The reasons for desiring reliable knowledge of these qualities of colors are clear. Brilliancy is obtained by using complementary colors side by side, because each gives to the other its favorable halo of color; and dulness of coloring follows the use of uncomplementary colors side by side because each partially kills the other with its unfavorable halo of color.
Careful observance of this law of colors will not give perfect harmony to the color scheme, but it will give one of the more important elements of harmony. But there is an important exception to be noted. The law of contrast claims attention, though it cannot produce harmony. Strong effects may be obtained by ignoring these rules relative to harmony, or by boldly employing pronounced discords and seeking to so mitigate the discord as to tempt the attention to divide itself between the contrasting colors. Red and blue in the national flag are so tempered with pure white as to subdue their fierce antagonism. And so it may be with other examples--there must be either some overpowering sentiment or some skilful expedient, like breaking the main colors into lower tints, to ease the transit from one to the other. A good piece of color work need not be composed of different colors. It may be composed of different shades of the same color, or of tints very nearly related. This requires a good workable knowledge of perspective and of that rather elusive and indefinite quality known in painting as "values"; which chiefly means that each tint employed in a piece of work shall be placed as it would appear in nature and shall properly harmonize with every shade or color in the piece. Such a composition as this is difficult for a letter-press printer, less so for a lithographer, with exactly the kind of delicate manœuvering that delights some painters. It involves such fine discriminations as are necessary to show the difference between a white handkerchief and white snow, between a gray house and a gray sky, between a green tree and a green mountain, between a carnation pink and a pink muslin gown.
It is well to appreciate the difference between color and colors, and to recognize the fact that good color does not necessarily alone mean the degree of brightness or contrast, but is oftener found in accordance, mellowness and richness. Color does not always mean bright color. There is beginning to be seen some low keyed color work, simple in color composition. It is a good sign. It is only the masters who are able to successfully cope with the high keyed compositions, and the masters are, as they ever were, scarce.