of one quarter, one half, and three quarters.
This illustrates the method of a neutralization toward White in the measures of one third and two thirds.
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.
In bringing tones into harmony, by one or another or all of these various methods, we must remember that when we have diminished the contrast of value and of color beyond a certain point the result is monotony, a monotony which may be undesirable. It is easy to get into a state of mind in which we dislike all contrasts. In this state of mind we find no æsthetic satisfaction except in monotony. Such a state of mind should be avoided. Monotony is the Nirvana of æstheticism.
168. We may have a Harmony in the repetition and recurrence of two or more contrasting, even strongly contrasting, tones. We may have Harmony in the repetition and recurrence of a contrast in which there is perhaps no Harmony.
For example: I may repeat the contrast Orange-Blue any number of times in a certain composition. There is no Harmony of Value or of Color in the contrast, but in repeating the contrast I have the Harmony of a Repetition, just as I have a Harmony in the repetition of a certain line or outline in which there is no order of any kind. The Harmony lies solely in the repetition or recurrence. In this way I may repeat, at equal intervals all over a certain space, the various contrasts indicated by the following diagram:—
There is no Harmony in the relation of tones here indicated, but we shall get Harmony in the repetition of this relation.