color and its application to printing 1911

7/21/2019 Color and Its Application to Printing 1911

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/http://www.hathitrust.org/acce

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Color and its application to printing,

Andrews, E. C. (Emory Cobb), b. 1878.

Chicago : The Inland printer company, [c1911]

http://hdl.handle.net/2027/uc2.ark:/13960/t3125sm5h

Public Domainhttp://www.hathitrust.org/access_use#pd

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C A T O N

G

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C A T O N

G

W S

B Y

DPR I N T R C O MPA N Y

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E W S .

O .S H E I ' A R U C O . I ' R I X T R S , C H I C A GO .

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S ' PR E F A C E .

pplicationtoPrinting" appeared

L A N D P R I N T R d u r in g 19 10 a nd 1 91 1

nti icC o lorinPrinting. Thecare ul

o statemente idencedinthesearti-

commendationo themosteminent

ontheproblemso co lor.

.A ndrews bringsaspecialf itness

w ork hehasundertaken. A student

te o t h e U n i e r si t o C h i c a go

e d i n ch e mi s tr , a n d t h ou g h no t o f i -

r o ll w as f o r a t im e i n e f e c t as s is t an t

n t he U n i e r si t o C h i c a go . E n t e r-

hew aschemistf ortheC ornProducts

a n d th e re a t e r co n ne c te d h im s el w i th

c . o w h ic h o rg a ni a t io n h e is t h e se c on d

nusuall success ulinsimpli y -

ri a la tco lorselection. Hisspecia lt

diatecontactw iththedi f iculties

eprinterin obtainingcohesionand

nthisw a thepresentw ork isnot

on buteminentl apractica lw ork

setdownin thisconnectionhas

d.

indinthesepagesf oundation

modernauthorit . Theanal seso the

tegrationo w hite lightinto itsco lor

esentationb pigmentationopen

w h ic h i s no t o nl d e ep l i n te r es t in g b ut o

mportancetoa llmanu acturersand

s.

DPR I N T R C O MPA N Y ,

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PR E F A C E .

hinamanwholosthisdogand

epolice . B y meanso aninterpreter

sk edthecoloro thedog. Gesticulations

w on d er u l g ut t er a ls f o l lo we d . " W e l l

? " a s k e d th e o f i c ia l . " Y e l lo w "

nthedescriptiono co lorse en

a becomparedtotheC hinaman.

ms inf act thealmostindi idualuseo

il it o reachingmoreuni ormit are

edcomment. I f thisbook helpstheuser

beartistorprinter to tak eastep

onitw il lha eser editspurpose.

A rthurS .A llenandJ ohnM.Tuttle

orthepersonalencouragementand

lacedhisin estigationsinconcrete

G or do n Ga le o t he U n i e rs it o C h i -

ss i st a nc e o n th e s ub e c t o l i g h t f r o m

o t he U n i e rs it o C h i c ag o H e n r

oro theS choolA rtsB ook andA .H .

n M a ss a ch u se t ts t h e wo r k re c ei e d t he

andriche periencesinthepractical

e lucidationo co lortheor . Grate-

lsomadetoF redS. B ertschand

thetit le -pageandco er-design to

p ai n ti n g o s p ec t ra b m e an s o a d i re c t

op e t o L . 0 . G r i f i t h f o r c o n e n ti o na l -

i l lustratingv a luearrangementsonpage

e i s e t h e in s tr u ct o r in t h e I . T . U . C o u r s e

d i c e an d a ss i st a nc e i n ma n i o l d wa s . I n

rit isdi f iculttogi eack now ledg-

sw heretheactua lverbiagehasnot

dThew orksconsultedinthisconnec-

uthorisindebtedinelucidating

A F i r st C o u r s e in P h s i cs " M i ll i ka n

o ok o C o lo r " O g de nN . R o o d " C o l ou r "

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PR E F A C E .

C o l or H a r mo n a nd C o n tr as t " J a me s W ar d ;

re D e si g n " D e n m an W . R o s s ; " T h e Pr i n-

r n es t A . B a t ch e ld e r " A C o l or N o t a t io n "

ereadertoconsiderthatthisw ork

eplaceo aread - re erencechart

determineatoncean co lorcombina-

ogi eacourseo instructionincolor

andthusbuildinto hisownper-

hha ebeenre erredtowillbe

stv a lueb theearneststudent w hose

esha ebeenarrangedforb the inser-

ank lea esintheback o thebook.

S .

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G .

S ' PR E F A C E 5

P R E F A C E 7

A T TR I B U T S O F C O L O R 13

D TH E S P C T R U M20

C E S S O F C O L O R P R C E PT O N 33

N D C O R R E C T C OL O R B A L A N C E H U E 4 0

8

A N D TH E U N I O N O F H U E , V A L U E A N D C H R O MA I N

S O L I D62

L O R S O L I D A S A B A S I S F O R C O L O R C O M B I N A T O N S . ... 69

A W O F M O D F I C A T O N O F C O L O R S D U E TO O PPO S I T O N . .75

Y B Y B A L A N C E D C O N TR A S T S E Q U E N C E S A N A L O -

, V A L U E A N D C HR O MA 9 0

I N G A N D M X I N G O F I N K S 9 7

MA T C H I N G ' . - .. .. 10 8

O O M D F F I C U L T E S 11

C A T O N O F T P C A L C O L O R C O MB I N A T O N S 7

GR A MO F PO S S I B L E C O L O R V A L U E S 58

N L A R G DD A GR A MO F PO S S I B L E C O L O R V A L U E S 95

.C O MPA R I S O N O F PA R T ( M TR I C S Y S T M WI TH PO U N D

I S 10 1

O N V E R S I O N O F O U N C E S A N DF R A C T O N A L PA R T O F A N

O D C I MA L P A R T O F A P O U N D . .. 10 1

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U S TR A T O N S .

on ti sp ie ce . F i g . A , S o l a rS p e c tr um f r o m Di f r ac ti on

o l ar S p e ct r um f r o m Pr i sm . F i g . C , T h e F i e

Y e l l o w G r ee n B l u e a n d Pu r pl e . F i g . D

econdaries. F ig. E , I ncorrectP rimaries

pp os it e pa ge 4 7 . F i g . A , T h e F i e C o l or s in M id dl e

7 0 5 0 a nd 3 0 . F i g . B , M i dd l e- a l ue C o l o r s.

o pp os it e pa ge 6 ) . C h r om a in F i e o t he F u n da me nt al s

c h C o l o r R e a ch e s I t s M a i m a o C h r o m a.

i gh t 21

woWa e- trains22

T w o W a e - tr a in s 2 2

oducingI nter erence23

o t h e W a e - le n gt h s o R e d Y e l l o w

o l et 2

hiteL ightinto ItsE lements27

tingaGi enC olorintheS pectrum28

gtheC olorsintoWhiteLight30

hiteL ighttotheSpectrumHues31

gt h 3 3

us i on 3

lusion35

c ti o n o t h e H u m an E y e 3 5

ono theR etina36

adia lSlits4 2

otatingA pparatus4 3

o C o lor4 6

l e N e u t r al A x i s 4 9

heMunse llPhotometer50

eMunse llPhotometer51

oA rrangements52

re c t I n i t i al 5

ec t I n i t ia l 55

leB a lancedonMiddleV a lue56

7

e V a l u e s in T w o A r r an g em e nt s 7 0

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U S TR A T O N S .

a logousC o lorsinR elationto I tsC omplement

na logousC o lors76

sA nalogousC o lorsinR elationto I tsC om-

na logousC o lors77

na logousC o lorsinR elationto I tsC omple-

sA na logousC o lors78

tsA na logousC o lorsinR elationto I tsC om-

na logousC o lors79

a logousC o lorsinR elationto I tsC omple-

tsA na logousC o lors80

andS eparated82

t h e O p p os i ti o n o G r ee n o n th e O t h e r C o l or s . . 8

p U s e d f o r S t u d i n g th e E f f e c ts o O p p o si t io n 8 5

ationsb B a lancedC ontrasts91

V a l ue C o n e r ge d T ow a rd M i dd l e V a l u e9 2

or A n a lo g o H u e 9

o l o r E x p e ri m en t s 99

F o r m ul a S l i p 1 0 0

ue S c a l e b W e i g ht 1 0 5

theTwel e-stepS e uencewiththeDecimal

om P er e ct l C o a te d S i de o S h e et 1 1

r om I m pe r e ct l C o a te d S i de o S h e et 1 1

c k " P i c ki n g " 1 1 5

c k R e d uc e d wi t h S o t H a l - t on e 1 16

c k S o t e ne d w it h R e d u ci n g V a r n is h 1 17

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ec t ru m f r o m a d i f r a ct i on g r at i ng .

ec t ru m f r o m a p r is m .

a or h i gh e st c h ro m a o t h e f i e f u n da m en t al c o lo r s e u i -

ariesred greenandpurple-blue. ( Thisco lorisan

mlapis- la uli a lsoca lledv io let-blue. S econdariesorcomple-

ue-greenandpurple. C omplementar co lorsareopposite .

balance basedontheo ldB rew stertheor , w hichgi esthe

ow andblue; secondariesasorange greenandpurple.

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DI T A PP I C A T O N

G

TTR I B U T S O F C O L O R .

ehadinstructionine itherdraw ing

esuccess ulco lor-printero

esthead ertisersomething

absorbedunconsciousl acon-

boththesearts. I ndraw ing w e

nesgoodt peandrulecomposit ion

nting w ethink o areasorspots

t h e co mp o si t io n a t e rw ar d a b oo k le t

osit ioninpa intingincludestheposi-

ar t is t s w o r d f o r s i e i s m ea s ur e a n d

srepresented. I nshort composit ionis

e is d i i d ed u p .

stionforthepresent. Whatisa

r in t in g i t is t h e e f e c t pr o du c ed o n t he

nt o r m i t u re o p i gm en t s. R o a l p ur p le i s

lo r ro a lpurpleplusw hiteanother

addedto itathird etc. I nana l z ing

thingsarenoticed. F irst thequantit

o th e r wo r ds h o w mu c h it r e l e ct s l ig h t.

ts" v alue. I f thisde initionisnew

entandmemori e it. S econd w enotice

scolor andthenw enoticethe

I f it isbrightandstandsoutlik ever-

er intenseco lor. Munsellca llsthis

c h ro m a a m o re e a c t te r m th a n in t en s it .

pthesetermsmoreindetail.

e gr e at e st q u a nt i t o l i gh t o a l l pi g -

a llv a lues. N oticetheamounto l ight

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I T A PP I C A T O N TO PR I N T N G.

droomandthengo intothesameroom

dorpapered. Mostprinting how -

te p a pe r a n d t h er e o r e w h it e i nk w o ul d

orthisreasonthatblack isusedin

otherpigment. I t isthegreatest

lectsthe leastquantit o l ightandis

es.

re lectslight thereareanumbero

f the ink isopa uew eha eone

f s e mi - op a u e a no t he r a n d w he n t ra n s-

lsoglossmak esadi f erence and

muchsoughta terb theprinterand

e no t o t e n ad i s ab l e. I t i s t ru e t ha t a t

l e ct l i gh t i n la r ge q u a nt i t , b u t a t

nk so tenglare . Takesomej obthat

hisparticularandlook atite er da .

h e gl o ss . I m a gi n e on e o y o u r l i i n g

imine Thepointtobeconsidered

meistobeusedf orad ertising

wa a terreadingorontheco er

ew hichisusedf ory ears. In the

belearnedf romthemura lpa inters.

uldberest ul w ithlitt leaction and

lat. Theco lorsshouldbesubduedand

em theglosssoman three-color

irreproductionsise actl w hat

riginalpictureinoil endea orsto

o r h i s e f e c t no t o n re l e ct e d li g ht s o me

r i s b ou n d to r e ac h t he e e b u t up o n th e

in a d i f u s ed w a a n d g e ne r al l , h a s

intothepigments.I nreproducing

musttr toa o idgloss butit isprac-

actl matchaw ater-co lorinprinting-

ntsinthetwo colorsmightbeiden-

arnishmediumo printing- ink

glossthanthewatermedium and

t h e li g ht i n a d i f e r en t m an n er . A d d e d to

w ater-co loriso tencarriedonver

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co lorcanbeprintedandmainta inan

o r t ra n sp a re n c o a n i nk m a ki n g

kn d o l i gh t i t re l e ct s b u t sa i d no t hi n g

tingo the" w hite" stock uponw hich

not thoroughl understoodb

nters. Therearecerta inlightredsw hich

brightnessandbeauti ulundertone

hite enameledpapers w hileon

hbluethebeauti ule f ectisgone.

enameorigina ll gi entountonedpaper

st butto -da both" natura l" and

dslightl red. Whenyoue pectto

rangef orinitialsanddecora-

on t h e re d -t o ne d s to c k e e n i f u r ni s he d

stheco lorsmentionedaretheproper

ck hal - tonesandt pe suchj obs

Thebluetonerisa lsodetrimenta ltoa ll

ry e llow especiall i the are

ase.

show hardit istomatchanengra-

sbecausetheproo -paperhasagreater

o . 2 e na m el o r S . & S . C . t h a t y o u a r e

o b a n d al s o be c au s e th e s ur a c e o y o u r

w i th t h e he a y e n gr a e r s p r o i n g in k s

a f o r d to u s e th e m. W h e n y o u g e t to

emoretocontendw iththanmere l

nosit isduetoimpuritiesin the

w hichyoucannotco erup. Your

o lorandw illbea f ectedb the

nda lsothestock abouttheprintedmatter

the ink itsel . Wheny ouha ea

a c e o w hi c h wi l l s ta n d he a y i n ks p a rt

l u m in o si t m a b e o e r co m e b u s i n g

ighestluminosit inmostco lorsis

tura lw hite " w ithinkso a lak e

ertonewillre lectthepurit o the

omewhatappro imateanengra-

u t le t u s ho p e th a t th e d a w i ll c o me w h en t h e

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oo sonthesamestock theprinter

ink so apriceconsistentw iththe

see pensi epapertoshow thatthecutsare

seproo sinblack andf urnishhis

ssi esonordinar stock. Then

heprinterha eaf a irshow when

hohasordered hisplatesdirect

hecauseo man pressroomdi f i-

esub ecto thisbook isnotthechem-

per a litt ledigressioninthischapter

ace. C oatingsf orenamelpaperconta in

i e s a ti n w hi t e e t c . e a c h m an u a c tu r er

ormulaso hisow n. I nthef irsttw o

nceo v ariance. Gluerunsf rom

uantit ies to theF renchglueat40

creasingtheprice wouldmean

tw ouldbehardf oran onenota

cturertosa . C la isagenera l

arietieso a luminumsilicate andordi-

nta inscalciumcarbonate magnesiumcar-

i d s . T he p u re s t f o r m o c l a f o u nd

romnati ecla to thecho icest

angeo priceandq ualit . I n

i s f o u nd a l mo s t e c l u s i e l i n t he

. I t i s p r o ba b l a s a e s t at e me n t to s a

edb the leadingpapermanu ac-

tatesonallo the ircoatedpapers.

icia lbariumsulphate andsatinwhitean

tconsistingo ami tureo ca lcium

dro id. Wheny ouconsiderthat

sothersaremi edinv ariouspro-

tonismakingaconstantdemandf ora

ata low cost isitaw onderthatthe

strouble f itt inghisink stoagi en

uringthee tremecoldweather

instancesw herethecoatingo the

w e r o f " a n d th e " s o t e st " i n ks w o ul d

erestinge perimenttoarti icia ll

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r stock andseew hetheritw erepossibleto

grate.Thepoint I wishtobring

uldnotalwa sascribehistroubles

hesameaslast.

hevariousclubsthroughoutthe

heprintertow hatprintingcosts but

m e re l a n a na l s i s o c o mp e ti t io n o

whichthere isnobottom O nthe

competit iono abil it , inw hichthere

ourcustomerw anttoseeproo s

a n d re u s e to 0 . K . t h e o ri g in a l la o u t

ectl w ithanad ertisingman an

andre uireyoutosubmityourideas

sbecausenineouto tenprintersare

rentprintingmachiner . A promi-

enconnectedwithprintinginterests

ears recentl madethestatementthat

agebrightbo tosett pe inthree

g t p e i s no t w ha t p a s i t i s ho w i t is

h o wy o u s a i t w h at s t oc k y o u s e le c t

a n d a b o e a l l w h et h er y o u s ho w a

incti eandpersona le lementiny our

mentcannotbecult i a tedb re er-

ou t o " C h e r e ul " a n d no s e t ru l e ca n

stcombination ase er co lor-scheme

gardtoman re uirements. To

er andtok now co lorf romthescien-

nenablesustosurprisee entheartist

t h e pr o bl e ms h e s ol e s wi t h " f e e l-

show acustomerw hathe" oughtto

is e e f e ct i e l , y o ur p ro i t wi ll n ot b ed i i de d

n d o n ce i n h is c o n i d en c e e e n h is

a f a i r pr o i t .

e o r e t h at a l a rg e n um b er o p r in t -

d notonl inaf ew simplerulesfor

, butintheprincipalf actso the

gh t h ow i t t ra e l s t h e di f e r en c e in

gi erisetov ariousco lorsensations

lectionandre ractiono l ightondi -

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isw orthw hiletok now somethingo the

andsomethingo thechemica lnature

eman po intsaboutthebod , tack

o anink thatare importantfora

l a st o a l l i s t he p r ob l em o h a rm o ni -

riouscolorsandtheirtints and

ere isnoquestionbutthatthea erage

a luablepractica lk now ledgeo co lor

ienti icsources. R esultsw ithoutrea-

g butit iseasiertoappl principles

tohuntf orane amplethatj ustf its

consideration.

ptersI sha lltak eupthedi isionso

m e nt i on e d a n d re i e w th e m br i e l ,

sisonrecenttheories. F irsto a ll

ermsmoreaccuratel .

l z i n g an s p ot o c o lo r t w o th i ng s

e q u a nt i t o l i gh t a nd ( 2 t h e ki n d o

itherstrongorw eak . Whetherwe

t o r q u a l i t o l i gh t f i r s t d e pe n ds s o me -

color-sense andw hetherthecoloris

dnoticestheco lor thek indo light

s t he q u a n t it o l i gh t ( t h e v a l u e . L a s t

ot i ce t h e in t en s it o t h e co l or ( t h e

il seethat inordertodescribea

threequa lit ies: thecolor theva lue

roma . N oticethatw earef orcedto

a c o lo r . T o a o i d am b ig u it a n

, andthebestw ordthatw ecanuse

lightinaspoto co loris" hue.

wingde init ionsf romtheC entur

ec i i c al l a n d te c hn i ca l l , d i st i nc -

o r i n an o b e c t or o n a s ur a c e

y e l l o w g r ee n b l ue e t c.

nother thatinw hichco lorso

ch r om a m a d i f e r .

gandthea ll iedarts re lationo

o r a tm o sp h er i c pl a ne o a p i c-

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erenceto lightand

uebeingabstracted.

eo departureo aco lorsen-

hiteorgra ; the intensit

c o lo r i nt e ns i t .

ha ll u se t he t er ms " h ue " " v a l u e" a nd

bingan co lor. The ma beca lledthe

lo r a s b o mi t ti n g an o n e o t h es e

a etheco lorunde ined.

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.

E S P C T R U M.

s o c o lo r w e mu s t f i r s t o a l l di s ti n -

ph sicistdescribesitand color

tw ee n o b e c ti e a n d su b e c ti e

c o lo r a s we s e e it i s n ot a f o r m o v i b ra -

ph s i ci s t is a f o r m o w a e - mo t io n

erw a e-motions suchasthoseo

c o lo r t h er e o r e i s n ot a c o p o a n

d we m u st n o t co n u s e th e l aw s o o n e wi t h

sforourco lortheor w enatura ll

u t f i r st o a l l i t i s b es t t o kn o w

s i ca l p ro p er t ie s o l i gh t i ts e l . I n

d Th ei r U s es " P ro . A . A . M ic he ls on o

s ic s o t he U n i e rs it o C h i ca go

e f o r h is w o rk o n l ig h t g i e s t he

w a e-motion:

utf ew w hoha enotw atchedw ith

esproducedb astonecastintoa

hee er-wideningcirclesgo ingf arther

ecentero disturbance untilthe are

ak ontheshore. E v eni w ehad

rigina ldisturbance itscharacter ina

b e co r re c tl i n e r re d f r o m t h e wa e s .

ectionanddistanceo thesourcecanbe

ableaccurac b drawingtwolines

onto thew a e; thesourcew ouldlie

s i e o t h e wa e s wi l l g i e i n o r -

e o t h e ob e c t th r ow n . I f t h e

sthe intentioninthesechapterstopresentsuch sub ectsaslight

cesso co lorperception inapopularst le it isimpossibleto

glawsw ithoutre erencetoscienti ice periments. If the indi idua l

t h es e s ub e c ts h e m a p a ss o e r C h a p te r s I I a n d I I I .

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regularl ontheshore thedisturb-

gular and i regular thef re-

t h e nu m be r o w a e s p er s e co n d d e te r -

anceisdueto thesplasho oars

amer ortothew ingso aninsect

milarmanner thoughusua ll w ithout

tthematteronour part thesound-

eargi e in ormationregardingthe

uchin ormationma beclassi ied

e .

s .

tc h .

r .

e l t h e sa m e ki n ds o i n o r ma t io n

uralto in erthatlighta lso isaw a e-

a c t t h at i s s o.

ormillustratingthew a light

o thew a eisthedistancef rom

ecrestorthe low estpo into the

rest w hichisshow nasadotted

iddleo thecur e . Theperiodo

ittak esforoneparticletoe ecute

* thatis inthecaseo acork f loating

e ittak esf orthecork todropf romthe

sto aw a etothe low estpo into

othehighestpointo thecrest

pand downandnotalongthe

thisthedistancebetw eentw ocon-

woconsecuti etroughs w hiche ua ls

o A ' .

thisdistancefortheperiodo v ibration.

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ertothew a e- lengtho light

a ll so I trustthatasimplee peri-

place. F irst le tusconsiderw hat

mposetw osimilarw a e- trainso

tude. I f thesetw ow a e- trainsco in-

e- trainw illha etw icetheamplitude

sbroughttogether asisshownin

otra insarebroughttogetherw ithone

o theother thetw otra inse actl

ndtheresult ingamplitude iszero .

heprinciple o inter erence

estudento co lor asit isoneo the

e- lengtho lightismeasured. Tw o

ampleso theprincipleo inter erence

no il- i lmonw ater w herew esee

redareas. A simpleandsatis ac-

suringthew a e- lengtho lightisshow n

o p e r e c tl s m oo t h an d c ar e u l l

therat thetopwitha clamp

asinglesilkthread separatingthe

o r mi n g a v e r t h in w ed g e o a i r

passabeamo lightthroughthis

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e separatedintobandswhich

t h e so a p- b ub b le i n e e r w a . I f

redglassinthepatho the lightw e

oredareas buta lternatebandso red

assisused thebandsaresomew hat

e l blueandblack . I ne ithercase

b t h e f i r st s u r a c e o t h e a i r- i l m wo u ld

s e r e l e ct e d b t h e se c on d s ur a c e. A t

sur acestouch there isnoad ance

sshouldco incide gi ingav er

erdownw eshouldf indadark

thick nesso thef ilm issuchasto

l aw a ebehindtheotherone. Stil l

ndabrightband againshowinga

p l et e w a e e t c. A s a m a t t er o f a c t

hanalternationo lightanddark bands

tadark bandoccursatthetopinstead

crepanc iseasil accountedf orb

r e l e ct i on b u t it i s n ot n e ce s sa r t o g o

sw eare interestedonl inthenumber

din thedistancebetweentheplates

w herethesilk threadseparatesthem.

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rk bandsinredlightw econcludethatthe

ightise ightwa esatthethick -

edge and there ore thedistance

lassisfourw a es. Eachw a ethat

mmustpassback aga in inorderto

er erence sothateachha l w a e-

thewedgemeansaretardationo

tua ll measuredb amicroscopeand

e p e ri m en t c it e d b P r o e s s o r Mi c he l -

tenthsmicrons(a micronisathousandth

o r r ou g hl a b ou t a t we n t - i e t h ou -

k n ow i ng t h is d i st a nc e e u a ls f o u r wa e -

w e h a e s i t - e ig h t hu n dr e dt h s o a

lengtho thatparticularredlight.

ghttherew illbetw el ebands w hich

e h u nd r ed t hs m i cr o ns a s t he w a e - le n gt h o

so theprincipa lco lorsareappro i-

t he w a e - le n gt h s o t h e di f e r en t

magni iedabouttw ent thousand

hatinthee perimentthew a e-

u n d t o be f o r t - i e h u nd r ed t hs o a

ble itappearsasfort -e ighthun-

E v enindea lingw ithlightw eare

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redb indi idua lopinionwhenitcomes

w ouldca llthew a e- lengthsbe-

green andthosebetween. 59and. 61

- lengtho thee tremeredis. 76

tremev io let( thisisnotapigment

smuch or. 38microns. Someauthori-

resasshow ninthetable f orredand

ee n a s .5 2 b l u e a s . 6 a n d v i o l et . 2 .

ghtscanbematchedaccuratel in

stiono nomenclature isnotimportant.

uble howe er tostandardi ethe

show ninF ig. C , P la te I , andthepig-

ngtho . 63microns. Wh thisredis

talredinsteado thedeeperredo . 68

ater.

abouttherateatw hichlighttra -

e lsmuchfasterthansound

adistantgunisseenbe orethereport

t h un d er i s a lw a s p r ec e de d b a f l a sh

deanattemptto measurethetime

alanterntotra e lbetweentw ohills

hedistancew assoshortheconcludedit

b d e te r mi n in g t he e a c t mo m en t o a n

o J u p it e r s s e e n m oo n s w as a b le

meaneclipsew ouldtak eplacesi

eearthw asfarthestaw a f romJ upi-

e lapsed how e er hef oundthe

ondslate but a teranothersi

wasbackat thepointwherehehad

ations theeclipseoccurrede actl

emerin erred/ there ore that996

k nf orlighttotra e lacrossthe

sorbit ak nowndistancetoastrono-

ingthisdistanceb 996ga ehim

dasthev e locit o l ight.

ccuratedeterminationso the

e o M i ch e ls o n o t h e U n i e r si t o

a nd o P er ro ti n o t he U n i e rs it o N i c e

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thoughusingdi f erentmethods Miche l-

andPerrotin186 3 5 resultsw hich

. In roundnumbersthev e locit o

s e co n d. I w e di i d e th e c ir c um e r -

ughl 25 000miles intothisnumberw e

elsaroundtheearthse entimesina

abullettra e lsattherateo about

a n d so u nd f o r e a m pl e o n a st e el r o d

cond so it isindeedhardf orusto

cit o 186 000milesasecondmeans.

howe er becomesade initeandf inite

siderthedistancesbetweenthestars

e ittakesf orthe irl ightto

mA lphaC entauri thenearestf i ed

u r y e a rs a g o a n d i a n o bs e r e r o n th e

su f icientl pow er ultoseethe

wouldnow December 1911 bew atch-

n e 1 8 57 f o u r y e a rs b e o r e th e

therateo 186 000milesasecond

w hattheph sicistca llsredlightis

ero v ibrationspersecondo the little

hew a eso lightma bef oundb

gt h i nt o t he v e l o c i t . T h e r e o r e i n

esarev ibratingattheenormousrateo

0 0 0 0 0 0 0 0 0 v i b r at i on s p er s e co n d.

ightwhichrunf romthee treme

t he e t r em e v i o l et . 3 8 mi c ro n s a r e bu t a

e- lengthsemittedb thesun oran

arethewa e- lengthstowhichthe

- lengthslongerthan.76microns a l-

f ectingtheopticner e produceheat

b ho ldingaradiometerorthermo-

heredendo thespectrum. Thisposit ion

edspectrum andw a e- lengthsha e

o61microns w hichiseight t imesthe

e t r em e r ed . A t t h e o th e r en d o t h e

e- lengthsshorterthanthato v io let

butw hichcanreadil bedetectedb

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sera sareca lledtheultra- io let

er i s s ma l l b u t th e a r e v e r a c ti e

t he i n r a -r e d an d r ed r a s s e em t o h a e

graphicplates. I t isf orthisreasonthat

de e lopedinaredlight. Theshort-

eultra - io letspectrumthatw ek now

one- ourtho thewa e- lengtho

nterestingpo inttothestudento

hespectrum measuredb di f erence in

asttentimesaslongasthepartw esee.

es t o t he s p ec t ru m t a ke i t f o r

oreorlessf amiliarwiththeold

d t o ha e b e en f i r st m a de b N e w t o n -

beamo sunlightthroughaprism

toa longbando pureandbeau-

prismaticspectrum and a lthough

mi tureo a llthew a e- lengths

meso the in ra- redandultra- io let

wearecapableo seeingand

perorder accordingtowa e-

whitelightintoits elementsb

persion. F ig. 6il lustratessuchan

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o thehuesisthe importantpointto

thatredisatthetop andit isf o l-

een blueandv io let. Thespectrumdoes

u s t be o n d re d b u t bl e nd s o f g r ad u al l

w h ic h f i n al l i s i mp e rc e pt i bl e . A t t h e

tblendsintoaf a intgra ishco lor sothat

utthee actspotwherethev isible

eentheredandyellow there isa

llow-red thentoye llow thentoa

t o t he v i o l e t.

henatura lco lors e ceptthepurples

pectrum thehuesf romyellow -red

ngerinchromathanthe bluesand

rtostud the latterco lors it isw ellto

e . Thisisaccomplishedb usingas

dboard w ithanarrow slit in it asis

o l or h o we e r t h e pu r e y e l l ow o c cu -

nthatit isonl b magni y ingthe

aminedinthismanner.

showstheprismaticspectrumincolors

eanso adirect- isionprismspec-

measurementsthesimpleprism in

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tbereplacedb aspectroscope asthe

ntl shi t ingandtheprismmustbe

ew moments. Y ouw illnoticethe linesat

ese indicatetheposit iono l ineswhich

umk now nasF raunho erlines f rom

t d i sc o e r ed t h em a n d th e s e r e t o

po s it i on o a g i e n h ue .

tainedf romw hite lightb means

dinordero the irwa e- lengths the

e llow-redandyellow parto thespec-

i f erence inw a e- lengthsw ould

esouttheblueandv io letpartf arin

e r en c e in t h e wa e - le n gt h s. T o o e r co m e

prismaticspectrumph sicists

di f ractiongratinginconnectionw ith

f ractiongratingisaplateo glass

m et a l r u le d wi t h v e r f i n e p a ra l le l

romf i teenthousandtotw ent thousand

ptiono eitherthespectroscope

w ouldbeouto placehere . F orour

nttok now thatthegratingo ercomes

eprismaticspectrumandgi esusw hat

m whereeachhueisallottedits

espectrumaccordingtothedi f er-

show sthisspectruminco lors. Y e llow is

eredsandy ellow-redsoccup more

ndv io letsha ebeenreduced. The

nthenormalspectrum i w econsider

o tt o m o r f r o m A t o H , t o c on s is t o

easf o llows:

o d r u ns f r o m to 3 3 0 y e l lo w f r o m

tw een330and485there isagradual

aye llow -red thentoapurey e llow etc.

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hso thespectrumcolorsA toH run

8microns( atota lchangeo . 38

e - le n gt h o a n c o lo r m a b e o bt a in e d b

rom( A ) to theposit iono thecolor

ortionf romthelongestw a e-

. In thecaseo y e llow thecentra l

ere ore thew a e- lengthw ouldbe

onssubtractedf rom. 76microns or

8microns. Thepo inttobenotedisthat

tterindescribingane acthuethan

henabeamo lightispassed

mannershowninF ig. 6 thera s

o theprism. Thisbending or

ll e d i s c au s ed b t h e f a c t t h at l i gh t

stinglassasinthea ir. Whenlighttra -

n th i s ca s e f r o m ai r i nt o g la s s i t i s be n t

tothef irstsur aceo theprism

nglass butw henit lea esthe

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romtheperpendicular draw ninto

peedisgreaterina ir. I tw il lbenoticed

ntthe leastisred w hilev io letis

redhasthe longestw a e- lengthand

hebendingmustincreaseasthew a e-

sincethebendingisduetoachange

w nthatthegreaterthechangeinspeed

There ore blueandv io letbe ing

sthatthespeedo blueandv io let

red.

arisesinwitnessingthee peri-

te lightinto itsconstituentsb means

theseco lors onceseparated canbe

gain.F ig.8showsonemethod

accomplished. Thecolorsf romthe

mirror sobentthata llthera scon-

onasinglespot. I f a llthera sare

willappearas purewhitelight.

the spectrum asweha esaid

uenceo hue inpigments; butw henw e

matchthespectrumcolorsw ef indit

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entsw hichrepresentan onew a e-

herhues. Pigmentsarea lso lack ingin

ewhitelightas wellastheirdistinc-

ra t es h o w wh i te l i gh t b m e an s o a

edtothespectrumhuesinmak ingcom-

ccordingtoPro essorR ood v er-

re lectappro imatel e ight per

ehuemi edw ithtwent percento

icia lultramarineblue pa intedon

s a bo u t tw en t - i e p e r ce n t o w h it e

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I .

S O F C O L O R P R C E PT O N .

e a b so l ut e l i n w ha t w e se e ; s o a bs o -

ntredontw ostock sandin

htandpleasing andinthe

f erenthue w earesurethe inkman

ak eorwil ull substitutedanin erior

ereda longtimeagothatoursenses

u gh t h e e e i s t he m os t h ig h l d e e l op e d

ithascerta inw eak nessesw hich

w earetoaccountf orthevarious

noneanother.

n e o t h e de e c ts o p e rc e pt i on i t

stthee ew ithoneo theso-called

ontheshortline seemslongerthanthee ualdis-

the longline .

onsshowninF igs. 10to13. I t is

e i s i nc a pa b le o p e rc e i i n g le n gt h a nd

alitt le in estigationo theprocesso

pro itable.

um w e ha e b e en s t ud i n g ph -

ibrationsaretranslatedb thee e

a lprocessesw hichinturn b ps cho-

meourfactso sensor e perience.

tv ibrationso mediumampli-

ionsrunningf romred the lowest

ond tov io let thehighest. C om-

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ucee itherw hites gra s lesssatu-

aseo mi ingredandbluev ibrations

lseriesandthesensationw ee pe-

ica lprocesso thee eando the

ontallineA ise ualtoB , butitseemslonger.

m. B e oretakinguptheph sio logica l

e st r uc t ur e o t h e e e i s n ec e ss a r . I n

n im a l li e e e n b e o r e th e re i s a n or g an

ma l i s a f e c te d b l i gh t . I n c e r t ai n p ar t s

herearepigmentedcellsw hichabsorblight

sthereare" e es" w hicharesus-

lluminationonl . E v enthehuman

s n ot c a pa b le o p e rc e i i n g co l or a t a ll p o in t s

oulook stra ightaheadandho ldanob ect

witheachother.

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thesamestra ightline .

rme tendedhori onta ll a ttheside

ment a lthoughyoucannotdescribethe

h e e e s o s o me o t h e an i ma l s ar e v e r

ntatthee tremeedgeo theretina

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utmostimportance asmo ement

n ariabl meansdanger. The

w ithsi muscles w hichmak esitcapa-

d i re c ti o n b u t th e m o e m e n t f r o m

o t h e re t in a a t e r Gr e e f . I i s t he p i gm e nt

e la ero rodsandcones. Therodsarethesmallslen-

natherodsandconesare throughoutthe larger

i e d t og e th e r ; i n t h e f o e a o nl c o ne s a pp e ar . I l l

V I I s h ow v a r i o us i n te r me d ia t e st r uc t ur e s be t we e n th e r od s a nd

ls w hi c h ar e s it u at e d at V I I I . F r o m t h e ne r e c e ll s

f i b er s p as s o ut a s i nd i ca t ed a t I X , t o wa r d th e b li n d sp o t

e eba ll. X representsthe lim itingmembraneo the

htenteringthee epassesthroughtheretina inthe

I . T h e li g ht d o es n o t pr o du c e an e f e c t up o n th e

achesthe la ero rodsandcones.

sasimplermuscularactionthanthe

. Thisisonereasonw h w eare

evertica ldistancessuchastheheight

i g . 1 t h e pr i nc i pa l p ar t s o t h e e e a r e

alsur ace( R ) isw hatintereststhe

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ur ace immediate l back o the image

d c o at ( A ) i s s ho wn g r ea t l m a g n i i e d

ctiono theretina how e er is

mo F ig. 15isthepartw hichthe

tra e lsback (upinthediagram to

t thetop.

e conesintheprocesso de el-

tthe outeredgeo theretina.

ectsbestw henoure esaref ocused

andastheconesa loneappearinth-

theconesarenotonl thecentero clear

ero co lorv ision. Theareaatthe

theretina istotall co lor-blindandthe

r andthecentero clearv isionis

atit issensit i e toa lim itednum-

g-Helmholt theor o co lorper-

portiono theco lor-sensit i e -sur ace

ner ee lements oneseto these

s tr o ng l b t h e lo n g wa e s o r e d t h e se c -

a n d th e t hi r d b t h e sh o rt b l ue w a e s .

r e d h o we e r t h e ot h er t w o ne r e s a re

t e nt . T he s a me i s t ru e o t h e ne r e s

orthereceptiono greenandblue

a llthreener ecenters butmorestrongl

receptiono thegi enco lor. I f a ll

ua ll st imulatedatthesametime the

duced.

p u bl i sh e d in V i e n n a b H e r i n g

damenta lsensationsinsteado three:

theretinacontainsthreev isua l

a iro sensationsabo erepresentsan

eprocessinoneo thesub-

onthesubstancecapableo rece i -

actl theoppositemannerf romgreen

eenf a llontheretina inproper

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stincti eco lordisappearsandaw hiteor

F r a n kl i n o B a l t i mo r e t o f o r m u -

gh t s en s at i on " w h ic h i n v i e w o o u r

there lationo chemica lchangeto

sseso thebod , seemslik el to

man e perimentsmadeb scientists.

. H . J u dd i n h is w or k on " P s c h o lo g , "

hedin1907 representsthemost

i s su b e c t d o es n o t e e n r e i e w t h e

sentsMrs. F ranklin stheor asthe

t i e o a l l. H e s a s :

ao the low eranimals andthe

manretina ha eonl onechemica lproc-

o alllightstimuli.Thissingle

nsetupthroughtheactiono light

r ouss stemaprocessw hichisthe

ensation. Thisistheorigina lundi f er-

na l a ct i i t . A s t h e e o l u t i on o t h e

thisorigina lchemicalprocess w hich

process issosubdi idedthatco lors

aseso theorigina lchemica lacti -

lacti it iesproduceeachaspe-

e r o u s pr o ce s s an d a s pe c ia l i e d f o r m o

Thebreakingupo thegra processinto

ginsw ithade elopment f irst o

hcorrespondonthe onehandto

handtoorangeory e llow sensations.

iationcorrespondstothewidedi f erence

endso thespectra lseries. Theorigi-

notdisappearw iththeriseo theblue

butremainsastheneutralandmore

ponse. A tthisstagetheye llow and

ca lledoutb agreatvariet o st imu-

ow processisarousedb redlight

ght asw ellasb y e llow light. A s

n theye llow chemica lprocessis

ighl specia li edprocesses corre-

n. Theresulto thissuccessi e

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rocessisthatthehighl organi edretina

edb theappropria tef ormo light

thspecia li edchemica lprocessesto

o r bl u e. I f y e l lo w an d b lu e w h ic h w er e

lighttoarousedi f erentia tedprocesses

eretina thepartialprocesses

tedouto thegra cannotbothbein

gswallowedupin theoriginal

gra . I f redandgreenacttogether

llow processappearsasthemore

chemica lprocess. Thef actso co lor-

nedb statingthatthedi f erentia -

sesisnotcompletein thecolor-blind

complementar a ter- imagesaredueto

bil it o thepartia lchemica lsub-

naa teraprocessinw hichaco lored

egratedtheretinalsubstance.

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.

D C O R R E C T C O L O R B A L A N C E H U E .

cesso C o lorPerceptionI purpose l

ew ordsprimar andsecondar or

Mrs. F ranklin stheor co incides

owledgeo theph sica lcharactero

gh t i n t ha t e ac h w a e - le n gt h m a b e

. I n a n ot h er s e ns e h o we e r c e rt a in

herco lorsb mi tureandinthis

primar " thantheresultantco lors.

plementisinsuchgenera luse in

onepigmenttoanotherandis

t e n th a t a re i e w o B r e w s te r s f a l se

mperati e .

werscla imedthattherew erese en

or s n a me l , r e d o r an g e y e l lo w

an d v i o l e t. B u t l a t er t h is t h eo r g a e

t h re e p ri m ar c o lo r s. U n o r tu n at e l ,

o lo r s se l ec t ed b S i r D a i d B r e w st e r

blue andow ingtohisscienti icrepu-

metuntilrecentl w ithgenera laccept-

ctorY oungbroughtf orw ardthe

astchapter butlittleattentionw as

a n. H e l m h ol t a n d J . C l e rk M a w e ll

ntswithbetterapparatusattheir

sameconclusionas DoctorY oung.

istheor broughtoutthef actthat

edinthespectrumasaco loro de inite

sobeproducedb mi ingredand

in a . Ph s i ci s ts n o w v a r o n l i n

acthues. V io let-blue insteado v io let

sthesanctiono thebestauthorit ies.

ultramarineblueobtainedf rom

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, eacho thethreeco lorsare inter-

o andwhenthebluetendstoward

tow ardy e llow-red. F ig. D P late I,

s red greenandultramarineblue

condaries y e llow blue-greenand

ethecomplementar colorso

ngami tureo tw oo theprimaries

e l lo w a s p re i o us l s t at e d i s a

re e n t h e bl u e- g re e n a mi t u re o u l tr a -

andthepurpleami tureo redand

mi edorwhenpro ectedone

producew hite light andlikew isean

ntar suchasredandblue-green

ultramarineblueandy ellow. I ta lso

co lorsortintsw hichproducew hiteb

tar . C omplementar co lorsinpig-

ra w henmi edb rotation.

interestedin witnessingthe

n g co l or e d li g ht s t ha t t he t r a n d lo c at e

a lC o lorimeter. Thisco lorimeterispro-

swhichadmitlight throughred

db meanso anoptica lm i ing

edtogether. R edandbluegi e

greenthegreens andthe introduction

w hite light. I nf act thethreeshut-

suchamannerthatpurew hite isthe

o p r o i n g th a t wh i te l i gh t m a b e

heprimariesthanb separatingand

meanso aprism.

e l lo w an d b lu e t he o r i l lu s tr a te d i n

i s s o cl o se l a s so c ia t ed i n a p ri n te r s m i nd

ssthatthe q uestionnaturall

r al l i t m a n o t be t h e co r re c t th e or ,

tshouldbeunderstoodthatpa int-

wnthatappro imaterepresentationso

edf romf ew pigments. In f act

w illf urnishaf a irl completepalette

desiredf orbril l iante f ects. This

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asiso thetheor , butB rew stercla imed

ethe threef undamentalkindso

o lorsthatw ouldproducea llhueso

inpigments.Theartistma mi

pigmentsinan proportionhedesires

hew ordsprimar , secondar or

stbeboundb scienti icde init ionsas

ht. B rew sterimpliedthatthespec-

me d b t h e o e r la p pi n g o s e ts o r e d

s andf urthermorethatnootherw a es

ndthespectrumweha eseen

c o lo r d oe s n ot e i s t a n d li g ht c o ns i st s o

onl . We ha eseenthatthew a e-

mrunf romthee tremered . 76

mev io let . 38microns agradua ll

colorrepresentedb itsdis-

. B utaccordingtoB rew ster greenw as

r la p pi n g o y e l l o w an d b lu e w h ic h w e

isasimplemattertotestthis

o ta t io n u s in g M a w el l s d i sk s .F i g . 16

w ithradia lslitssothatthe ma

chamannerastoobtainv ariouspro-

dblue. F ig. 17showsaMiltonB radle

etwodisksf ittedsoasto obtain

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eachcolortoproducetheresultant

o largeaproportiono theye llow is

s y e l l o wi s h. I f t o o mu c h bl u e i t i s r ed -

ionw illtherebeasuggestiono

blackandwhitediskssocom-

heresultantgra matchesthegra

w andblueontheouterdisk s. B rew -

a t o nc e w h il e t he Y o u n g -H e l m h ol t a n d

ned.

charisesinthe lighto thee peri-

w h doy e llow andbluepigmentsw hen

paletteorslabproducegreen I n

so pigmentsarisef romabsorption

stincti eco lorisduetothera sw hich

e llow absorbsa llo thew a e- lengths

e l lo w t h is i t g i e s o ut ; a b l ue a b so r bs

e llow andbluepigmentsaremi ed

resentsaninterminglingo y e llow

f romtheseasmallamounto y e llow

ee e butmosto the lightre lected

tclesplungespartw a intotheblue

sa eachlosingthera sw hichtheother

a s s ta t ed b e o r e n o p ig m en t r e l e ct s

gh f r e e f r o m a ll o t he r s a n d y e l l ow

low re lectssomegreen. A lsoblue

w ellasitsdist incti ehue. There ore

ichbothpigmentsarecapable o

capesabsorptionisgreenanditgi es

nthe lighto thise planationwe

en andasamattero f actgreens

e llowsandbluesarenothighchroma

r stheor doesnotendwiththe

e llow andblueasprimar co lors since it

areincorrectalso.Thesecondaries

ws:

- r e d.

l ue .

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swiththe intermediateseconda-

o llowingorder: red orange

eandpurple it isstatedthatopposite

.

lemento green.

mplemento purple .

plemento orange.

mentsisw rongw hentestedb rota-

ecolorsuniteto f ormaneutra lgra

chanarrangementw hentestedgi es

nge show ingthatredandyellow

rproperproportiono thecircle .

sterarecolorssupposedtobe

o threeprimariesinproportionsdi -

redto formw hite . B utinrea lit the

brokencolors correspondingto

e co n da r c o lo r s. I f r e d = R , y e l lo w =

Gr = g r a , a n d we a s su m e th a t we a r e de a l-

tertia riesma berepresentedthus:

- - Gr = r e d- gr a o r ru ss et .

+ R - G r= o ra ng e- gr a o r bu f .

- G r = y e ll ow -g ra o r ci tr in e.

- B - G r= g r ee n- gr a o r s ag e.

+ G r = b l ue -g ra o r sl at e.

- B 4 - Gr = p u rp le -g ra o r pl um .

sisit isclearthataso-calledter-

sntmorethantw oo itsconstituent

e th i rd i s a lw a s n e ut r al i e d b t h e

o t h e ot h er t w o. T h er e o r e i n r e al i t ,

ist a lthoughthecolorsobta inedin

ndecorationto artistsaccustomed

bluepalette.

esidesgi ingthew rongcomplement

llowsy e llow andredtoo largeapro-

le . B utb droppingoutorangeand

g r ee n b l ue a n d pu r pl e a s th e f i e f u n da -

thatI donotusethew ordprimar ) ,

Placingthesearound acircleand

w eha etenco lors: R ed-purple

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e l lo w g r ee n - e l l o w g r ee n b l ue - gr e en b l ue

e.

pigmentsf orthepurposeo

nsuse ulinobta iningco lorcombina-

rinting-ink andinthefuture it is

amre erringonl topigmentsand

arrangementnotonl balances

e c e ss o o r an g e b u t gi e s a d ec i ma l

e uenceo hue.

undamenta lcolorsareshow naround

hnginggraduall toamoreneutra l

ter. O ppositehuesinF ig. 18are

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w sh o ws f i e o t h e f u n d am e nt a l co l or s r ed y e l lo w g r ee n

a lueo 70; themiddlerow show sthesesameco lorsata

ebottomrow atav a lueo 30. A llo theseco lorsare inmiddle

sshow nare inmiddleva lue. I nthetoprow arethesame

erow o F ig. A , butinhigherchroma. Thesecondrow

butinlowerchromathanF ig. A . I nthethirdrow the

y ellow-red green- e llow blue-greenandpurple-blue

w hilethef ourthrow showsthesamecolorsina low er

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sblue-green( B G isthecomplemento

e c o mp l em e nt o Y R , e t c. T h e an a lo g ou s

gtothew a thew ordana logousis

how noneithersideo it Y R and

ngco lors( hereagainI usethew ord

strictedsense arethecomplemento

s o n ei t he r s id e o i t n a me l , G a n d B .

hati thetenco lorsaretopresent

h u e w h e n mi e d b w ei g hi n g li k e

c en t c ol o rs t h e f i e f u n da me n ta l c ol o rs

i di s ta n t in h u e b u t e u a ll s t ro n g in

ua ll stronginchroma. Thesecondline

I , s h o ws f i e f u n da me n ta l c ol o rs i n m id d le

a l u e a n d F i g . C , P l at e I s h ow s t he

t chroma.Theprinterismore

ghterco lors andinconsidering

w illprobabl ser easbetterstandards

hanthemiddle- a lueco lors.

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ataco lorisinmiddleva luew emean

d s ol e l b t h e am ou n t o l i gh t

e o i t s hu e o r ch r om a ,

oblackas towhite.V alueisthe

neutra lgra sf romblack tow hite

threeattributeso hue v a lueand

scommonbothtocolorandneutra lgra s

no v a luesconstitutesninet per

o lor-scheme the importanceo this

ted. Whenanartistusesaneutral

domk now sinad ancethee actv a lue

suntilthegra pleaseshim. Hedepends

ea orstoconstructagra sca lehe

le g r a b t r i n g di f e r en t p ro p or -

andneutra lw hiteuntilthemi ture

owhiteas toblack.Thispoint

esca lewillbew rong. Mi ingthe

w illgi ethestepsbetw eenmiddle

sow ithblack untilb subdi idingthe

perimentsw ithprinting- ink sI ha e

mpressionami tureo f ort parts

e pa r t o E n g ra e r s H a n d P r es s

eva lue.

describetheconstructiono theneutral

owninF ig. 19 andsuggestcheck ing

paringitw ithMiltonB radle ' sw hite

l itshowsnogreatercontrast

her. A f termiddlev a lue isdeter-

eba lanceo thesca le isgottenb sub-

blacktowhiteusedin middle

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L U E ^ C A L E

I 3

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esaccordingtore lati eproportion.

wouldha earelati eproportiono

b l ac k ; b u t i i t t ak es 4 0 p a rt s b w e ig h t

artb w eighto black andproduce

a luegra b w eightw ouldbecomposed

w h i te t o 4 0 p a r t s o b l a ck . I t f o l lo w s th a t

.

t h e 60 - a l ue g r a m a v a r a s

t s o t ha t t he o n l a c cu r at e wa o p r o-

ow ninF ig. 19istotesteachsepa-

eter.Mr.A .H .Munsellhaspro-

photometerf orthisw ork and asthe

e l rare aw ordo descriptionma

rk ingoutthisphotometerf orthe

eo Techno log andtheH ar ard

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a li edthatthee istingdark roompho-

lationsandthatda lightwasthe

easurement.Theotherphotometers

incertainregisters w hile theMun-

stheentirescalef romwhiteto

neortwodegreesf ormostcolors.

hisphotometer thef rontha ingtw o

edw ithtranslucentmateria ladmitt ing

eso thecabinet w hichisdi ided

i e w sh o ws t h e e e p i ec e ( a l s o d i i d ed

w ittherack ho ldingontherightthe

e100 andonthe le tthesampletobe

rere lectedtothee epieceb

low thee epieceontherightisa

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h e li g ht b m e an s o a c a t s - e e s h ut t er

thecabinetandindicatesata llt imes

t h e op e ni n g. S a t h at t h e re a di n g o t h e

e lighthasbeenshuto f thestandard

matchinv a luethesampletobe

er e o r e h a s a v a l ue o 5 0 . E a c h o

w hitegra sinF ig. 19w astestedb

otometerandthenpastedonwhite

onemadeo thew holesca le. F ig. 33

samesca lew iththev a luesincontact

s ho ws t he v a l ue s o 1 0 3 0 5 0 7 0 a nd

other f ormingtentw o- a luecom-

ments. The le tupperparto the

rva luesurroundedb the lighter and

ghterv a luesurroundedb the

arrangementinmathematicsis

dinF ig. 27w eha etw ent permuta-

esatatime. Withthreeva luesata

e v a l ue s 1 0 3 0 5 0 7 0 a nd 9 0a s be o re

be p er m ut a ti o ns s i t w a s t h at t h e

arranged.

satatimeisadi f iculttask f or

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hingo theprinter butthatarrange-

mak eabigdi f erence isshow nin

e le t thegreatcontrasto black and

ueo the lea esislostsighto andw e

erea li e thatsomethingisw rong

s w edonotsensethesub ectasa

dleva lue isusedasaback ground

econtrastsbetw eenthebackgroundand

backgroundandthe lea esaree ua l.

e ideaandappreciatethebeaut o

timetomak ee perimentsw ith

ore enw ithtencombinationso three-

a s f e w o t h em w ou l d f i t t h e r e u i re -

esign. I f theprintercanlearntouse

inationsshow ninF ig. 27hehas

epointaboutthree- aluecombina-

mbering how e er. A reas disre-

the irposit ion si eorshape w ill

w hichthe mak ewiththeback -

nthev a luescale . I nF ig. 22onthe

to middlev a luew ithblack and

u s ed 2 0 f o r t he l e a e s a nd 8 0 f o r t h e

0 e t c. a c co r di n g to t h e la w o e u a l co n -

o t h e de s ig n r e u i re d f o u r v a l ue s a n d

as two theothertwoshouldbe

e oneasmuchabo e astheotheris

aga inandcomparethevarious

ioninthepanelsw herethe lighterv a lue

thee tremele to thetopline

9 0 a n d 10 a d i f e r en c e o 8 0 i n v a l u e .

lweha e90and30 andbelowit70

f erenceso 60inv a lue. Thenw e

a nd 3 0 a n d 50 a n d 10 i n t he t h re e p an e ls

o wi n g di f e r en c es o 4 0 i n v a l ue a n d

r es e nt i ng d i f e r en c es o o n l 2 0 i n

stharmoniouscombinations be-

e incommonthe arenearera like

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mp os it io n is d e e l -

g b c h oo s -

mentand

a p pl i n g

caseo

hatthemost

oughl , threeto f i e . That

ectangleshouldbeto its

hesumo thew idthand

a e u a ls 1 b w o ul d

ssa idthat" i a rithmetic

gbetakenouto art

notbemuch. What

thegeniuso theartist

endoesw ithoutanartist

indthe idea lartistwho

gwithartisticf eeling.

e r ti s in g t he s p ac e u se d i s

eethatthew idthand

bearasimpleratio to

, 4 t o 5 i i t i s n ot

to1. 618. I f f o rcedto

houldbe3percentgreater

his3percentisthe

mak ethe" s uare appear

eo erestimatesv ertical

maga inesthefullpage

thepagedi idedonce

e v e r ti c al l ) a p pr o ac h p le a s-

here isone linemore im-

thecop , thatlineshould

thatthespacebelow

\ t imesthespaceabo e.

ortantlines thef irstshould

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ertisementnat-

ttention.

portions

nngtherec-

t isbest

ad ertising

eo therectangle lessthan

appliestogeneral

tstatement trade-

slocatedinthedesign

houldbesoplacedasto

d e si g n. " O r d e r t o t he

ba lanceandrh thm. To

erentpartso thead er-

methingincommon;

stbeane uil ibriumo

ngo one ideaaga inst

mtheremustbeagi en

esare lednatura ll f rom

aspingthead ertise-

indrawing the linesshould

dthecentero interest. I n

possibleonl occasionall ,

t e n be o b ta i ne d b a d di n g a

wntof itthere uirements

ndusinggreatcontrasts

hedangersinpreparingad-

eaturesareaddedw emust

ottak ingawa f romthe

mpositionasaw hole . The

edad ertisementdepends

aphicalpurit andthe

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og comethethreecombinationsrepre-

o 4 0 w h il e t he 9 0 a nd 1 0 a re n e ar l

there ore arethe leastharmonious.

sw ellasinneutra lgra isa lw a sa

o g e tt i ng h a rm on . I n s ta n tl y o u t hi n k

ronwhitepaper butinthat theva lue

f e ct s th e v a lu e o t he t p e- ma tt er o nl i n

thetota lt pe-space itactua ll

rshowingthroughbetw eene er

u e = 5 0 W h i t e = 1 0 0

ndi f erentpartso thesameletter

et pe-matterj ustasi thatproportion

mi edw iththeblack.

stsinva lue y oucanattractmomen-

ertisement butb moreclose l

inbalanceandho ldtheattention. I n

more pleasingthelighterinitial

nit ia lo F ig. 2 .

a o ided notonl intheva lues

nthet pe- aceso thereading-matter.

ulitis bettertostickto onet pe- ace

dtothepo int. I f longer ga inthe

f e re nc es i n si e o f a ce r at he r th an b

thesmall. F ore ample i tw e l e-

edf orthebod o thead ertisement

malldispla andf ourteen-po intf or

e ra l l m o re e f e c ti e t h an s i - p oi n t

- ourpo intf orthe large. A na log

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on inthis asinthehandlingo

o e u a l co n tr a st s v e r o t e n it i s

a luesonsomevalueotherthan

a m pl e i b u f s t oc k i s us e d in s te a d o

le i s l im i te d b t h e v a l ue o t h e st o ck . I f

a lerunsf romto80andathree- a lue

ceon4 0. A simplew a o i l lus-

nF ig. 25. Thev a luesare

insteado v ertica ll andarebalanced

w heretheentiresca le f romto100is

n ot w h it e b u t at 9 0 t h e sc a le i s c ut o f

mo e d t o 4 5 a n d co n e r se l i t h e in k

o 30v a lue w elosethe low erpart

l c r um m u st b e m o e d t o 6 5 h a l - wa

uw illnoticetheabbre iations

t M H D D a nd L D . Th es ea re th eo ld er

a lues theva luebetw eenmiddleandw hite

thHighL ightbetw eenthatv a lueand

htbetw eenLightandMiddlev a lue.

a lueandblack w ithHighDark

k below it. Thesetermsw erea lsoapplied

low w assupposedtoreachitshigh-

ght y e llow-orangeandyellow -green

ndgreenatLow L ight; red-orangeand

ue; redandblueatHighDark ; red-

Dark andpurpleatL ow Dark.

h pothesisisnotborneoutw henthe

variousco lorsaretestedw iththe

e pla inedinthene tchapter. M

ermino log o theo ldtwel e-step

enablethosef amilia rw ithittoconnect

imalsca leo v a lue.

c o l or m a e i s t in a l l v a l u es e c e pt

ppl ingtheruleo e ua lcontrasts

emediatebetw eenyellow andrediscommonl ca lledorange but

or. TheC entur Dictionar de inesorangeasareddish- e llow color

p e . Ma n o o u r co l or n a me s a re d e ri e d f r o m f r u it s a nd f l o we r s

i f e re nt i de as t o ea ch i nd i i du al .

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u e on t h e e e n s t e ps o 1 0 2 0 3 0

o r v a l u es o c cu r o n e e r s t ep b e tw ee n .

PO S S I B L E C O L O R V A L U E S .

h i te 1 00

G B G B PB P 90

G B G B PB P 80

G B G B PB P 70

G B G B PB P 60

G B G B PB P 50

G G B G B PB P 4 0

G B G B PB P 30

G B G B PB P 20

G B G B PB P 10

k

PlateI I , showsf i eo thef unda-

e llow green blueandpurpleatav a lue

w show sthesesameco lorsatav a lueo

av a lueo 30. A llo thesecolors

nasmiddlechroma andpresent

h u e s o t h at m i i n g e u a l pa r ts o t w o

esacoloro l ik ev a luee actl m idwa

chromaistak enupindeta il inthe

presentw eare interestedonl inthe

ho wn . A l l t h e c ol o rs i n F i g . B , P l at e I I ,

toprowarethe samecolorsshown

g . A , a n d ar e i n th e s am e v a l u e t h e

ingthatthe arehigherinchroma. The

ecolorsin alowerchromathan

rdrow the intermediates red-purple

e llow blue-greenandpurple-blueare

w hilethef ourthrow show sthese

oma.

andgreenpossessthehighest

e anda lmoste er printerk nows

herightred tobeusedas adeco-

w hitepaperw ithblack t pe.

ariseswh greeno ma ima

chasred.Thisis undoubtedl

cia tiono thew armcolorswithblack

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hite . White itse l signi iescoo l-

eclothinginthesummer andin a-

huttersw ithaw hitehouse. I f w e

o er- ink onablack co er-stock

asesim ilartothew hitehouse and

dbemoreo tenchosenasaninit ia l

practica lapplicationo v a lue in

imaredandgreenw eha ethey e l-

dgreen- e llowsbroughtdow ntomiddle

no black andthered-purples blue-

ple-bluesandthepurplesbroughtupto

ddit iono w hite . Theco lorsshownin

o nd l i ne o F i g . A , a r e on l a s ma l l pr o po r -

sandchromasinmiddlev a lue as

bemadeb mi ingad acentcolors

ha echromasrangingf romalmost

greatestintensit .

sincethe aref ullchromainmid-

ll bettersuitedforsmallareasthanthe

a a lltheco lorsshow ninmiddlev a lue

gdecorati eco lorswithblack andw ill

betterguidethandependingonhap-

ou s p ro o i n g. S o f a r w e h a e c o n s id -

f thestock istinted andhasav a lue

8 0 t h e co l or m i dw a i n v a l u e na t ur a ll i s

l u e o 4 0 a s e p l ai n ed i n b al a nc i ng

al e . I f y o u s el e ct a n c o lo r a bo e t h at

tor inthecaseo purple bringitup

rete il lustrationo thispo intw ouldbe

ck t pe onbu f stock ascompared

hitestock.

estinge ampleo the importanceo

ncertainnumberso theOutlook .

t-greentint onthiswasprinted

reenorgreen-black the ink beingj ust

nva lueasthestock w asbelow w hite.

t o h a e s e le c te d g re e n ; a n c o lo r o

ebeenused.

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a g ai n l e t us s u mm a ri e t h e di f e r en t

a p pl t h e ru l e o e u a l co n tr a st s i n

k w i th b l ac k t p e -m a tt e r a n o

uema beusedasdecorati eorinit ial

l lprobabl bepre erredb y our

generall associatedwiththew arm

inj ustasgoodharmon , how -

persona ltaste .

k w ithblack t pe-matter co lors

romw hiteandblack inv a lue thatis

d le v a l ue w i ll b a la n ce n a me l , y e l lo w

greenat70andredat30 etc. I na

thissort how e er it isbestto

nsta coolone althoughinmiddle

c o lo r s ma b e u se d wi t h an o t h e 30

k w i th a t p e -c o lo r o l o w v a l ue

rshouldha eav a luemidw a betw een

tw oco lorsaredesiredinaddit ion

thev a lueo oneshouldbeasmuch

w a betweenthe low valueandw hiteas

oc k o a h i gh v a l u e a n d wi t h bl a ck

s i ng l e de c or a ti e c o lo r s ho u ld h a e a

enthev a lueo thestock andblack . If

e shouldba lance asindicatedin

k o h i gh v a l u e a n c o lo r m a b e

ort pe-matter pro idingthatitsva lue

k asthestock isbe low w hite . A dding

esameasinR ule4 .

redstock ismiddleva lue itf o llows

eco lorma beused pro idingthatthe

thebalance.

o thenew importedstocksha esuchpeculiarl highchromasthatit

etousetheminconnectionw ithan o theordinar co lorsso ldb

rers. Notlongagoano f icero oneo themostprogressi epaper

tatespickedupasampleo anI ta lianco er-stock andsa id: " I

hatstock inyourad ertisingandseewhatyoucandow ithit. I n

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e r -b l ac k o c o ur s e m a b e u se d a n d

co lormidw a inv a luebetw een

er-black isnatura ll moresatis ac-

teusua ll re uiresatleasttw o impres-

rne inmindthat unlessco er- ink s

k thev a lueo theco lorasshow non

teredb thehueandv a lueo the

o llowsinusingmiddle- a lueco er-

bese lected theoneasmuchabo ethe

theotherisbe low.

thattheprinteraswellastheartist

mentingw iththegra sca le andpar-

ogni emiddleva lue w illbeo

ngthev a lueso co lors. I persona ll

o rshow nisnottheorigina lsample

er insteado areproductionb the

eproductionne ergi ese actv a lues.

rriedit I ha ene erseenitusedw ithasatis actor colorcombina-

ecommendisblack orashadeo thesamehue. Thereasonf or

s. Therew asnoprinting- ink onthemark eto asuitablehueor

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.

D TH E U N I O N O F H U E , V A L U E A N D C H R O M A

R S O L I D.

he n u se d i n re e r en c e to l i gh t m e an s t he

- le n gt h f r e e f r o m al l o th e rs . I n

ua lit w hichdistinguishesan

notso intense. Thee pression" gi e

m e an s a s a r ul e t h at t h e ad e r ti s er

roma. V ermilion f lamingscarlet

dgreenandotherlakecolors are

omas. I to tenhappensthatit ispos-

theco lorontheengra er sproo

eonhand butthemi edco lorlack s

hef actthaty ouareusingamuch

ngra er w hich w ithnormalor

theco lor thedi f erence isthatthe

sthemoste pensi eco lorsinorderto

mqualit o hisplates. Thesee pen-

a r e in k s o h i gh c h ro m as a n d i n o rd e r

gr a e r s p r oo y o u m us t u se i n ks

materia la lthoughnotnecessaril as

i n g y e l l ow a nd b l ue w i ll g i e a g r ea t

b u t no n e o t h em w i ll h a e t h e hi g h

therlak egreens. A s e pla inedin

co lorso pigmentsarisef romtheabsorption

ehuebeingduetothew a e- lengthso

donotabsorb.Disregardingapos-

thepigmentsthemsel es w hich

a the losso chromainmi ingco lors

o llows: N opigmentre lectsasingle

r o m al l o th e rs b u t a nu m be r s o me o

lartothepredominatingco lor the

gmentsyouuse inami turethe

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e- lengthsyouha e; themorecoun-

presentthe lesschanceo obtaining

.

ingy ellowandblueb rotation

erentco lorsha edi f erentlim itsas

herotationapparatusillustrated

thecomplementsy e llow andpurple-blue

mi ing theresultantco lorw asa

actl matchedthegra obta inedb

w hiteandblack. B utinorderto

purple -blue itw asnecessar touse

hepurple -bluethanthey e llow as

n.

a c t co l or s u se d i n m e p e ri m en t i t

h t pe r c en t o p u rp l e- b lu e t o ba l an c e f o r t -

w. Thisdemonstratesatoncethatthe

omathanthepurple -blue andasI

r commonorhighintensitiesit

donotpossessthepossibil it o high

e llow s. Themannero ca lculating

m pl e . I f f o r t - t wo p e r ce n t o y e l lo w

h t pe r c en t o b l ue i t i s e i d en t t ha t i t

oreo thepurple -bluethanthey e llow

a t io n . I f w e l et C e u a l th e c hr o ma o

ch r om a o p u rp l e- b lu e w e h a e

mak ethisy e llow thestandardo

lowsthatthechromao thepurple -blue

5 8 0

sh o wn f i e o t h e te n f u n da me n ta l c ol o rs

chroma. Thecentra lpo int( N ) isa

heco lorsmo eoutw ardthe become

a ingapossibil it o 100degrees

9 0 g r ee n 6 0 b l ue 5 0 a nd p u rp l e 60 . I t

ediatesnotshownintheplate R P

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a n d PB , h a e p o ss i bi l it i es o c h ro m a de t er -

o the irconstituentco lors. Thus

biit o achromabetw een90and100.

-w a betw een60and90 or75 etc.

tr a te s a n e a c t s e u e nc e o h u e b a se d

hespectrumw iththeaddit iono

dso thespectrumandproduces

colorsintheplate showan

r asthechromaincreases sothatthe

ama benoticed; buttheposit iono the

ue isasingledegreeordi isiono

sThusredoccursat20 y e llow at4 0

wa b e tw ee n o r 3 0 e t c. T he e a c t

t is o c o ur s e a r bi t ra r . A s p u r p le

ctrum andasitf i l lsthegapbetw een

e- lengthsw henw eimitatethespec-

msthatthelogical startingpointin

repurplebeginstotake onared-

tartingpo int R Poccursat10

Y 4 0 G 5 0 G 6 0 B G 7 0 B 8 0 P B 90 P 10 0.

santhuesestablishedasshow nin

eas mattertoproducethe intermediates

enta lco lorso thecircuit and in

o lorsser ef orthenecessar dist inc-

reaf inediscrim inationisdesired

impl b number. Thushue25isa

nredandy ellow-red hue21isnine-

ellow-red etc.Thenumbering

lesthee actcomplemento an co lor

orsubtracting50f romthenumber

s f r o m 1 t o 50 a d d f o r h ue s f r o m 5 1

complemento red( 20 isblue-

co m pl e me n t o h u e 21 i s h ue 7 1 t h e co m -

ue30 etc.

bletonameandclassi y e er k ind

buti a llco lorspossessthesamethree

l u e a nd c h ro m a a n d i e a ch q u a li t i s m ea s -

a n c o lo r m a b e d es c ri b ed b t h es e

I showsthathueismeasuredb

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g> ~ t a

- - S 2

W

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erotationf romthestartingpo int

romaismeasuredb thedistanceout

. B u t w h at o v a l ue I t i s m ea s ur e d

d o wn a n d N i n P l at e I I I i s t he e n d

o ourco lorso lid. I nordertoconnect

colorletuslookagain attheneutral

I ( N ) f r om t he f r on t in st ea d o t he

g e 4 9 .

h a e a n v a l u e a bo e a n d be l ow

ueeachco lorhasapossibil it o its

itshighestchroma. R edreachesits

00 a t a v a lu e o 4 0 y e l l ow i ts m a i -

t a v a l u e o 8 0 g r ee n i ts m a i m um 6 0

ndblueandpurplereachchromaso 50

t a v a l u e o 3 0 . T he r e o r e e e r d e g r ee

lorshow ninP late I I I shouldbecon-

algra . R edcomesouto the

i g . 1 9 a n d be g in s w it h a c hr o ma o

e l lo w le a e s t he n e ut r al a i s a t 80 e t c.

o u r co l or s o li d N s t an d s f o r d i f e r en t

e r en t c ol o rs .

eenusedb ps cho logistsand

oringtoclassi co lorsw ithregard

roma. Thespherew asusedb R unge

d i n ma n w a s i t i s b es t a da p te d f o r

h o we e r t w o ob e c ti o ns . F i r s t i t

heco lorsshownonitssur acetothe

tpigment.Mr.Munsellinteaching

o lchildrenusesasphere butbrings

entalco lorstoachromao 50 thechroma

r th e r e u a li e s t he v a l ue s o t h e f i e c o lo r s

a lue. Thesef i eco lorsheplaces

thesphere andabo eheshow sa

w adark erva lueo eachf undamental

amenta lco lorsandthe irl ighterand

idistantinhue w henthesphere is

threebandso neutra lgra s.

ddlechromacolorsare asMr.

ues thebestco lorsfortra iningthe

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ild asthe areconstantl f oundin

inting O rienta lrugsandJ apanese

ws reds andgreens etc. usedin

s couldnomorebecombinedintoa

notef romacornet onef romatrom-

lute w ouldf urnishaharmoniousmusica l

higherchromaheisobliged to

orsphereandindicate themaspro-

f o r e a m pl e m a b e r ep r es e nt e d b

onoccupiedb middlered the

atingthatvermilionhasachromao

dthesur aceo thesphere .

emsarenot thoseo ateacher

w e er. Whilethemiddle- a luecolors

t in g a n d i u s ed m or e o t e n w ou l d

theprinterisalso obligedto

orso higherchroma.Mucho

erageprinterconsistsinaddinga

ortoapageo black t pe-matter and

iesred theprinteratthepresent

dlackingincolor sensei he

i dd l e- a l ue r e d ; h e w il l d o we l l i h e i s

ebril l iantredandtok eepthecus-

e er o therline .

thespheref ortheprinter suse

approachw hite inv a luedonot

maasw henthe approachblack

t t in t n e ar w h it e i n v a l u e m a b e m ad e

eco lor suchasy e llow lak e w hichw ould

a irl highchroma. Tak ingthispo int

ructingacolor solidleadsusto

how ninF ig. 26. I tstartsf roma

orco lore ists absoluteblack

sinsi euntilthediameterismore

mmodatetheplottingo thecol-

masandthenstraightup towhite.

w hitehasneitherhuenorchroma and

h e ne u tr a l a i s a t wh i te m a b e s up -

abo ethetopo theso lid. The

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i s s ho wn i n P la t e I I I i n c ol o r e c e pt t h at

i e f u n da m en t al s w er e i nd i ca t ed e a ch

fundamenta lco lorreachesitshighest

points o highestchromaare

F ig. 26andthedottedlinecon-

ntsformsanell ipse tracingapath

andchromaasw ellashue. I t ison

ractica ll a llco lors stemsha e

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rentl theso leob ecto standardi a -

e w iththeredinhighestchroma

rpleory e llow thegreena lso inits

midwa betweenyellow andblue etc.

ch a s t an d ar d i a t io n wi l l be f o u nd i n t he

papers.

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I .

S O L I DA S A B A S I S F O R C O L O R C O MB I N A T O N S .

d s uc h a s sh o wn i n F i g . 2 6 s ta n da r di e s h ue

butina llv a luesandchromas

elocationo new co lorso high

bedisco eredinthe laborator atsome

so lida lsoenablestheclassi icationo

et pica lpathsandtheircombina-

startw ithblue atav a lueo 30and

ngaroundtheco lorso lidinthesame

mthecenter , andatthesamevalue

w e f i n d b l ue - gr e en v a l u e 3 0

h andpurple -blueatthesamev alue

Thesetw oaree actana logousco l-

armoni ew ithit. Thesecondpath

sthroughdi f erentva lueso blue. This

whatiscommonl ca lledtheshade

n e o t h e sa e s t me t ho d s o o b ta i ni n g

ebeginner. Therearenocomplications

theso leproblembeingoneo ba lancing

pe t h e bl u e o 3 0 v a l u e me n ti o ne d a bo e

matterma becombinedw ithablueo

aso lidtint-block . I nthiscasethet pe

k asthetintisbe low w hite. I nf act

ue s o b l ue m a b e u se d p r o i d in g t he

herew hitestock ser esasaback -

e b lu e i s us e d f o r t p e a d e co r at i e

la n ce i i t i s 65 i n v a l u e o r t o b e

- w a b e t we e n th e t p e ( 3 0 a n d st o ck

ningav ertica lpathw iththe latera lw e

neendo these uencehasahigher

d. I nsteado usingblue v a lue30

reenorpurple -blueo thesamev alue

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stso tw ova lueseach usingv a lues10 30 50

ra sca le. E achgra o theorigina lchartw as

nso theMunse llphotometer andthehal - toneplate

e actl thev a luerelations. Thisplate il lustrates

i ca l c ol o r co mb i na t io n s.

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usethatbluew iththeblue-greenor

rlow erva lues. Thethirdpathis

eso lidthroughdecreasingchromas

a andthenoutontheotherside

romaso thecomplementar hue.

ariedb mo ingthroughthead a-

lementtotherightorle ta terlea -

irdpathisthemostdi f icultforthe

esconstantchangeo chromaanda

achangeo v a lue. A ddingthethird

erticalenablesustoobtain color

orcontrastinvariousdegreeso hue

uetoa balancewhichcombines

u e l i gh t a nd s h ad e ( v a l ue a n d

ss( chroma . Thepleasingpropor-

esarew orkedoutunconsciousl b the

tencombinationsareusedw hichseem

uatedfortheguidanceo thebegin-

rageus asthemastermust

betterthanan oneelsebe ore

eak them. Then too the lawso

tenmakewhatappearstobea

T a ke t h e ca s e

color and its application to printing 1911

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