A theory of pure design

by Denman Waldo Ross

RO½
VR		Wt
YG

This formula means that spots of Low Dark Violet-Red (full intensity) and White are put on a ground-tone of Middle Red-Orange, half intensity, and that on the spot of Low Dark Violet-Red (full intensity), as a ground-tone, is put a spot of Light Yellow-Green (full intensity). It is not necessary to name the value when the color occurs in the value of its greatest intensity, and it is not necessary to describe the intensity, in any value, when the greatest intensity possible to that value is meant. In the first case the value is understood, in the second case the intensity—the greatest for the value—is understood.

SEQUENCES OF VALUES
AND COLORS

142. When, in view of all possible tones, as indicated in the general classification of tones, according to value, color, and color-intensity, or color-neutralization ([Diagram of the Triangles]), we try to think what tones we shall use, what contrasts of tone we shall produce, we are sure to be very much “at sea,” because of the great number and variety of possibilities. Even when we disregard differences of intensity and consider simply the possibilities of value and of color, as shown in the general classification of tones according to value and color ([Diagram of Values and Colors, p. 137]), we have still too many possibilities to consider, and our choice of tones is determined by accident or habit rather than by clear vision or deliberate preference. We shall find it worth while to limit our range in each experiment to some particular sequence of values and colors, or to some particular combination of sequences. Instead of trying to think in the range of all values, all colors, we ought to limit our thinking, in each case, to the range of a few values and a few colors,—a few definite tones with which we can become perfectly familiar and of which we can have definite visual images. It is only when we can imagine tones vividly that we can think satisfactorily in tone-relations. We shall achieve this power of thinking in tones and tone-relations best through self-imposed limitations.

143. We ought to begin our study of Tones and Tone-Relations with the Scale of Neutral Values ([see p. 135]). We ought to work with the nine tones of this scale or sequence until we know them well, until we can visualize them clearly, and until we can produce them accurately; until we can readily produce any single tone of the scale and any of the thirty-six possible contrasts which the scale affords.

Besides the Scale of Neutral Values there are three types of Value and Color Sequence which we may use.

144. First. We have the sequences which may be described as those of the Vertical; sequences which may be indicated by vertical lines drawn across the [Diagram of Values and Colors]. In each of these sequences, twelve in number, we have one color in all the values of the Scale of Values, except Black and White. These sequences of the Vertical, as I shall call them, are of very little use in Pure Design. They give us value-contrasts and contrasts of color-intensity (intensities of one color), but no color-contrasts, no differences of color. The tones in these sequences are monotonous in color.

145. Second. We have the sequences which may be described as those of the Horizontal; sequences which may be indicated by horizontal lines drawn across the [Diagram of Values and Colors]. In these sequences we have differences of color and color-intensity, but all in one value. These sequences give us color-contrasts (different colors in different degrees of intensity), but no value-contrasts. The tones in these sequences are monotonous in value. The sequences of one horizontal are of very little use.

146. Third. We have the sequences which may be described as those of the Diagonal; sequences which may be indicated by lines drawn diagonally across the [Diagram of Values and Colors]. In drawing these sequences the reader must not forget that the Scale of Colors is a circuit, so when he reaches the end of the diagram he returns and continues from the other end. The diagram might, for convenience in drawing these sequences, be extended to several repetitions of the Scale of Colors. In the sequences of the Diagonal we have contrasts both of value and of color. The color in these sequences changes from value to value through the Scale of Values. Each sequence gives us certain colors in certain values, and in no case have we two colors in the same value. To these sequences of the Diagonal we must give our particular attention. They are the sequences which we shall use constantly, in Representation as well as in the practice of Pure Design.