Three hues—
| White | |
|---|---|
| Light yellow | |
| Middle gray-green | |
| Dark gray-purple | |
| Black |
HARMONY
Will the exercises in the foregoing chapters ensure a harmony? No, they are only helps to a better understanding of color. Harmony depends upon (a) good line design, (b) choice of hues, (c) quantity of each, (d) a dominating color, (e) notan values, (f) fine relations of intensity, (g) quality of surface, (h) handling. All these in perfect synthesis will be found in the works of the greatest masters. It is also true that simple harmonies are not difficult to realize, as is witnessed by primitive art and the best work of students.
With practice in the ways suggested here, two other things are necessary,—advice from an experienced and appreciative instructor, and acquaintance with fine examples of color.
XVI.—COLOR SCHEMES FROM JAPANESE PRINTS AND FROM TEXTILES
In the quest for harmony, what better course could be taken than to copy harmonies? Nothing so sharpens color perception as contact with the best examples. The attempt to reach a master's style, peculiar color-feeling, refinements of tone and methods of handling, brings both knowledge and appreciation. For ordinary use Japanese prints are most convenient and inspiring color-models.