COLOUR HARMONY Author(s): J. Littlejohns Source: Journal of the Royal Society of Arts, Vol. 81, No.

4199 (MAY 12th, 1933), pp. 592-606 Published by: Royal Society for the Encouragement of Arts, Manufactures and Commerce Stable URL: http://www.jstor.org/stable/41359224 . Accessed: 29/03/2014 02:55
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592

OF THE ROYALSOCIETY OF ARTS JOURNAL PROCEEDINGS EIGHTEENTH OF THE SOCIETY

May 12, I933

ORDINARY MEETING

Wednesday,29TH March, 1933 Mr. Robert Anning Bell, R.A., LL.D., in theChair The Chairman, in introducing that was thelecturer, saidthat thesubject evening him. Colourharmony one whichterrified to was one of themostdifficult things - and thatwas themedium in words had to use. The whichthelecturer express directimpactupon the sightwhich colour gave, and which brought with it dislike orcriticism, that wasso immediate ofwords couldnever pleasure, anymethod it. interpret Those who,likehimself, had to giveadviceto students aboutcolourtreatment knew that itwasmostdifficult to do so, andthat itwas thelastsubject on which one could be definite or authoritative. It was his own experience thatwhenone was askedto criticise a pieceofwork in itscolour relations and qualities all onecouldsay was thatifthis, thator theother had beentried haveresulted. improvement might Butonecouldnotbe quitesure. He didnotthink which one there wereanyrecipes could hand round. He did not believethatrecipesin any of the artshad ever workof morethanthemostcommon-place produced type. He was quitecertain thattext-book artwas not fineart. A student, could be helped,in the however, earlierstagesat any rate,to avoid veryclumsy mistakes. A teacher shouldnot a student from a " hash".of things. The student prevent making oughtto learn and shouldbe allowedto makehis mistakes. At the same timeit by experience shouldbe pointed outto himwherein those mistakes hedid notcontinue lay,so that themoverand overagainfrom and so wastehis time. All committing ignorance theteacher coulddo was to save a little timeto thestudent. However, were they thatevening to listen to a lecture which wouldappealmoreto thetrained present and experienced mindthanto theartstudent, andpersonally forward he waslooking withgreat to see whatthelecturer interest couldmakeofthesubject. The following paperwas thenread:COLOUR HARMONY By J. Littlejohns, R.I., R.B.A., R.C.A., R.W.A. Whenwe consider thenumber ofartists and decorative in thiscountry designers whoselives are devotedto the creation of colourharmonies, the teachers whose businessit is to educatethe future artists and designers, and the immense and varied industries which exist toapply colour harmonies tothepurposes ofcommerce, one might concludethatColourHarmony is a subjectwell understood naturally concerned. Nothing could be further from the truth. by thosemostintimately With occasionalexceptions, of colour from knowledge harmony everypointof - theoretical, - is in a stateof chaos view educationaland commercial practical, there is no agreed beyond adequatedescription.There are no agreedprinciples,

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there ofstudy, there are no agreedmethods ofnotation and nomenclature, system is no agreedlanguage. It is an artwithout an alphabet. this is not due solelyto lack of concern,although This amazingcondition the of in in its attitude toward one the the world is most subject. apathetic country formulate set up standards, have been made to defineterms, Severalattempts are most of our current and methods. But conceptions either principles apply absurdities. or halftruths, contradictions, untruths, misunderstandingsincredible willseemto be unreasonto those whoarenotawareofthefacts, These statements, are all too easilysubstantiated. they ablysweeping. Unfortunately, the termsin commonuse upon whichtheremust be agreement Take first is possible. communication before intelligible to denotesensations The termColouris used variously producedby light, sensations all water colours, colours, exceptblackand white, etc.), (oil pigments used to distinguish blackand white. It is sometimes or all including purecolours of the mostclearly is one And this or black from thosemodified white, grey. by terms ! defined ofcolours which used to meananycombination is sometimes The term Harmony " " and Contrast the common But satisfaction. a sense of phrase Harmony gives - thatthere can be no Harmony exclusive aremutually that thetwoterms suggests in a use theterm Some writers without or Contrast Contrast without Harmony. of sense. monochromatic, analagous, polychromatic, Theyspeak embracing widely harmonies. Herea and extended contrasted, non-complementary complementary, in nonsensebecause there appears to be nothingthat results of definition riot maynotbe ! Harmony meantany pure colour, The termHue, amongartists, producedby originally so-called the three either of of a mixture of primary pair composed pigments, has colours of this now that blue. But and theory primary red,yellow colours, that is known and it it considered have all who been abandoned intelligently, by has lost theterm can produceanother of purepigments no mixtures purecolour, is Its most its original colour, pure any to-day agreedmeaning nearly meaning. looseness. Church, withastonishing writers used by authoritative but it is often a hue as a pure colour,speaksof black as havinga after forinstance, defining " " " the metallic " hues of a peacock'sfeather and of hues of a of hue," rusty buff colour." somewhat it to little The termTint is used withan absurdlack of definition, reducing definition confusion. A recently more thana cause of mental by the published moremisleading of a schoolof art," a tintis a lighter headmaster shade,"is little " tints." and deeper shades" and Church's and darker thatRood's" lighter lighter hues to refer and Rood Severalwriters, constantly Barrett-Carpenter, including of pure coloursmodified includecolourscomposed and others as tints, by grey. as a pure defined defined. It is sometimes Shade is no less variously The term were as ifbothresults colourmixedwithblackor mixedwithits complementary, define Some different. are all cases in whereas they identical, nearly necessarily

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includea Shade exclusively as a mixture of pure colourand black,whileothers ofpurecolourand grey. mixture be expected Such, then,is the lack of discrimination amongthosewho might to be clear,thata hue maymeana tint, a tintmaymeana shade,and either may meana greyed hue! The termToneis theonlyterm thesamemeaning, whichis generally viz., given fromChurch the lightness or darkness extract of a colour; but the following toneof showshow a respected can abuse the term : " whena broken authority one colouris associated withthepale or puretoneof thesame,thepale or pure toneacquiresan additional meansis thatwhena greyed purity." Whathe really hue is associated witha light hue or a purehue thetwolatter colours appearto be purer. - theagreednamesforcolours - theconfusion Whenwe cometo nomenclature becomesillimitably confounded.The artist has so farbecomethe slave of the artist's colourman thathe is seldomable to think of colour as such,but onlyin theterms ofhis paint-box. Red maymeananycolourbetween violetand orange - carmine, thatis nearer to red crimson azo red, vermilion andtherest. lake, scarlet, and are violet blue, Orange,yellow, green, similarly regarded. While variousattempts have been made to standardise no these six colours, at collective has been so when made in this that attempt agreement yet country, used by one person, the others seldomknowexactly whathe means. Attempts " to amplify theseterms suchas " rich" green and " fresh areonlyirritating green " " the worst are Church's mature by their uncertainty. Among green," medium " " yellowisholive and a pale sherrycoloured yellow." Perhaps his most of red as " crimson astounding scarlet,"leavingthe exampleis his description terms undefined. And Ward speaksof a "violet brown"without contributory thatit is simply darkred. realising These divergencies from are exceedingly smallcompared exactitude, however, withthelargenumber ofwhatcannot be too contemptuously described as " fancy names." The successful ofstandard writers to viewith thenomenclature attempts of the textile tradehas made themdeserved for In their ridicule. lists subjects " the of" gooddyads" and" goodtriads names occur Ward uses : following fancy " " " " " heliotrope," lightamber," plumviolet," plumpurple," orange amber," "chamois," "lavender," "jasper" and "light leathercolour." And Church descendsto " puce (deep)," " rose grey," " salmon," " maroon,"" apricot," " terra-cotta " and " olive." These are not far removedfromthe yellowish " " " draper's alluringifmisleading antelope beige and cocktail yellow." As an aid to theartof persuasion, to adoptfanciful and industry may findit profitable but fortheunderstanding of ColourHarmony, if not forits very topicalterms, it is essentialthat the names used should be exactlystandardised, existence, constant. commonly acceptedand remain Withthischaosofdefinition we neednotbe surprised to find similar conditions - the division in all other branches ofthesubject. Take notation of the existing

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wholefieldof colourinto specific points. There is no agreed divisionof the "ofthe hues chromatic band,i.e., the hues of thespectrum plus the 18 per cent, at thevioletend not seen in the spectrum. In mostattempts has the intention and at the same beento dividethe band intopoints at equal distances time apart, thebeginning in common use- red,yellow, etc. Butfrom green, adoptthenames the thatcertain if notmadeimpossible, fact theseattempts havebeenthwarted, by names. If, on the chromatic coloursare generally associated withcertain band, and all arenot exactly these colours aremarked, thespacesbetween equal, attempts of certain the popular association to dividethe circleintoequal spaces destroy if thesenamesare to be colourswithcertain names. It is obviously necessary, thattheremustbe agreedcoloursforthesenameseven if theyare not retained, could be easily the ones popularly requirement accepted. This fundamental as musician does withthe the and all names satisfied letters, using by scrapping barrier. an but universal scale, usagepresents impassable and essential need forart,education, most because This is the most important colour what should understand all commerce. Whenone person redi exactly says he means,and no othercolour. therehas beena to attain to themany But in addition equal divisions attempts of everycolour. the same the desire to at time, complementary register, general do the to ofludicrous This has led to a series impossible. Sincethetime attempts in many and divided intoa circle band has been turned thechromatic of Newton into the circle the are illustrated Here 3, 4, 5, dividing attempts, principal ways. without is the divisionaccepted by most question 6, 7 and 8 parts. The first of fact. Red, yellowand blue are believed as an exactstatement Englishartists and the coloursand to dividethecircleintoexactly to be theprimary equal parts, the to be colours these of colours, green orange, secondary primary complementaries The second circle. themon the chromatic whichare exactly and purple, opposite and blue,are Four primary different. is considerably red,yellow, colours, green the with four into to divide thecircle declared opposite complementaries equal parts and yellow ofblue. The third, ofgreen each other, i.e.,redis thecomplementary divides is (orwas)worldfamous, ofnotation whosesystem byMunsell, sponsored it found he but and blue intofive ; thecircle purple red, green, yellow, equal parts, a than more little is fourth The of the colours. some to alter doubling necessary all six as equallyprimary butregards colourarrangement, ofthethree pigmentally correct. The is onlyapproximately thatthedivision it is admitted and sometimes intoseven division is the division fifth by Newtonintoseven. There is another not are the divisions but and fourteen equal. by Rood, muchof the who appearsto havecaptured is thatof Ostwald, The mostrecent have intoeight. He claimsthatall previous withhis division attempts continent Ostwald's shown is As division. here, the has discovered he and that failed, perfect in an important from theothers differs particular. Thereis no colour arrangement as standardised and called green. Instead he introduces leaf-green sea-green and blue remain names. But yellow complementaries.

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are twoamazing facts aboutthesecircles Now there : (i) all, exceptone,claim division and(2) in eachcase to haveachieved with equal complementaries opposite, ! It shouldbe a simplematter to test. If, say,95 out of a the claimis untrue itis practically hundred artists that thedivisions competent agree appearequal,then of anycolouris itstrue to be so. And as it is agreedthattheafter-image certain settlethe an agreement between the same 95 should practically complementary matter. and scientists But herewe are confronted withan astonishing situation : artists are concerned are, and have long been, at cross purposes. Artists solelywith less about and and care scientists with Most artists little know light. pigments same the the matter as of no of theirs. At concern time, chromatics, regarding scientists to be of which eminent to conclusions anyartist appear capable coming can see at a glanceto be absurd. Ostwald'scolourcircleis perhapsthe most instance. He admitsthatthe colderhalfof his circleappearsto be less glaring variedthantheother in asserting butpersists thatthisis due to thefactthat half, mostartists have been previously with a different acquainted (and false)division of thecircle, and thattheir are mostartists them. either eyes deceiving Evidently cannot discriminate between has led colours orthescientist's elaborate calculations to himastray. That is notall. After one is forced numerous and carefultests, theconclusion thatifOstwalsdivisions arenot are equal,several oftheopposites complementary. I do not proposeto analysefurther as I shall all thesecontradictory attempts, a better means of to with the it is But suggest presently dealing problem. necessary here that the view common of the is artists an say among absolutely highest repute mistaken falseideas one,and is an almostunbelievable exampleof howutterly can be commonly believed fora century after havebeencompletely they disproved - ideas whichwill not standthe testof ten minutes' examination.Red, yellow and blue arenottheprimary colours either in light or in thesensein whichartists use the termprimary.Orange,greenand purple are not secondary colours. are not The whole Pigmental complementaries optically complementary. theory is baseduponconclusions in 1801. disproved It is surprising to find howfewartists are awareof thedifferences between the mixtures of pigments and mixtures of colouredlights,in spite of the many But thereis some excuse when one reads the looselyworded investigations. of some ofthesedifferences. Rood's conclusions, which aregenerally descriptions without do not to me to be accepted question, appear uniformly illuminating. It is more to find howfewartists areawareoftheneedfor understandsurprising the effects of mixtures of coloured It seems to be the common ing lights. opinion thatthe greatest colourcontrast can be obtainedbyjuxtaposing the pigmentary insteadof the realcomplementaries. Let us take a familiar complementaries in landscape a contains a housewithwhite problem painting. Suppose landscape wallsand a blue door. If a yellow sunset shone on the door whatwouldbe light " the colourof the door? Most painters would instantly reply green." They

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wouldthink in the terms and they to believethat of their wouldrefuse pigments thedoorwouldlookalmost In all imitation of nature the truth is, ofcourse, grey. ofthe that we should find thecolours notonly observation but also by byknowledge of sightand actionof light,and use the pigments to achievethe conclusions is not to look honestly. knowledge.The all-too-common practice amongartists of pigments about the mixture are their mistaken influenced They by conceptions aboutthe withthetruth it unnecessary to becomeacquainted becausetheythink of coloured mixture lights. mustbe obvious, ofdesigners to thepractice The application ofthisillustration ofgreater an exactknowledge ofthisaspectofcolouris, ifpossible, where importance. of definition, matters Surelytherecan be no doubt that these fundamental andscientists artists -examination need re and of hues division by complete naming in order them to settle conclusively. When the equal divisionsof hues have been decided,the next step is the colouredbased on the horizontal of the whole fieldof organised consideration is a disastrous has exercised which the chromatic while fascination, circle, band, arenecessary : twocharts in thisstageoftheenquiry. Here,I believe, abandoned and downwards tints white to the hues lighter bysuccessively upwards (1) extending and blackby greyed to white darker to blackbysuccessively shades,(2) extending huesof variedtones. By this meanswe can obtaina visionof thewhole field basis forthe systematic of colourin logicalorderand providea certain studyof of provenprinciples whichshouldlead to the establishment thoserelationships before ofthiskindhad beenadopted ofColourHarmony. If charts Rood,Church we shouldhavebeenspared their had presented writers and theother conclusions, block. whichhas actedas a continual nomenclature all the misleading stumbling Colourswould have been describedexactlyas hues,lighthues,dark hues and them we shallfind these hues. But as soon as we haveconstructed charts, greyed as all are and black For as incorrect. i.e., neutral, to be almost white, grey wholly warmas theyare cold, they makeall the warmhues colderand the cold hues - thetwothat warmer. Therecan be onlytwohuesunaffected by thesechanges arise: (1) how twoquestions fact norcold. Out ofthisawkward warm areneither ofhuesshallbe true themodifications inwhich a chart ones,and(2) whether to paint Withincorrectness.' oftheir haveanyvaluein consequence charts theseincorrect are of great charts in detailI believethe incorrect out goingintothesequestions for thediscovery valuablesuggestions and contain valuein colourmixing practical colourharmonies. of many thehues arises. In thesehorizontal i.e., where Then another charts, problem is nearly which from in tone hues the horizontal a yellow line, varygreatly occupy hueshavetoo thelighter-toned black. Consequently, is nearly which toviolet white to makethe and thedarkhues too fewlightmodifications fewdarkmodifications thehues to is it deficiencies these To arrange necessary remedy rangecomplete. as required. Once morewe the modifications in theirtonalorderor to stretch

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before we can withthe need foran authoritative are confronted pronouncement lie In of all the which branches to with beyond. many certainty problems proceed one of hordes of of chart is the main causes of the absence an the agreed industry and etc. Manycharts havebeenconstructed listsofpaints, unsystematic papers, " with" get-harmonies-quick which issued,oftenin connection systems profess and taste. It cannotbe too strongly forknowledge to be infallible substitutes ofcharts is notforthediscovery of colourharmonies insisted thatthepurpose by means. The greatest value f satisfactory such delusive mechanical charts would with theiraid the current of Colour be foundwhen re-examining principles arisen from of which have the absence of the which Harmony, many knowledge these chartscan give. When thesefalse conclusions have been clearedaway, can begin. Untilthisis done no principles, no theories, systematic investigation of teaching no methods can be acceptedwithcertainty.A fewexamples willbe to emphasise sufficient thisconclusion. Manyothers areequallyunsatisfactory. oftheories Thereis an important known Colour Balance. loosely group bytheterm mean one of four This term : of balance any may things (1) quantities, (2) balance of coloursroundthe circle,(3) balanceof warmand cold colours, (4) balanceof tones. The first is an admirable illustration of the way in whichan explodedidea, forgenerations.It was advocated absurd,can be acceptedand taught obviously ' ' whobelieved of" Chromatography, thatred,yellow and blue by Field,theauthor weretheprimary in thespectrum. He concluded colours thatthecorrect balance of thesecolours couldbe stated thus : mathematically = 3, blue = 8 red = 5, yellow = 8, green =11, violet . . orange =13 followed as a matter of course. From this it was taughtfor and the tertiaries in schoolsofartthatiftheseproportions wereobserved in anydesign, manyyears the result would be perfect as Field a mixture of all the because, said, harmony, coloursin the designwould producegrey. The absurdity of thisportentously mathematical can be easilydisproved theory in two ways: (1) whilebalanceis undoubtedly a necessity, the quantities vary withtheposition, size and shapeofthevarious with parts, (2) uponexperimenting thecharts itwillbe found thatbalancedquantities ofone hue and itsmodifications willoften harmonies. is an excellent produce perfectly satisfactory Orange example, whereall thecoloursmustbe warm. Alliedto thesetheories is another thathuesmustbe more group: somedeclare than900, but not 1800,aparton the colourcircle. Some maintain thatcomplecoloursare alwaysharmonious, mentary though theyd not alwaysknowwhich colours arecomplementary. Others advocate what called"near-complementary" they colourswhich aresometimes to them) Some (unknown actually complementaries. and othersas inharmonious.Almost regardassociatedcoloursas harmonious combination ofhuesis stated tobe both every possible goodandbad. Experiments withthecharts, lead to entirely different conclusions will,I believe, : (1) thatthe

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and thatthe most of a commonqualityalwayspromotes harmony possession is moreimportant of the common is choice important quantities quality grey, (2) than the choice of colours,(3) that,howevermanycoloursa designcontains, few associations intonotmorethantwogroups harmony, (4) very always promotes in one be used can when hues,especially dissociated, design. safely as good or bad The long lists of colour combinations describeddidactically four and three colours triads and two tetrads colours)by colours, dyads, (i.e., is theuse What few minutes bear a Ward will not and Church, others, scrutiny. whichevery are excellent, of saying, combinations as Churchdoes, thatcertain normal ? What,indeed,is the use of making any such eye rejectsas repellant hues? of two out a make one statements no would about of hues when any design pairs " werederived from he Church's listoffifteen experiment partly goodtriads, says, art." His first in decorative and partly from the studyof specimens good triad seen have not could is normal blue. He and normal any reputable red,yellow, in the most combination crude with that of covered decorative art specimen it derived if he and monstrosities of Victorian ; by experiment, degenerate days insensitive. he musthave been abnormally whengold, And whereis thesensein callingred,gold,and blue a good triad, combination? to the colours a dozen add withitsburnished, surface may reflecting and gold brown bronzeyellow It is ridiculous to chooseas a good triadmaroon, orhowbrown brown is the how and is standardised Neither term gold pale (pale). the gold are leftunspecified. to stickto his lasthad beentaken If theold recommendation to theshoemaker on colour,the studyof Colour writers of scientist some the by distinguished so have been would not cumbered by manyabsurdities. In anyfuture Harmony of the wholesubjecteveryquestionof tastemustbe leftto the reconsideration last. decision of theartists. That is their ofthescientist thantheblunders moredeceptive, and perhaps More tantalising, fortheadvice: go to lazinessresponsible and mental of sentiment is themixture or any naturefor your harmonies. A butterfly's wing, a peacock's feather, combinacolour balanced of as recommended are examples perfect flowering plant mustbe beautiful. This and nature of nature, tion,becausetheyare specimens of truthand half truth. Assumingfor the moment is a dangerous mixture has been andflowering thatbutterflies' feathers, (whatever plants wings, peacocks' not do are donetothem the harmonious, necessarily they by horticulturist) inevitably of ColourHarmony. On of theprinciples to an understanding lead thestudent and theirstudyto this easy but thoughtless those who confine the contrary, be able not will But harmonies. useful few a collect they way may haphazard collection an immense to extendtheirknowledge exceptby making sufficiently, - a wasteful, if notimpossible, overthewholefieldof colourby the same means proceeding. ? Most in natureis harmonious But can we safelyassume that everything inharmonious ; and so many artists will agreethatsome sunsetsare offensively

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OF THE ROYALSOCIETY OF ARTS JOURNAL

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of muchthe same to foliage different are to be foundattached coloured flowers will colours if any,is thatall bright to be drawn, colourthattheonlyconclusion about the bases of harmonise withthe same green. More can be discovered thanby a in an hour'sconcentrated ColourHarmony studyof good colourchart of not in but idle a Nature is the storehouse, entirely browsing garden. day's harmonies. ready-made An excellent in current is thatwhichis conceptions exampleof half truths 4the dominant is examined described at 4 hue." Whenthistheory by the usually ofa chart, themainreason foritsvalue,as I shallshowbyseveral illustrations, light is quiteother thanthatcommonly given. on Two recent writers have made interesting, but debatablepronouncements to havediscovered to goodcolour Discord. One claims thatdiscords arenecessary as they aretogoodmusic. (It is time, that combination bytheway, vagueanalogies in between and music were harmony painting thoroughly examined.) He asserts thatcertain and givescolouredexamples. pairsof coloursare alwaysdiscordant, On examination it is found that the theory is exceedingly doubtful because when the same colours are betterbalanced most, if not all, of the discord ! disappears Another writer statesdefinitely the one cause of discord, viz., thatshadesof huesalways discord withtints ofdarkhues. This, iftrue, wouldprovethat light to nature is a An autumn makes a universal scene going dangerous quest. (which to of trees in shadow with dark and appeal artists) composed yellow, yellow-orange leaves a of blue or blue-violet would be condemned orange against sky light by thistheory asstark discord. These are but a fewexamples. When all the current of colour combination have been ruthlessly principles I believeit willbe found thatmostof themare mistaken, a fewpartly examined, true and veryfewwhollysound. It now remains forme to suggest a method of investigation of the organised fieldof colour,in orderto testevery : theory withevery of the hues in (1) To experiment possiblebalancedarrangement combinations of say, 2, 3, 4 and 5, make comparisons and see if any positive conclusions can be drawn. thehorizontal bandsof tints, shadesand greyed hues in thesame (2) To treat and notetheeffects ofthecommon black manner, them, compare qualitieswhite, and grey. withbalancedquantities ofeachvertical (3) To experiment band,i.e., each hue withits tints, tonesand greyed hues and notethe effect of thecommon qualities white,black,greyand the hue. withcombinations of twoor morevertical (4) To experiment bands,and note the influence of common dissociated hues. qualitiesin uniting withvariousarrangements of coloursin the chartsfalling (5) To experiment underdiagonal results in variouspartsof the chart. lines,and notethe different withregular of lines of colourson (6) To continue experiments arrangements

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there to determine whether thechart andcontrast them with irregular arrangements basesforcolour harmonies. can be anygeometrical factthatthe the important of hues, noting withmixtures (7) To experiment of any two hues producesshades of all the hues betweenthem. mixture and progressive, An investigation systematic upon some such lines,absolutely and extensions lead to many wouldprobably should, place eventually, unexpected aboutcolourcombination. facts in possession of all thefundamental all concerned and wasteof from thewearisome The artist wouldthenbe freed disappointments his and wouldbe able to concentrate timedue to theabsenceof exactknowledge, of personal on the problems efforts expression. intothevarious Needlessto saythewholeenquiry aspectsofthesubjectwould in ofa groupofexperts demand theservices acting conjunction. The pronouncehaveled us intosuch and scientists, both artists ofincompetent ments individuals, thatonlya perfectly of hopelessconfusion, a condition equippedbodyof investiand set the art of conclusions to well-balanced to come be trusted can gators foundation. on a sure forthe first ColourHarmony, time, were shown by means of an and pictures A numberof diagrams, patterns discussed of the bythelecturer. illustrating many points epidiascope DISCUSSION said thatthe of Decorators) Institute British Mr. H. G. Dowling (President, written and said about more was the more involved and more to seemed get subject and on " Ruskin roomto a lecture in thatvery he had listened it. That afternoon told had that that of the fact unmindful not was he and great authority Italy," did go to Nature thatifartists he thought to go to Nature; and personally students the and of Nature a made theories, and they disregarded reverently study more, had to be listened that thescientist forit. He agreed to,but wouldbe all thebetter or reading a man like Brangwyn he could not imagine attending manylectures after ofexperiment case itwas a matter books. In Brangwyn's experiment. many that and he was thankful and ingenuity, the lecturer's He admitted industry of the country, school teachers to the elementary was speaking Mr. Littlejohns thecoming was able to influence was a bodyof peoplewhich becauseifeverthere consideratook into he and when teacliers school the it was ; elementary generation after a gooddeal ofhis timelooking was spending thatMr. Littlejohns tionthefact he was happy; buthe couldnotsaythat of thiscountry, thatside oftheeducation ofcolour thestudy to pursue ofhisInstitute theFellows to recommend he wasgoing that down laid lines the night. along arosein a very thattheneed forcolourtheory Mr. JohnM. Holmes remarked to institution whereany educational pretended specialway. It becamenecessary colourschemes, in a schoolcriticised colour. If an artmaster teachand criticise than" I likethat" or " I do not moreto sayto a student he musthavesomething " likethat ; he musttryto saywhy. " of emotion." he had been told thatcolourwas a matter As a painter-student had thatgentleman because been not had helpful, Criticisms very by his professor

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notmadeanyconstructive suchas thatof aboutcolour. Whether criticism theory Mr. Littlejohns could give a basis forconstructive criticism was another matter, but theneed fortheory much aroseverymuchin the case of interior decoration, more so thanin thepainting ofpictures. Mr. Littlejohns had shown somepatterns in which there werefour or perhaps ofcriticising morecolours. The realdifficulty colouroccurred at all. in thecase oftwoor three no pattern largeareaswith chiefly Forinstance, ifin thedivisions no pattern, ofa wallthecolours werequiteplainwith thenthe problem of criticising colourin a reasonable manner becameso difficult thatonewas almost more. forced to leanon theory as on a crutch, and as nothing He had read Mr. Littlejohns* bookson thesubjectof colour, and wouldliketo knowwhat was Mr. Littlejohns* ? Mr. Littlejohns had only giventhe theory audience thatevening an example of colour varied monochrome by ; thatis,colours mixture withwhite and black. Everyone white knewthatifhe choseone pigment formixture he wouldgetone range ofcolours and thathe ifchoseanother pigment whitehe wouldgetanother withvariety of tone. Was thatall ? rangeof colours, Was it just a matter of monochrome. Then whatwas ColourHarmony ? The " in word" harmony colour was a stumbling block. Wouldthelecturer criticising " Colour " define whathe meantby the expression Harmony ? Mr. Littlejohns had statedthatno yellow and no violet couldproducea neutral pigment pigment to disprove thishe wouldliketo bring and violet someyellow grey. In order pig- and in factseveral - and produceneutral ments pairsof colours greyby mixing themtogether.The lecturer those colourswhichexistedbetweentwo ignored contrasted colours mixedtogether.These neutral colourscould not be produced blackor white, or blackand white withanypurecolour. by mixing Mr. R. F. Wilson (British ColourCouncil)saidhistaskwas a muchmoresimple one thanproducing a bookdealing withcolourand colourharmony ; it was thatof theworks ofvarious authorities andofcollating from ofindustry all sources analysing colourswhichhad becomeknown a periodof time, to names, by various through thosevariousindustries.He had written to themajority of dyersin the various industries for their ofcertain andfrom all thosedyers asking interpretations colours, he had received different answers. That was another exampleof the difficulties in analysing there was thequestion of considering facing industry.Again, colours, the variousnamesunderwhichparticular coloursshouldbe known. At present one found tenor a dozendifferent namesto one colour. That was theparticular taskin which he was engaged, andhe wouldprefer to saynothing morethat evening that he wasspeaking on April in thesubject except 4thtopeoplewhowereinterested and was going to produce a standard chart in conjunction withtheBritish Standards for theuseofall industries in thiscountry, andwhich Institution, wouldbe accepted, as it had beenarranged at Ottawa, as thestandard theEmpire. throughout Mr. Martin A. Buckmaster remarked thatit was a platitude to saythatcolour was a matter ofsense. Nearly thatit couldnotbe brought down everyone thought to mathematical data. That was what the lecturer had been trying to do. It seemedto him thatMr. Littlejohns was out to get a mechanical formula forthe as he couldnot possibly formula designer, forthepainter. The geta mechanical lecturer also said some rather rudeand cruelthings about Nature,but, after all, Nature must be their for there alonewas to be founda senseoftrue greatest teacher, colour. How was it to be accounted whenhe had probably no mathematical for,' idea or conception, thattheOriental never madea gross mistake in colour? That, he believed, was a more or less acceptedtruth. Take the mediaeval Oriental

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madesucha mistake. Why? Simply ; thosewho had woventhemnever carpets which did notpossess, a natural sense. we as a nation colour because they possessed, therewere no namesfor colours. He did not understand For himself persons whatthey whentheytalkedabout " red" or " blue." He did not understand a mentioned varieties. When Mr. Littlejohns meant. There were such infinite or cobalt? It was thesamewith reds. bluedid he meanultra-marine purepigment muchdoubted whether he very thepointofviewofthedecorator, Evenfrom they of colourthatwouldsatisfy weregoingto get a chartor a mechanical conception them in the least degree. The Chairmansaid he doubtedwhether theywould everget any mechanical and applications varieties them. There were infinite chartwhichwould satisfy - forinstance, the area or the one's pleasureor dislikeof colour whichaffected togettoit. Lighting oftheroom orthecolour ofa room, through youpassed lighting had whichthelecturer was a very samples thing. Some of thevarious important said. as hejustly crudeandunpleasant, be very a brighter under shown light, would, hadbeen becausethelight almost hadappeared Thatnight, agreeable, they however, colourscame together.The low. As was alwaysthe case in semi-obscurity to place as the coloursone combined was just as important of lighting question uponthewalls. withthelecturer's in fullagreement herself Mrs. Sargant Florence expressed and discussthe or experts shouldmeettogether thatcertain specialists suggestion thepsychofrom had beenapproached which oftheories. Theories wholequestion thanever. There morass intoa worse to lead theartist ofviewseemed logical point - which - Newton's theball rolling. It had started was also another analogy theory to be so of his time,and had continued had been condemned by manyscientists the band from of the spectral at his division condemned. Newtonhad arrived had been had beenraisedto it which and certain mathematical objections approach, For it could be shownmatheneverproperly handeddownthough investigated. andhad the basisofhisargument of due to a were that misconception they matically whowould a fewexperts couldgettogether in fact. If thelecturer no foundation whileand wouldbe a mostsatisfactory worth it wouldbe very discussthequestion outcomeof the lecture. shouldgo to thatartists to thesuggestion Mr. C. OveryMasters,withreference there were known that was well it or from said teaching, anytheory apart Nature, that, an instinctive whowereborncolourists, ofcolour, possessing peoplewhohadthegift - a scientist and a he hadhada friend coloursense. As a lad,whenan artstudent, toknow andwhoprofessed nothing whowasthen gladioli, horticulturist developing him the was showing whenhis friend about colour. On one occasion, whatever to eliminate whichI intend he had said " Here is a strain of his seed-beds, results in oneparticular outa tiny specimen. andhe hadpointed veining becauseitis ugly," from of horticulturists weretheresult studying of to-day The magnificent gladioli Nature. to be considered was that and a was what of view flower, their perfect point some which ofthecolour oftheapplication sense, ? It was theresult Was itNature an to than extent industry. a far to others, greater peoplepossessed in dealingwiththe public be allowedto givehis experience Perhapshe might withcolour. Some yearsago therehad been a greatdemandfor in connection thatthepublic confident whata primrose was,he felt walls,and,knowing primrose

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did not wantprimrose, was primrose.He had therefore but whattheythought matched from paintedseveralpieces of paperwitha yellowcarefully primroses, whichhe had gone to the trouble of obtaining from withtheir Kent and foliage 4 4 and whenpeoplehad askedhimforprimrose he had said Do youwant Somerset, that? " and theyhad replied" No, thatis notprimrose." Primroses werea very but thatintense brilliant setin a massofgreen foliage, spreadovera yellow yellow wallhad a totally different effect.That was one ofthedifficulties which had to be and he sympathised dealtwith, withMr. Wilsonin hisnomenclature ofcolours, and the general hoped the Colour Councilwould be able to satisfy publicwiththeir the Colour Council would satisfy the artistwas a totally primrose.Whether different question. of designs Withreference to the specimens whichthe lecturer had shown,and withgrey, whichhad been surrounded ? Greyrelatively becamepurple whygrey or greenor any othercolourwhichthe eye demanded in association withthose colours whichthelecturer had been showing ; but if thosesamesquaresof colour ? If they wereputintoblacksurrounds, what wererich happened deepcolours they ofstillgreater value. If white wereputaround became those samecolours had they notthesamequality ofcolour. The white blindtheeye would,toa certain extent, to their value. In some old stained-glass windowscould be foundthe strongest injuxtaposition, colours harmonised blackleadsdividing them. possible bytheheavy of colourscould be easilyharmonised Almost if theirtints were any combination but if deep shadesof the same colourswereused the problem was pale enough, different. entirely to thespeaker who had said thatOrientals Withregard never madea mistake, if an old Oriental one examined onewouldfind a great ofshadesofwhat carpet variety were apparently the same colours,probably caused by the weavershavinginsufficient to complete their workand matching its progress. The final up during was due,perhaps, result to accident as wellas taste. magnificent to designs, be considered as a Referring whyshoulda design, say,fora curtain ? It wasfor useinconjunction with thecolour ofthewalls, thing complete etc., carpet, anddepended for itseffect on thequality ofthelight intotheroom. It was coming andno suchdesign onlypartofa scheme. One had to makethewholesatisfactory, could be satisfactory unlessit bore due relationship to its surroundings. Colour - as relative was as relative as everything else in theworld as musicand as thenews - all depending one read every day upon oneself. The Lecturerin reply, saidthat hisremarks to upontheusualadviceofteachers " " attracted mostattention, and weresometimes go to Nature naturally misunderstood tomeanthat there wasnoneedto" gotoNature." What heintended toconvey was this: (1) therewas no justification forconcluding thatany combination of in Naturewas necessarily colours harmonious ; (2) theunsystematic contemplation of any combination whichhappened was unlikely to lead to definite conclusions, whiletheintelligent, and purposeful examination of therelated systematic colours to be foundin Naturewouldlead inevitably to provable of immense principles service. WhileNature theinexhaustible practical was,ofcourse, source, haphazard was notso reverent as thepatient faithful search for acceptance truths. underlying In reply to Mr. Holmes,thelecturer said his owndefinition of Colour Harmony was " anycombination of colours whichgivessatisfaction to thenormal cultivated to the production of greys eye." Withreference ; if to everytone of pure grey of purewhite and black,every hue (in varying produced by mixtures proportions)

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wouldbe so vastand complete thattheeyecoulddistinguish wereadded,therange of them. onlya verysmallproportion formula to get a mathematical : we are not trying In replyto Mr. Buckmaster thedesigner, facts aboutthe which to enchain butto get all theascertainable with and to statethem in theplainest of ColourHarmony foundations possibleterms ofcolours itwasnecessary, there wasaninfinite matter.Because variety quiteanother to call themby definite and relate aboutthemclearly, ifwe wereto think names, as " red" and " blue," but few did use suchterms each to theothers. Everyone had whathe personally used. He couldstate had exact for theterms meanings they whohad notdefined decidedto meanby " blue,"but thatwas uselessto everyone definition. Thereweremanyexisting was a common similarly.Whathe wanted in many someadmirable agreecharts, ways. Whatwas nowneededwas common a moresatisfactory one. Investigations ment to acceptone of themor to construct on colourand optics in connection witha leadingauthority nowproceeding would, he hoped,achievethisresult. in someof effect ofcrudecolours remark The Chairman's final upontheagreeable of one of his of low illumination was a justification theillustrations in consequence of a commonquality, viz. : thatthe presence grey, (the lecturer's) suggestions, intoharmony. colours discordant brought inevitably was thenunanimously to thelecturer A voteof thanks passed,and themeeting terminated. writes :- I feelthatthe Dr. G. F. New, Paint ResearchStation, Teddington, noticeable withthescientist. It is, in fact, lecturer has dealthardly that, amongst thelastcentury, havebeenproposed which ofcoloursystems thesuccession during andlater thephysicists as represented byH. E. Ives(*) inAmerica byClerk-Maxwell in arriving at are theonlypeoplewhohavesucceeded and Guild(2) in thiscountry, co-ordination. ofcolour facts thetrue without have been put forward All othercoloursystems properexperimental timebefore lastedbut a short beingdisplaced bythenext basis,and havegenerally on which law ofcolourmixture The fundamental physical presentation. dogmatic are repreiftwocoloured coloursolidis based is that, theNewton-Maxwell lights of the two are represented mixtures sentedby pointson a diagram, by the line Research the Paint At these Road, Teddington, Station, Waldegrave points. joining lawto actualpigment thisfundamental and I are applying mixtures, mycolleagues whichare of major of pigments someof theproperties and by its meansstudying - namely,colour strength, colour worlds to the art and industrial importance on It is medium. and between interaction the and only (3) pigment optical durability, on this sinceitis only canbe made, ofresults thisbasisthat presentation quantitative inter-related arecorrectly ofall colours and brightness thehue,saturation basisthat in one coloursolid. of colour, side. Thereare twoother however, So muchforthephysical aspects aboutwhich and the psychological, aboutwhichless is known, the physiological, to the is known. This latter aspectis byfarthemostimportant nothing practically to another. irom onesystem curves mixture oftrichromatic (!) The transformation . Inst.J. 180(1915) H. E. Ives,Frank 673. ofcolonmetry. J. build,Irans,upt.boc.17 (i925; I39(2)On a newmethod G. S. scaleoffastness.G. F. New, anda suggested ofpigments (3)Thecolorimetry Association. Chemists Oil andColour XIV, 1931, and D. L. Tilleard.J. ofthe Disney P-.

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OF THE ROYALSOCIETY OF ARTS JOURNAL

May 12, 1933

- theman andto theultimate consumer oftheir to themanufacturer, artist, products of the greatest thatresults in the street. It is evident to importance everybody a systematic of thepsychological elucidation effects of colour. Such wouldfollow not be rapidif Mr. Littlejohns has his wayandtries an advancewill,I submit, to between thequestion artexperts. It will settle by a roundtablediscussion mainly rounda tableat all, but in the laboratory.The physicist not be settled and the with theartist and thecolour willhaveto collaborate userandmeasure psychologist satisfaction or repugnance ofmental stimulated thedegree ofcolour bya widerange to determine whathues may be used together, combinations.It is necessary in in whatintensities, in whatrelative of saturation, whatdegrees areasand shapesof to nameonlya fewof thevariable factors. Manythousands of experimental field, willbe neededbuttheresults willputin ourhandsfor determinations thefirst time of the average a systematic map of the mentalreaction personto colours. It is in coloursmay be reducible to a scientific basis and possiblethatthenfashion relatedto nationalor world-wide of the changesor to the effects psychological or othernatural weather agencies. No one can place a limiton the possibilities and I am heartily in agreement of utility of such a study, withMr. Littlejohns* shouldbe doneto initiate thatsomething it. suggestion

OF OTHER MEETINGS SOCIETIES THEENSUING DURING WEEK

May15. Monday, .Geographical Society, Kensington " The Thursday, S.W.8.30 . H. Harrison, May 18. .Chemical Gore, p.m.Mr. Society, Burlington House, Oxford Clubs' to W. 8p.m. Exploration University Expedition Sarawak." and Institution at Burlington Mining Metallurgy, of, W. 5.30 House, p.m. ofLondon, at University Gower University College, " W.C. H.M. Mr. Some May British 16.. Science atCarpenters' Street, p.m. 5.30 Loewe, J. Tuesday, Guild, Discovered XHIth Hebrew Charters. E.C. 4.30 Recently Prof. Century Hall, Avenue, Throgmorton p.m. " " Metals SirHarold in the Service (Starrs.) of Carpenter, Human Life and Atthe Institution ofCivil Great Industry." Engineers, George " S.W. 5.30 R. Freeman, Street, p.m.Mr. Long Russell W.C.7 p.m. Photographic Society, 35 Square, " Span Bridges." (Lecture III.) The Dr. G..B. of Ozone in Dobson, Significance the anditsMeasurement PhotoAtmospheric by and Photoelectric Methods." graphic May .Electrical Institution Friday, 19. Engineers, of, atthe Statistical of ati Foster Dublin. Society, Royal Society Adelphi, Place, College Green, 7.45 p.m. " Arts, W.C.5.15 Mr. H.S. Jevons, Causes of the Annual General p.m. Meeting. Fluctuations inTrade and the Price Level." Office Activity atPark Lane W. Association, Management Hotel, National on Conference Office a.m. Machinery. 10.30 Sir "The Value and of Burn, Joseph Application May Folk Lore atUniversity Office 17.. Wednesday, "The Society, Machinery." John 3 p.m.Sir Mann, Gower 8 W.C. Sir Prof. R. Human Factor in its Relation College, Street, to Office p.m. Machinery." ' Tree and Wells inChina." Physical Johnston,' Worship Holy at the ofScience, Society, Imperial College Institute S.W.5p.m. Mr. W. F. Cromwell S.W.5p.m. Road, Imperial (1) Meteorological 45 Society, Road, " " A Note on Interference Tones inSuperD.Brunt, Mr. The Adiabatic for Floyd, (1) Lapse-rate Dry " Notes Receivers." Mr. W. G. Marley, and Saturated Air." Mr. C.S.Durst, on heterodyne (2) (2) " AMethod of the Heats of the inthe Variations Poor Structure ofthe Wind Over Measuring Specific " The Conductors." Dr. D.Brown, Different Surfaces." Demonstration Dr.. E. P. Brooks and (3) (3) " Variations Currents in Conductors of Various Miss Theresa M. of Wind Direction of Eddy Hunt, Shapes." " The Dr. S.Tolansky, Absence of Fine inthe British Isles since Structure (4)the 1341." Arc ofSilver." W.Y. Spectrum (5) Mr. atthe " Thermo-Magnetic B.M.A. Tavistock in Microscopical Society, House, and Prof. W. Chang Fand, W.C. Mr. E. Barnard and Square, 5.30 p.m. J. (1) in Steel." " Hysteresis Mr. F.V.Welch, Some Further of DarkExamples 21 W. 9 p.m. Institution, Street, Ultra-violet G.Dallas Royal ground "Albemarle Microscopy." (2)Dr. " V. M.Slipher, Planet Studies at the Lowell An Alcohol-soluble Resin of Refractive Dr. Hanna, High Observatory." Index." atKing's of W.C. London, College, Strand, " La Women at 10Norfolk Journalists, of, Society Street, University D.Saurat, Prof. Littrature p.m. 5.30 Franaise W.C. Annual General Strand, 3p.m. Meeting. laGuerre." Depuis (Lecture II.) (InFrench.) of atKing's W.C. Atthe London London, School of Hygiene University andTropical Strand, College, " Eternal Rev. W. R. Inge, 5.30 p.m.The W.C.3.15 Very Dr. E. C. Medicine, Street, Keppel p.m. " Life." Industrial Middleton, Hygiene." (Lecture II.)

AttheLondon ofHygiene School andTropical W.C. Dr. R.H. Medicine, Street, 3.15 p.m. "Keppel Child Guidance." Crowley,

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