But it would be better still if there were the thirty-eight parts of reduced citrine, three parts of pure yellow, thirteen of purple, five of red, and eight of blue, together with white, black, or gold, or all three (these may be added without altering the conditions, as all act as neutrals), for here the harmony is of a more subtle character.
If we count up the equivalents of the colours employed in this scheme of harmony, we shall see that we have, in the citrine--
Yellow 6 (two equivalents). Blue 8 (one equivalent). Red 5 (one equivalent).
Blue 8 (one equivalent). Red 5 (one equivalent).
Yellow 3 (one equivalent). Red 5 (one equivalent). Blue 8 (one equivalent).
Thus we have three equivalents of each primary, which give a perfect harmony.
I must not say more respecting the laws of harmony, for in the space of a small work it is impossible to do so, but proceed to notice certain effects or properties of colours, which I have as yet only alluded to, or have passed altogether unnoticed.
I have said that black, white, and gold are neutral as regards colour. This is the case, although many would suppose that gold was a yellow. Gold will act as a yellow, but it is generally employed as a neutral in decorative work, and it is more of a neutral than a yellow, for both red and blue exist largely in it. The pictorial artist frames his picture with gold because it, being a neutral, does not interfere with the tints of his work. It has the further advantage of being rich and costly in appearance, and thus of giving an impression of worth where it exists.
Black, white, and gold, being neutral, may be advantageously employed to separate colours where separation is necessary or desirable.
Yellow and purple harmonise, but yellow is a light colour and purple is dark. These colours not only harmonise, but also contrast as to depth, the one being light and the other dark. The limit of each colour, wherever these are used in juxtaposition, is therefore obvious.
It is not so with red and green, for these harmonise when of the same depth. This being the case, and red being a glowing colour, if a red object is placed on a green ground, or a green object on a red ground, the "figure" and ground will appear to "swim" together, and will produce a dazzling effect. Colour must assist form, and not confuse it. It will do this in the instance just named if the figure is outlined with black, white, or gold, and there will be no loss of harmony. But experience has shown that this effect can also be averted by outlining the figure with a lighter tint of its own colour. Thus, if the figure is red and the ground green, an outline of lighter red (pink) may be employed. (See Proposition 26, page 34.)