PART II.

PART II.A COLOR SYSTEM AND COURSE OF STUDYBASED ON THE COLOR SOLID AND ITS CHARTS.Arranged for nine years of school life.GLOSSARY OF COLOR TERMS.Taken from the Century Dictionary.INDEX(by paragraphs).

Arranged for nine years of school life.

Taken from the Century Dictionary.

(by paragraphs).

Figure 2. (See Figure 20) The Color TreeA COLOR SYSTEM WITH COURSE OF STUDYBASEDON THE COLOR SOLID AND ITS CHARTSSeeChapter II.Copyright, 1904, by A. H. Munsell.

Figure 2. (See Figure 20) The Color Tree

SeeChapter II.

A COLOR SYSTEM AND COURSE OF STUDYBASED ON THE COLOR SOLID AND ITS CHARTS,ADAPTED TO NINE YEARS OF SCHOOL LIFE.Grade.Subject.Colors Studied.Illustration.Application.Materials.1.Huesof color.Red. R.Yellow. Y.Green. G.Blue. B.Purple. P.Sought in Natureand Art.Borders and Rosettes.Coloredcrayonsand papers.2.Huesof color.Yellow-red. YR.Green-yellow. GY.Blue-green. BG.Purple-blue. PB.Red-purple. RP.Sought in Natureand Art.Borders and Rosettes.Coloredcrayonsand papers.3.Valuesof color.Light, middle, and dark R.„ „ „Y.„ „ „G.„ „ „B.„ „ „P.Sought in Natureand Art.Design.Colorsphere.4.Valuesof color.5 values of YR.„„„GY.„„„BG.„„„PB.„„„RP.9/,7/,5/,3/,1/.Sought in Natureand Art.Design.Charts.5.Chromasof color.3 chromas of R5/.„„ „Y5/.„„ „G5/.„„ „B5/.„„ „P5/.Sought in Natureand Art.Design.Charts.6.Chromasof color.3 chromas of YR5/.„„ „GY5/.„„ „BG5/.„„ „PB5/.„„ „RP5/.„„ „R7/ and R3/.„„ „Y7/ „ Y3/.„„ „G7/ „ G3/.„„ „B7/ „ B3/.„„ „P7/ „ P3/.Sought in Natureand Art.Design.ColorTree.7.ToOBSERVEIMITATE& WRITEcolor byHUE,VALUE, andCHROMA„„Paints.8.Quantityof color.Pairs of equal area and unequal area Balanced byHUE,VALUE, andCHROMA.„Paints.9.Quantityof color.Triads of equal area and unequal area Balanced byHUE,VALUE, andCHROMA.„Paints.Copyright, 1904, by A. H. Munsell.STUDY OF SINGLE HUES AND THEIR SEQUENCE. Two Years.FIRST GRADE LESSONS.1.Talk about familiar objects, to bring out color names, as toys, flowers,2.clothing, birds, insects, etc.3.Show soap bubbles and prismatic spectrum.4.Teach termHUE. Hues of flowers, spectrum, plumage of birds, etc.5.ShowMIDDLE35RED.Find other reds.6.„YELLOW.„yellows, and compare with reds.7.„GREEN.„greens,„ „and yellows.8.„BLUE.„blues,„preceding hues.9.„PURPLE.„purples,„ „10–15.ReviewFIVE MIDDLE HUES,35match with colored papers, and place in circle.16–20.ShowCOLOR SPHERE. Find sequence of five middle hues. Memorize order.21.Middle red imitated with crayon, named and written by initial R.22.„yellow„ „ „ „ „Y.23.„green„ „ „ „ „G.24.„blue„ „ „ „ „B.25.„purple„ „ „ „ „P.26–30.Review, using middle hues35in borders and rosettes for design.Aim.—To recognize sequence of five middle hues.To name, match, imitate, write, and arrange them.SECOND GRADE LESSONS.1–3.Review sequence of five middle hues.354.Show a hueINTERMEDIATEbetween red and yellow. Find it in objects.5.Compare with red and yellow.6.Recognize and nameYELLOW-RED. Match, imitate, and write YR.7–8.ShowGREEN-YELLOWbetween green and yellow.Treat as above, and write GY.9–10.„BLUE-GREEN„blue and green.„ „ „BG.11–12.„PURPLE-BLUE„purple and blue.„ „ „PB.13–14.„RED-PURPLE„red and purple.„ „ „RP.15–20.Make circle of ten hues. Place Intermediates, and memorize order so as to repeat forward or backward. Match, imitate, and write by initials.21–25.Find sequence of ten hues onCOLOR SPHERE. Compare with hues of natural objects.26‑30.Review, using any two hues in sequence for borders and rosettes.Aim.—To recognize sequence of ten hues, made up of five middle35hues and the five intermediates. To name, match, write, imitate, and arrange them.STUDY OF SINGLE VALUES AND THEIR SEQUENCE. Two Years.THIRD GRADE LESSONS.1.Review sequence of ten hues.2.Recognize, name, match, imitate, write, and find them on theCOLOR SPHERE.Also in objects.3.4.Teach use of termVALUE. Color value recognized apart from color hue.5.Find values of red, lighter and darker than the middle value already familiar.7.Three valuesofRED.Find on sphere. Name asLIGHT,MIDDLE, andDARKvalues of red.8.„Imitate with crayons, and write them as 3, 5, and 7.9.„YELLOW.Compare with above.10.Recognize, name, match, and imitate with crayons.11.„GREEN.Compare, and treat as above.12.Find on sphere and in objects.13.„BLUE.„ „14.15.„PURPLE.„ „16.17‑20.Review, combining two values and a single hue for design.36Aim.—To recognize a sequence combining three values and five middle hues.To name, match, imitate, and arrange them.FOURTH GRADE LESSONS.1.Review sequence of three values in each of the five middle hues.2.To recognize, name, match, imitate, and find them on sphere and in objects.3.4.ShowFIVE VALUESofRED. Find them on large color sphere. Number them 1, 3, 5, 7, 9. Match, imitate, and write.5.6.„BLUE-GREEN.„ „ „7.„PURPLE-BLUEcompared with Yellow.Treat as above and review.8.„RED-PURPLE„Green.9.„YELLOW-RED„Blue.10.„GREEN-YELLOW„Purple.Aim.—To recognize sequences combining five values in each of ten hues.To name, match, imitate,WRITE, and arrange them.STUDY OF SINGLE CHROMAS AND THEIR SEQUENCES. Two Years.FIFTH GRADE LESSONS.1.Review sequences of hue and value. Find them on the color sphere. Name, match, imitate, write, and arrange them by hue and value.2.Teach use of termCHROMA.Compare three chromas with three values of red.Name themWEAK,MIDDLE, andSTRONGchromas.Find in nature and art.3.Three chromasofRED.Compare with three of blue-green.4.ShowCOLOR TREE. Suggest unequal chroma of hues.5.„YELLOW.Compare with three chromas of purple-blue.6.„GREEN„ „red-purple.7.„BLUE.„ „yellow-red.8.„PURPLE.„ „green-yellow.9.Arrange five middle hues in circle, described as on the surface of the Color Sphere (middle chroma), with weaker chromas inside, and stronger chromas outside, the sphere.10.Review,—to find these sequences of chroma in nature and art.Aim.—To recognize sequences combining three chromas, middle value, and ten hues.To name, match, imitate, and arrange them.SIXTH GRADE LESSONS.1.Review sequences combining three chromas, five hues, and middle value.Find on Color Tree, name, match, imitate, and arrange them.2.Three chromasofLIGHTERandDARKER RED.Compare with middle red.3.Write„ „ „„as a fraction, chroma under value, using 3, 5, and 7. Thus R5/7.4.Find„ „RED, and compare with darker blue-green.5.Three chromasofLIGHTERandDARKER YELLOW, with purple-blue.6.„ „ „ „GREEN,„red-purple.7.„ „ „ „BLUE,„yellow-red.8.„ „ „ „PURPLE,„green-yellow.9.Colors in nature and art, defined by hue, value, and chroma. Named, matched, imitated, written, and arranged by Color Sphere and Tree.10.Review,—to find sequences combining three chromas, five values, and ten hues.Aim.—To recognize sequences of chroma, as separate from sequences of hue or sequences of value.To name, match, write, imitate, and arrange colors in terms of their hue, value, and chroma.COLOR EXPRESSION IN TERMS OF THE HUES, VALUES,AND CHROMAS.SEVENTH GRADE LESSONS.1.Review sequences of hue (initial), value (upper numeral), & chroma (lower numeral).2.„„ „ „3.Exercises in expressing colors of natural objects by theNOTATION, andtracing their relation by the spherical solid.4.5.Redsin Nature and Art, imitated, written, and traced„6.Yellows„ „ „ „7.Greens„ „ „ „8.Blues„ „ „ „9.Purples„ „ „ „10.One color pairselected, defined, and arranged for design. (See note 4th Grade.)Aim.—To define any color by its hue, value, and chroma.To imitate with pigments and write it.EIGHTH GRADE LESSONS.1.Review sequences, and select colors which balance. Illustrate the term.2.Balanceof light and dark,—weak and strong,—hot and cold colors.3.Redand blue-green balanced in hue, value, and chroma, withEQUAL AREAS.4.Yellow„ purple-blue„ „5.Green„ red-purple„ „6.Blue„ yellow-red„ „7.Purple„ green-yellow„ „8.Unequal areasof the above pairs, balanced by compensating qualities of hue, value, and chroma. Examples from nature and art.9.10.One color pairof unequal areas selected, defined, and used in design.Aim.—ToBALANCEcolors by area, hue, value, and chroma.To imitate with pigments and write the balance by the notation.NINTH GRADE LESSONS.1.Review balance of color pairs, by area, hue, value, and chroma.2.To recognize, name, imitate, write, and record them.3.Selectionof two colors to balance a givenRED.4.„ „ „„YELLOW.5.„ „ „„GREEN.6.„ „ „„BLUE.7.„ „ „„PURPLE.8–10.Triadof color, selected, balanced, written, and used in design.Aim.—To recognize triple balance of color, and express it in terms of area, hue, value, and chroma. Also to use it in design.35.The termMIDDLE, as used in this course of color study, is understood to mean only the five principal hues which stand midway in the scales ofVALUEandCHROMA. Strictly speaking, their five intermediates are also midway of the scales; but they are obtained by mixture of the five principal hues, as shown in their names, and are of secondary importance.Footnote 35 is referenced five times in the first two years’ lessons.36.These ten lessons in this and succeeding grades are devoted to color perception only. Their application to design is a part of the general course in drawing, and will be so considered in the succeeding grades. Note that, although thus far nothing has been said about complementary hues, the child has been led to associate them in opposite pairs by the color sphere. (See Chapter III.,p. 76.)

A COLOR SYSTEM AND COURSE OF STUDY

BASED ON THE COLOR SOLID AND ITS CHARTS,ADAPTED TO NINE YEARS OF SCHOOL LIFE.

ToOBSERVEIMITATE& WRITE

Quantityof color.

Pairs of equal area and unequal area Balanced byHUE,VALUE, andCHROMA.

Quantityof color.

Triads of equal area and unequal area Balanced byHUE,VALUE, andCHROMA.

„GREEN.

Aim.—To recognize sequence of five middle hues.To name, match, imitate, write, and arrange them.

Make circle of ten hues. Place Intermediates, and memorize order so as to repeat forward or backward. Match, imitate, and write by initials.

Find sequence of ten hues onCOLOR SPHERE. Compare with hues of natural objects.

Aim.—To recognize sequence of ten hues, made up of five middle35hues and the five intermediates. To name, match, write, imitate, and arrange them.

Recognize, name, match, imitate, write, and find them on theCOLOR SPHERE.Also in objects.

Teach use of termVALUE. Color value recognized apart from color hue.

Find values of red, lighter and darker than the middle value already familiar.

Three valuesofRED.

Find on sphere. Name asLIGHT,MIDDLE, andDARKvalues of red.

Recognize, name, match, and imitate with crayons.

Aim.—To recognize a sequence combining three values and five middle hues.To name, match, imitate, and arrange them.

To recognize, name, match, imitate, and find them on sphere and in objects.

RED. Find them on large color sphere. Number them 1, 3, 5, 7, 9. Match, imitate, and write.

Aim.—To recognize sequences combining five values in each of ten hues.To name, match, imitate,WRITE, and arrange them.

Review sequences of hue and value. Find them on the color sphere. Name, match, imitate, write, and arrange them by hue and value.

Teach use of termCHROMA.

Compare three chromas with three values of red.

Name themWEAK,MIDDLE, andSTRONGchromas.

Find in nature and art.

ShowCOLOR TREE. Suggest unequal chroma of hues.

Arrange five middle hues in circle, described as on the surface of the Color Sphere (middle chroma), with weaker chromas inside, and stronger chromas outside, the sphere.

Aim.—To recognize sequences combining three chromas, middle value, and ten hues.To name, match, imitate, and arrange them.

Review sequences combining three chromas, five hues, and middle value.

Find on Color Tree, name, match, imitate, and arrange them.

Colors in nature and art, defined by hue, value, and chroma. Named, matched, imitated, written, and arranged by Color Sphere and Tree.

Review,—to find sequences combining three chromas, five values, and ten hues.

Aim.—To recognize sequences of chroma, as separate from sequences of hue or sequences of value.To name, match, write, imitate, and arrange colors in terms of their hue, value, and chroma.

Review sequences of hue (initial), value (upper numeral), & chroma (lower numeral).

Exercises in expressing colors of natural objects by theNOTATION, andtracing their relation by the spherical solid.

Aim.—To define any color by its hue, value, and chroma.To imitate with pigments and write it.

Unequal areasof the above pairs, balanced by compensating qualities of hue, value, and chroma. Examples from nature and art.

Aim.—ToBALANCEcolors by area, hue, value, and chroma.To imitate with pigments and write the balance by the notation.

Aim.—To recognize triple balance of color, and express it in terms of area, hue, value, and chroma. Also to use it in design.

35.The termMIDDLE, as used in this course of color study, is understood to mean only the five principal hues which stand midway in the scales ofVALUEandCHROMA. Strictly speaking, their five intermediates are also midway of the scales; but they are obtained by mixture of the five principal hues, as shown in their names, and are of secondary importance.Footnote 35 is referenced five times in the first two years’ lessons.36.These ten lessons in this and succeeding grades are devoted to color perception only. Their application to design is a part of the general course in drawing, and will be so considered in the succeeding grades. Note that, although thus far nothing has been said about complementary hues, the child has been led to associate them in opposite pairs by the color sphere. (See Chapter III.,p. 76.)

Footnote 35 is referenced five times in the first two years’ lessons.

36.These ten lessons in this and succeeding grades are devoted to color perception only. Their application to design is a part of the general course in drawing, and will be so considered in the succeeding grades. Note that, although thus far nothing has been said about complementary hues, the child has been led to associate them in opposite pairs by the color sphere. (See Chapter III.,p. 76.)

TAKEN FROMTHE

CENTURY DICTIONARY.

The color definitions here employed are taken from the Century Dictionary. Special attention is called to the cross references which serve to differentiate HUE, VALUE, and CHROMA.

After Image.—An image perceived after withdrawing the eye from a brilliantly illuminated object. Such images are called positive when their colors are the same as that of the object, and negative when they are its complementary colors.Blue.—Of the color of the clear sky; of the color of the spectrum between wave lengths .505 and .415 micron, and more especially .487 and .460; or of such light mixed with white; azure, cerulean.Black.—Possessing in the highest degree the property of absorbing light; reflecting and transmitting little or no light; of the color of soot or coal; of the darkest possible hue; sable. Optically, wholly destitute of color, or absolutely dark, whether from the absence or the total absorption of light. Opposed to white.Brown.—A dark color, inclined to red or yellow, obtained by mixing red, black, and yellow.CHROMA.—The degree of departure of a color sensation from that of white or gray; the intensity of distinctive hue; color intensity.Chromatic.—Relating to or of the nature of color.Cobalt Blue.—A pure blue tending toward cyan blue and of high luminosity; also called Hungary blue, Lethner’s blue, and Paris blue.Color.—Objectively, that quality of a thing or appearance which is perceived by the eye alone, independently of the form of the thing; subjectively, a sensation peculiar to the organ of vision, and arising from the optic nerve.Color Blindness.—Incapacity for perceiving colors, independent of the capacity for distinguishing light and shade. The most common form is inability to perceive red as a distinct color, red objects being confounded with gray or green; and next in frequency is the inability to perceive green.Color Constants.—The numbers which measure the quantities, as well as any other system of three numbers for defining colors, are called constants of color.Color Variables.—Colors vary inCHROMA, or freedom from admixture of white light; inBRIGHTNESS, or luminosity; and inHUE, which roughly corresponds to the mean wave length of the light emitted.Colors, Complementary.—Those pairs of color which when mixed produce white or gray light, such as red and green-blue, yellow and indigo-blue, green-yellow and violet.Colors, Primary.—The red, green, and violet light of the spectrum, from the mixture of which all other colors can be produced. Also called fundamental colors.Dyestuffs.—In commerce, any dyewood, lichen, or dyecake used in dyeing and staining.Electric Light.—Light produced by electricity and of two general kinds, the arc light and the incandescent light. In the first the voltaic arc is employed. In the second a resisting conductor is rendered incandescent by the current.Enamel.—In the fine arts a vitreous substance or glass, opaque or transparent, and variously colored, applied as a coating on a surface of metal or of porcelain.Grating, Diffraction.—A series of fine parallel lines on a surface of glass, or polished metal, ruled very close together, at the rate of 10,000 to 20,000 or even 40,000 to the inch; distinctively called a diffraction or a diffraction grating, much used in spectroscopic work.Gray.—A color having little or no distinctive hue (CHROMA) and only moderate luminosity.Green.—The color of ordinary foliage; the color seen in the solar spectrum between wave lengths 0.511 and 0.543 micron.Emerald Green.—A highly chromatic and extraordinarily luminous green of the color of the spectrum at wave length 0.524 micron. It recalls the emerald by its brilliancy, but not by its tint; applied generally to the aceto-arsenate of copper. Usually known as Paris green.High Color.—A hue which excites intensely chromatic color sensations.HUE.—Specifically and technically, distinctive quality of coloring in an object or on a surface; the respect in which red, yellow, green, blue, etc., differ one from another; that in which colors of equal luminosity and CHROMA may differ.Indigo.—The violet-blue color of the spectrum, extending, according to Helmholtz, from G two-thirds of the way to F in the prismatic spectrum. The name was introduced by Newton, but has lately been discarded by the best writers.Light.—Adjective applied to colors highly luminous and more or less deficient inCHROMA.Luminosity.—Specifically, the intensity of light in a color, measured photometrically; that is to say, a standard light has its intensity, orvis viva, altered, until it produces the impression of being equally bright with the color whose light is to bedetermined; and the measure of thevis vivaof the altered light, relatively to its standard intensity, is then taken as the luminosity of the color in question.Maxwell Color Discs.—Discs having each a single color, and slit radially so that one may be made to lap over another to any desired extent. By rotating these on a spindle, the effect of combining certain colors in varying proportions can be studied.Micron.—The millionth part of a metre, or 1/23400 of an English inch. The term has been formally adopted by the International Commission of Weights and Measures, representing the civilized nations of the world, and is adopted by all metrologists.Orange.—A reddish yellow color, of which the orange is the type.Vision, Persistence of.—The continuance of a visual impression upon the retina of the eye after the exciting cause is removed. The length of time varies with the intensity of the light and the excitability of the retina, and ordinarily is brief, though the duration may be for hours, or even days. The after image may be either positive or negative, the latter when the bright part appears dark and the colored parts in their corresponding contrast colors. It is because of this persistence that, for example, a firebrand moved very rapidly appears as a band or circle of light.Photometer.—An instrument used to measure the intensity of light. Specifically, to compare the relative intensities of the light emitted from various sources.Pigment.—Any substance that is or can be used by painters to impart color to bodies.Pink.—A red color of low chroma, but high luminosity, inclining toward purple.Primary Colors.—See Colors, primary.Pure Color.—A color produced by homogeneous light. Any very brilliant or decided color.Purple.—A color formed by the mixture of blue and red, including the violet of the spectrum above wave length 0.417, which is nearly a violet blue, and extending to, but not including, crimson.Rainbow.—A bow or an arc of a circle, consisting of the prismatic colors, formed by the refraction and the reflection of rays of light from drops of rain or vapor, appearing in the part of the heavens opposite to the sun.Red.—A color more or less resembling that of blood, or the lower end of the spectrum. Red is one of the most general color names, and embraces colors ranging in hue from aniline to scarlet iodide of mercury and red lead. A red yellower than vermilion is called scarlet. One much more crimson is called crimson red. A very dark red, if pure or crimson, is called maroon; if brownish, chestnut or chocolate. A pale red—that is, one of lowCHROMAand highLUMINOSITY—is called a pink, ranging from rose pink or pale crimson to salmon pink or pale scarlet.Venetian Red.—An important pigment used by artists, somewhat darker than brick red in color, and very permanent.Retina.—The innermost and chiefly nervous coat of the posterior part of the eyeball.Saturation, of Colors.—In optics the degree of admixture with white, the saturation diminishing as the amount of white is increased. In other words, the highest degree of saturation belongs to a given color when in the state of greatest purity.Scale.—A graded system, by reference to which the degree, intensity, or quality of a sense perception may be estimated.Shade.—Degree or gradation of defective luminosity in a color, often used vaguely from the fact that paleness, or high luminosity, combined with defectiveCHROMA, is confounded with high luminosity by itself. See Color, Hue, and Tint.Spectrum.—In physics the continuous band of light showing the successive prismatic colors, or the isolated lines or bands of color, observed when the radiation from such a source as the sun or an ignited vapor in a gas flame is viewed after having been passed through a prism (prismatic spectrum) or reflected from a diffraction grating (diffraction or interference spectrum). See Rainbow.Tint.—A variety of color; especially and properly, a luminous variety of lowCHROMA; also, abstractly, the respect in which a color may be raised by more or less admixture of white, which at once increases the luminosity and diminishes theCHROMA.Tone.—A sound having definiteness and continuity enough so that its pitch, force, and quality may be readily estimated by the ear. Musical sound opposed to noise. The prevailing effect of a color.Ultramarine.—A beautiful natural blue pigment, obtained from the mineral lapis-lazuli.VALUE.—In painting and the allied arts, relation of one object, part, or atmospheric plane of a picture to the others, with reference to light and shade, the idea of HUE being abstracted.Vermilion.—The red sulphate of mercury.Violet.—A general class of colors, of which the violet flower is ahighly chromatic example. The sensation is produced by a pure blue whoseCHROMAhas been diminished while itsLUMINOSITYhas been increased. Thus blue and violet are the same color, though the sensations are different. A mere increase of illumination may cause a violet blue to appear violet, with a diminution of apparentCHROMA. This color, called violet or blue according to the quality of the sensation it excites, is one of the three fundamental colors of Young’s theory. A deep blue tinged with red.Viridian.—Same as Veronese green.White.—A color transmitting, and so reflecting to the eye, all the rays of the spectrum, combined in the same proportion as in the impinging light.Yellow.—The color of gold and of light, of wave length 0.581 micron. The name is restricted to highly chromatic and luminous colors. When reduced inCHROMA, it becomes buff; when reduced inLUMINOSITY, a cool brown. See Brown.Veronese Green.—A pigment consisting of hydrated chromium sesquioxide. It is a clear bluish green of great permanency. Also called Viridian.

Blue.—Of the color of the clear sky; of the color of the spectrum between wave lengths .505 and .415 micron, and more especially .487 and .460; or of such light mixed with white; azure, cerulean.

Black.—Possessing in the highest degree the property of absorbing light; reflecting and transmitting little or no light; of the color of soot or coal; of the darkest possible hue; sable. Optically, wholly destitute of color, or absolutely dark, whether from the absence or the total absorption of light. Opposed to white.

Brown.—A dark color, inclined to red or yellow, obtained by mixing red, black, and yellow.

CHROMA.—The degree of departure of a color sensation from that of white or gray; the intensity of distinctive hue; color intensity.

Chromatic.—Relating to or of the nature of color.

Cobalt Blue.—A pure blue tending toward cyan blue and of high luminosity; also called Hungary blue, Lethner’s blue, and Paris blue.

Color.—Objectively, that quality of a thing or appearance which is perceived by the eye alone, independently of the form of the thing; subjectively, a sensation peculiar to the organ of vision, and arising from the optic nerve.

Color Blindness.—Incapacity for perceiving colors, independent of the capacity for distinguishing light and shade. The most common form is inability to perceive red as a distinct color, red objects being confounded with gray or green; and next in frequency is the inability to perceive green.

Color Constants.—The numbers which measure the quantities, as well as any other system of three numbers for defining colors, are called constants of color.

Color Variables.—Colors vary inCHROMA, or freedom from admixture of white light; inBRIGHTNESS, or luminosity; and inHUE, which roughly corresponds to the mean wave length of the light emitted.

Colors, Complementary.—Those pairs of color which when mixed produce white or gray light, such as red and green-blue, yellow and indigo-blue, green-yellow and violet.

Colors, Primary.—The red, green, and violet light of the spectrum, from the mixture of which all other colors can be produced. Also called fundamental colors.

Dyestuffs.—In commerce, any dyewood, lichen, or dyecake used in dyeing and staining.

Electric Light.—Light produced by electricity and of two general kinds, the arc light and the incandescent light. In the first the voltaic arc is employed. In the second a resisting conductor is rendered incandescent by the current.

Enamel.—In the fine arts a vitreous substance or glass, opaque or transparent, and variously colored, applied as a coating on a surface of metal or of porcelain.

Grating, Diffraction.—A series of fine parallel lines on a surface of glass, or polished metal, ruled very close together, at the rate of 10,000 to 20,000 or even 40,000 to the inch; distinctively called a diffraction or a diffraction grating, much used in spectroscopic work.

Gray.—A color having little or no distinctive hue (CHROMA) and only moderate luminosity.

Green.—The color of ordinary foliage; the color seen in the solar spectrum between wave lengths 0.511 and 0.543 micron.

Emerald Green.—A highly chromatic and extraordinarily luminous green of the color of the spectrum at wave length 0.524 micron. It recalls the emerald by its brilliancy, but not by its tint; applied generally to the aceto-arsenate of copper. Usually known as Paris green.

High Color.—A hue which excites intensely chromatic color sensations.

HUE.—Specifically and technically, distinctive quality of coloring in an object or on a surface; the respect in which red, yellow, green, blue, etc., differ one from another; that in which colors of equal luminosity and CHROMA may differ.

Indigo.—The violet-blue color of the spectrum, extending, according to Helmholtz, from G two-thirds of the way to F in the prismatic spectrum. The name was introduced by Newton, but has lately been discarded by the best writers.

Light.—Adjective applied to colors highly luminous and more or less deficient inCHROMA.

Luminosity.—Specifically, the intensity of light in a color, measured photometrically; that is to say, a standard light has its intensity, orvis viva, altered, until it produces the impression of being equally bright with the color whose light is to bedetermined; and the measure of thevis vivaof the altered light, relatively to its standard intensity, is then taken as the luminosity of the color in question.

Maxwell Color Discs.—Discs having each a single color, and slit radially so that one may be made to lap over another to any desired extent. By rotating these on a spindle, the effect of combining certain colors in varying proportions can be studied.

Micron.—The millionth part of a metre, or 1/23400 of an English inch. The term has been formally adopted by the International Commission of Weights and Measures, representing the civilized nations of the world, and is adopted by all metrologists.

Orange.—A reddish yellow color, of which the orange is the type.

Vision, Persistence of.—The continuance of a visual impression upon the retina of the eye after the exciting cause is removed. The length of time varies with the intensity of the light and the excitability of the retina, and ordinarily is brief, though the duration may be for hours, or even days. The after image may be either positive or negative, the latter when the bright part appears dark and the colored parts in their corresponding contrast colors. It is because of this persistence that, for example, a firebrand moved very rapidly appears as a band or circle of light.

Photometer.—An instrument used to measure the intensity of light. Specifically, to compare the relative intensities of the light emitted from various sources.

Pigment.—Any substance that is or can be used by painters to impart color to bodies.

Pink.—A red color of low chroma, but high luminosity, inclining toward purple.

Primary Colors.—See Colors, primary.

Pure Color.—A color produced by homogeneous light. Any very brilliant or decided color.

Purple.—A color formed by the mixture of blue and red, including the violet of the spectrum above wave length 0.417, which is nearly a violet blue, and extending to, but not including, crimson.

Rainbow.—A bow or an arc of a circle, consisting of the prismatic colors, formed by the refraction and the reflection of rays of light from drops of rain or vapor, appearing in the part of the heavens opposite to the sun.

Red.—A color more or less resembling that of blood, or the lower end of the spectrum. Red is one of the most general color names, and embraces colors ranging in hue from aniline to scarlet iodide of mercury and red lead. A red yellower than vermilion is called scarlet. One much more crimson is called crimson red. A very dark red, if pure or crimson, is called maroon; if brownish, chestnut or chocolate. A pale red—that is, one of lowCHROMAand highLUMINOSITY—is called a pink, ranging from rose pink or pale crimson to salmon pink or pale scarlet.

Venetian Red.—An important pigment used by artists, somewhat darker than brick red in color, and very permanent.

Retina.—The innermost and chiefly nervous coat of the posterior part of the eyeball.

Saturation, of Colors.—In optics the degree of admixture with white, the saturation diminishing as the amount of white is increased. In other words, the highest degree of saturation belongs to a given color when in the state of greatest purity.

Scale.—A graded system, by reference to which the degree, intensity, or quality of a sense perception may be estimated.

Shade.—Degree or gradation of defective luminosity in a color, often used vaguely from the fact that paleness, or high luminosity, combined with defectiveCHROMA, is confounded with high luminosity by itself. See Color, Hue, and Tint.

Spectrum.—In physics the continuous band of light showing the successive prismatic colors, or the isolated lines or bands of color, observed when the radiation from such a source as the sun or an ignited vapor in a gas flame is viewed after having been passed through a prism (prismatic spectrum) or reflected from a diffraction grating (diffraction or interference spectrum). See Rainbow.

Tint.—A variety of color; especially and properly, a luminous variety of lowCHROMA; also, abstractly, the respect in which a color may be raised by more or less admixture of white, which at once increases the luminosity and diminishes theCHROMA.

Tone.—A sound having definiteness and continuity enough so that its pitch, force, and quality may be readily estimated by the ear. Musical sound opposed to noise. The prevailing effect of a color.

Ultramarine.—A beautiful natural blue pigment, obtained from the mineral lapis-lazuli.

VALUE.—In painting and the allied arts, relation of one object, part, or atmospheric plane of a picture to the others, with reference to light and shade, the idea of HUE being abstracted.

Vermilion.—The red sulphate of mercury.

Violet.—A general class of colors, of which the violet flower is ahighly chromatic example. The sensation is produced by a pure blue whoseCHROMAhas been diminished while itsLUMINOSITYhas been increased. Thus blue and violet are the same color, though the sensations are different. A mere increase of illumination may cause a violet blue to appear violet, with a diminution of apparentCHROMA. This color, called violet or blue according to the quality of the sensation it excites, is one of the three fundamental colors of Young’s theory. A deep blue tinged with red.

Viridian.—Same as Veronese green.

White.—A color transmitting, and so reflecting to the eye, all the rays of the spectrum, combined in the same proportion as in the impinging light.

Yellow.—The color of gold and of light, of wave length 0.581 micron. The name is restricted to highly chromatic and luminous colors. When reduced inCHROMA, it becomes buff; when reduced inLUMINOSITY, a cool brown. See Brown.

Veronese Green.—A pigment consisting of hydrated chromium sesquioxide. It is a clear bluish green of great permanency. Also called Viridian.

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