DEFINITION OF VALUE-RELATIONS

130. The best method of describing and distinguishing these value-contrasts will be to use the value-names in a form of fractions. For example, Lt/D would mean a contrast of Dark on Light, D/Lt would mean a contrast of Light on Dark, Wt/Blk would mean a contrast of Black on White. That is to say, White is subdivided or crossed by Black. When we wish to describe several contrasts in combination, we set the value of the ground-tone above the line, always, the value of the tone or tones put upon it below, thus:—

Lt
Wt		Blk

This formula means, spots of White and Black on a ground of Light.

Lt
Wt		Blk
M

This formula means spots of White and Black on a ground-tone of Light, with a spot of Middle on the White, the Middle being altogether separated from the Light by the White.

There is no definite thinking except in definite terms, and without some such terminology as I have devised and described, it will be impossible to enter upon an experimental practice in value-relations with the hope of definite results. With definite terms, however, we can take up the practice in value-relations with a good chance of learning, in the course of time, all that there is to be learned.

SCALES OF COLORS IN
DIFFERENT VALUES

131. We must now proceed to the consideration of the qualities of light beyond the Scale of Neutral Values, in the region of colors and color-intensities,—a region of tones which we have not yet explored.

It is evident that no color can exist either in the value of Black or in the value of White, but in every other value we have the possibility of all colors. That is to say, we may have Red (R) or Orange (O) or Yellow (Y) or Green (G) or Blue (B) or Violet (V) or any of the colors lying intermediate between them,—Red Orange (RO), Orange Yellow (OY), Yellow Green (YG), Green Blue (GB), Blue Violet (BV), or Violet Red (VR): all these, in any value of the Scale of Values, except in the value of Black and in the value of White. The possibilities of value and color, in tones, are exhibited in the following diagram:—

DIAGRAM OF VALUES AND COLORS

HLt

LLt

Blk

Diagram 2

DEFINITION OF THE
COLOR-TERMS

132. It is important that the words which we use for the different colors should be well understood, that in using them we use them with the same meanings. By Red I mean the only positive color which shows no element either of Yellow or of Blue. It is the color which we often describe by the word crimson, and we produce it by the mixture of Rose Madder and Vermilion. By Yellow I mean the only positive color which shows no element either of Red or Blue. It is the color of the primrose which may be produced by the pigment Aureolin. By Blue I mean the only positive color which shows no element either of Yellow or of Red. Blue is seen in a clear sky after rain and in the pigment Cobalt. By Orange I mean a positive color showing equal elements of Red and of Yellow. By Green I mean a positive color showing equal elements of Yellow and of Blue. By Violet I mean a positive color showing equal elements of Blue and Red. The character of the intermediates is clearly indicated by their several names. In each one we see the adjacents in equal measures. This definition of the colors is only approximate. It does not pretend to be scientific, but it may help to bring us to a common understanding. To carry these definitions farther, I should have to produce examples. This I can do in my class-room, producing each color according to my idea, exactly. I might reach the same result approximately by color-printing, but the result would not, probably, be permanent. The samples produced by hand, for use in the class-room, can be reproduced from time to time when they no longer answer to the ideas which they are intended to express. In this treatise I shall use a terminology instead of colored illustrations which would not be satisfactory, or, if satisfactory, not so permanently.

COLOR-INTENSITIES IN
DIFFERENT VALUES

133. If we proceed to carry out the idea of [Diagram 2], producing all the twelve colors in all of the seven values intermediate between the extremes of Black and White, making the colors, in every case, as strong, as intense, as is possible with the pigment-materials we have chosen to use, we shall discover that the twelve colors reach their greatest intensities in different values; that is to say, in different quantities of light. Red reaches its greatest intensity in the value High Dark, Orange in Low Light, Yellow in High Light, Green in Low Light, Blue in High Dark, Violet in Low Dark, approximately; and the intermediate colors reach their greatest intensities in the intermediate values, approximately. In order to indicate this fact in our diagram, we will mark the positions of greatest intensity by putting the color signs in larger type.

DIAGRAM OF VALUES, COLORS,
AND COLOR-INTENSITIES

HLt

LLt

Blk

Diagram 3

TONES OF THE SPECTRUM
AND OF PIGMENTS

134. It is probable that we have in the Spectrum an indication of the natural value-relations of the different colors when in their highest intensities. Owing to the limitations of pigment-material, however, it is impossible to reproduce the intensities of the Spectrum satisfactorily. An approximation is all that we can achieve in painting.

THE SPECTRUM SEQUENCE AND
THE CIRCUIT OF THE COLORS

135. Having produced the scale of twelve colors in the values of their greatest intensities, and as intense as possible, we get an approximation to the Spectrum with this difference, that the color Violet-Red (Purple) which we get in pigments and mixtures of pigments does not occur in the Spectrum and, so far as we know, does not belong in the Spectrum. We have in the Spectrum a sequence which begins with Red and ends with Violet. It is a sequence, not a circuit. In pigment-mixtures, however, we have a circuit, clearly enough, and Violet-Red is a connecting link between Violet and Red.