THE PRIMARY C THE BLUE Group COLOR PAINTED INTO A GRTHE PRIMARY COLOR GROUPS—COLOR SHADES the color of a moonlig ‘that all colors are:bl Subject, meaning not but that they are by blue green. The jonship of color is extremely beautiful, So long as the dominant color is or can be mixed from the standard primaries, it is per- fecily possible to reproduce it by the standard four-color process. It follows that to produce harmony and beauty: of relationship of color throughout your subject you have the choice of relating them by (1) a common ingredient, (2) mixing intoa wet under- tone, (8) intermixture of the color of one area into another, (4) painting the subject out of one of the groups, (5) using as a palette for your sub- ject any three colors each of which will contain some of one of the three different primaries. Thus the three primaries may not need to be pure. You can take almost any combination you choose, if ‘one contains yellow, another blue, and the third ° red, in either pure or adulterated state, This re- sults in what is known as “Triads.” Triads are real- ly a means of removing color from its pure taw state. Thus a combination of yellow orange for one, blue green instead of blue for number two, and red violet instead of red, would be a “triad.” You can make a triad of secondary or tertiary col- ots, you can use one primary with two secondary, or practically any combination you choose, so long as they come from mixtures with the three primaries. If you chose three colors all too close together in the spectrum wheel, such as blue, green blue, and blue violet, you would be so limit- ed as to not have any complementary contrast, and though the result might still be beautiful through close relationship, it would appear “all to the blue” and the color range would-be very short, It would be a beautiful combination in a fabric, but scarcely enough range for a picture, This will indicate the very great variety of ap- proach there can be to color. Whats meant by color shades is of vast impor- tance and should be clarified here. The shade of color is the result of the proportion of its ingre- dient colors, or a color plus. For instance, yellow 166 green and blue green are shades of green, shade varying only because the proportion { yellow to blue is different, since both shades o4 tain the same ingredients. But there are mal more shades of green, meaning that red enters mixture. We may have olive green, grey g brown greens, sea green—going on almost i nitely. These are all composed of the same 4 friends, yellow and blue, with various praport of red, black, and white. It is obvious that all jj ments of a given color do not match—we hava great variety and assortment of them, but ti ‘cannot be inserted harmoniously into a si that did not start with them in the original p or the three chosen. primaries of the picture this clear: There are three primaries of the trum, but you chose your own three primari your picture and paint the whole thing with: and those three primaries are the parents td) your color, They are not to-be confused witht to all further mixture. IE you will understand't you will never have to worry about relating ef One thing to remember is that pure colon brightened only by light itself, not white pal that is why color belongs to the light. Since it 8 intensity in proportion to the light taken it, we must cut down its brilliancy when we painting it in shadow, or it will be false. If picture is bad in color by using a three-colorhi it is not the fault of the color, but of valués relationships of the color to light or shadow to reflected light and color. We must distinguish “local” color as col influenced, If we throw an orange light on or wish to make the green appear in our pit as if it were in an orange light, we must cli the local color to what it appears by orange. This is where color adheres to Principle, being color in the “aspect of ment” and influenced by its environment. Sh the light be cool, we would naturally add bl the color.