# The Color Printer/Harmony

Harmony of Colors.
WE will now turn to Plate 32, which is equal in importance to the key plate. Plate 1 is the key to the mixture of colors, and Plate 32 is the key to the correct combination of colors.
Plate 32.—This plate represents the colors of the solar spectrum, arranged in a circle so as to bring colors which are complementary directly opposite to each other. In combining colors there is a wide difference of opinion as to what is correct and what is not. Of course, when harmony is produced, that is certainly correct. But the question with printers the world over is: what rule can be safely followed to obtain harmonious results in the combination of colors? The writer confidently believes that the color chart on Plate 32, with the rules and explanations which follow, will in a great measure fill this very long-felt want.
Having made a close study of the works of the best writers upon the subject of color, during the past six years, and also, having made a great many original experiments in the combination and mixture of colors in the same time, we reached the ​conclusion that there are eight different harmonies of colors, and have arranged them into two series, as follows :
First Series—Harmonies of Related or Analogous Colors, which includes:
* The Harmony of Scale—by Contrast of Tone.
* The Harmony of Scale—by Gradation of Tone.
* The Harmony of Relative Colors—by Contrast of Tone.
* The Harmony of Relative Colors—by Gradation.
* The Harmony of a Dominant Color.
Second Series—Harmonies of Unrelated or Contrary Colors, which includes:
* The Harmony of Distant Colors—Equal in Tone.
* The Harmony of Distant Colors—by Contrast of Tone.
* The Harmony of Colors with black.
By Harmonies of Related or Analogous Colors is meant the harmony of two or more colors, in each of which, one color is plainly perceptible . For example, orange and purple are near relatives of red, while orange-yellow and violet-blue are distant relatives of red; and the different tones and hues of red are its nearest relatives.
The Harmony of Scale—by Contrast of Tone is produced by the combination of two or more tones of one color, between which there is a decided difference. For example, see Figs. 284, 285, and 286, Plate 39, which shows three different three-color combinations of full-tones, half-tones, and tints; also Figs. 287, 288, and 289, on Plate 40. Fig. 287 is composed of one of the light, and two of the dark tones of red; Fig. 288 is composed of three of the dark tones of yellow; Fig. 289 is composed of a dark tone, full-tone, and half-tone of red. Also, Plate 42 which shows olive and its tint, and Plate 48 which shows sea-green and its tint.
​The Harmony of Scale—by Gradation of Tone, is produced in two ways. First—by the combination of three or more tones of one color blended into one another, and showing a gradual increase or decrease in depth of tone; for example, the cut on Plate 61 was printed in three different tones of orange blended into one another. This harmony is best illustrated in the colors of the rose, and is frequently seen in the leaves of some plants and trees. Second—by the combination of three or more tones of one color, gradually increasing or decreasing in depth of tone, and showing a slight difference in depth between any two adjacent tones; for example, see the borders at top and bottom of Plate So, which were printed in rose-lake and three of its light tones.
The Harmony of Relative Colors—by Contrast of Tone, is produced by the combination of two or more colors which are somewhat closely related, and between which there is a decided difference in tone; for example, see Fig. 389, Plate 85, which shows a combination of deep violet-blue and light yellow-green, the former being a hue of blue, and the latter a hue of green. Fig. 388 shows a violet-blue and yellow-green about equal in tone, making a poor combination, because the contrast of tone is very weak.
The Harmony of Relative Colors—by Gradation, is produced in two ways. First —by the combination of two or more related colors or hues blended into one another, and showing a gradual change from one color to another—the colors being arranged in their natural order as represented on Plate 32; for example, see the borders at top and bottom of Plate 89, which were printed with yellow, green, and blue, blended into one another. This harmony is best illustrated by the colors of the rainbow, and is frequently seen at sunset, the sky being a reddish-orange color at the horizon, and gradually blending, as you look higher, into delicate tints of yellow, green, blue, and violet. Second—by ​the combination of three or more related colors or hues, showing a gradual change from one color to another, with a dividing line or border separating the colors from one another; for example, take any third section of the chromatic circle on Plate 32.
The Harmony of a Dominant Color is produced by a combination of colors, in which one of them predominates to such an extent that it gives the whole design or figure the appearance of being delicately tinted with that color. This harmony is best illustrated by viewing a pleasing combination of colors through a delicately tinted glass. It is also frequently seen in spectacular plays, when a colored light is thrown upon a scene which is composed of a harmonious arrangement of colored objects. An imperfect illustration of this harmony can be had by viewing Plates 49 and 67 through the tinted sheets which precede them.
By Harmonies of Unrelated or Contrary Colors, is meant the harmony of two or more colors which are not related to each other—-and which are, therefore, located some distance from each other in the chromatic circle. For example, red is not related to yellow or bine, or any color lying between them; yellow is not related to red or blue, or any color lying between them; and blue is not related to red or yellow, or any color lying between them.
The Harmony of Distant Colors — Equal, in Tone, is produced by the combination of two colors which are complementary, or nearly so—each being about equal in depth of tone; for example, see Figs. 245, 251, 264, 274, and many others in this work.
The Harmony of Distant Colors—by Contrast of Tone , is produced by the combination of two colors which are complementary, or nearly so, and between which there is a decided difference in tone; for example, see Figs. 256, 257, 258, 262, 263, 266, 269, and others in this work. Fig. 313, Plate 46, is a fine example of the harmony of distant colors—by contrast of tone; it shows a combination of six colors and gold.
​The Harmony of Colors with Black, is produced by the combination of black with the full tones or light tones of the warm colors, and also, with the light tones of the cold colors; for example, black and the full tone of yellow; or black and the light tone of violet. In the former case the contrast is very strong, but in the latter it would be very weak if the violet was not made lighter in tone.
Plate 32
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244
Scale of Complementary Colors.