One approach to Color may be through Notan, either before or after studying color theory. By clustering lines tone is produced (page 54); by tingeing neutral grays Color is produced. In monochrome itself fine relations of notan will suggest color. Japanese ink painters enhance the harmonies of tone-composition by mingling slight quantities of hue with the ink. Faint washes of yellow in foregrounds, of green in foliage, of blue in sea and sky, of red and other colors in buildings and costumes, convey impressions of full color-keys.

Etchers and lithographers often add a few touches of color not only as a contrast to the grays, but to cause the beholder to imagine the whole color-scheme. The effect of modifying neutrals with hue may be observed in the following

EXERCISE

Prepare a set of three gray washes, light, medium, and dark (page 83) in three white dishes. Japanese ink will not mix with our water colors; use Ivory Black with a touch of Burnt Sienna to bring it to neutrality.

Having settled upon a color arrangement for some simple design, mix a small quantity of color into each dish. Suppose the subject to be a tulip panel in three values:

Add to 1st dish a yellow green (Prussian Blue and Gamboge); to the 2nd Vermilion and Gamboge; to the 3rd Raw Sienna. Paint these notes upon the design. (See opposite page.) Make a half dozen tracings of the same design. As each one is painted add more color to the washes until the last one has a very small quantity of gray. The result is a series in which color grows gradually from neutrals. No. 66. Next, use bright and gray tones of the same hue, an effect like faded rugs and age-stained Japanese prints. Dulling colors with gray may not harmonize them. One who appreciates fine quality is not deceived by those who “antique” rugs or prints with coffee and chemicals. A design poor in proportion, weak in notan and harsh in color cannot be saved by toning—the faults are only a little less apparent.

ONE HUE and NEUTRALS. Another approach to color, from notan, is through substitution of hues for grays. This might (in a short course) follow exercises in five or more values (page 89.) Referring now to the scales of five and seven values, for application to a design, [pg 114] substitute a hue for one of these grays, carefully keeping the value. If the subject be a variation of a Coptic textile, a warm red or yellow-green may be chosen; for a flower panel, bright yellow, yellow-red or emerald green. Excellence in result will depend upon distribution of the one hue among neutral tones.

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:

Follow by eliminating all the grays, and the scale might be like this:

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—

Three hues—

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.