Examples are many; two kinds only need be mentioned now,—American Indian pottery, and landscapes in black, gray and vermilion red from Hokusai's “Mangwa,” (p. 57.)
ONE HUE in TWO and THREE VALUES. The next step would be to replace two grays with two values of one hue, making scales like these:
| White White | |
|---|---|
| Light green | |
| Middle green | |
| Dark gray | |
| Black |
| White | |
|---|---|
| Light purple | |
| Middle gray | |
| Dark purple | |
| Black |
Follow by eliminating all the grays, and the scale might be like this:
| White | |
|---|---|
| Light blue-green | |
| Middle blue-green | |
| Dark blue-green | |
| Black |
Choice of color will depend upon the nature of the design. The medium may be crayon, wash, opaque water color or oil paint.
TWO and THREE HUES. If two hues are introduced the complexity will be greater, but there will be more chances for invention and variation. With at least ten hues to choose from—R, YR, Y, GY, G, BG, B, PB, P, RP—each one of which might have perhaps four degrees of intensity (from very bright to dull) the student has material to compose in any key. Two typical scales are given below:
Two hues—
| White | |
|---|---|
| Light yellow | |
| Middle gray | |
| Dark green | |
| Black |