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diff --git a/40896-h/40896-h.htm b/40896-h/40896-h.htm index 084aeee..9cee35d 100644 --- a/40896-h/40896-h.htm +++ b/40896-h/40896-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Elementary Color, by Milton Bradley. @@ -90,45 +90,7 @@ table { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Elementary Color, by Milton Bradley - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Elementary Color - -Author: Milton Bradley - -Release Date: September 29, 2012 [EBook #40896] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ELEMENTARY COLOR *** - - - - -Produced by Chris Curnow, Paul Marshall and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40896 ***</div> <div class="figcenter"> <img src="images/frontispiece.jpg" width="700" height="1212" alt="Color Charts" /> @@ -410,12 +372,12 @@ of the nature, duration and delicacy of color vision and color judgment. Next to these comes the study of pigments and of the chromatic effects of their mixture, essentially a chemical and technical question, and finally, the most important of all, -the purely psychological or æsthetic problem touching the harmonization +the purely psychological or æsthetic problem touching the harmonization and grouping of the various colors and their modifications. The recent advance made in experimental psychology has given an impetus to the study of the whole subject and we may reasonably expect that rational explanations may -be found for questions in æsthetics hitherto considered purely +be found for questions in æsthetics hitherto considered purely arbitrary.</p> <p>It will be readily seen that there must be a well developed @@ -433,7 +395,7 @@ analysis of composite colors and the effects obtained by the combination of colored lights and the results of irradiant light. The principles of chromatic harmony are perhaps not simple, but a child, before whom right standards of color combinations -are constantly presented, will acquire a correct æsthetic judgment +are constantly presented, will acquire a correct æsthetic judgment that may become intuitive. The effect of such a training on the higher development of our people and on their appreciation of true art would be of the greatest value.</p> @@ -588,7 +550,7 @@ the same form in "Color in the Kindergarten."</p> to preface a treatise on the subject with arguments to prove that color is a legitimate object for school instruction, but today this is not a question with thoughtful educators, whether -considered from the practical, industrial or æsthetic standpoint. +considered from the practical, industrial or æsthetic standpoint. With the establishment of professorships of practical psychology and the equipment of laboratories, provided with delicate and expensive apparatus for making and recording tests, there @@ -660,7 +622,7 @@ effects which can be recorded in accepted terms.</p> <p>In the realm of art there is no necessity for any purely scientific analysis of sunlight, which is the origin of natural colors, -because all the practical value of color is found in its æsthetic +because all the practical value of color is found in its æsthetic effects on the mind, and in order to enjoy these even in the highest degree it is not necessary that we understand the scientific origin of the colors, any more than it is necessary for the @@ -711,7 +673,7 @@ prominent arguments for the system are directly opposed to well known facts in the science of color. Consequently, the artist has failed to gain from the investigations of the scientists anything to aid him in his pigmentary work, and the scientist -has not been interested in the æsthetic ideas of the artists +has not been interested in the æsthetic ideas of the artists which in fact he has generally been unable to fully appreciate, from lack of training and associations.</p> @@ -804,7 +766,7 @@ in which to express the results produced by given conditions, <span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> and also standards by which to analyze, measure and record these results. In selecting these standards more regard -must be given to the æsthetic or psychical effect of the pigmentary +must be given to the æsthetic or psychical effect of the pigmentary standards than to the purely scientific or physical properties of colored light. This selection is of great interest to the physiological psychologist because it is only by the comparison @@ -816,7 +778,7 @@ an equal footing with other subjects, so that perceptions of color effects may be recorded and discussed with much of the definiteness with which we treat form and tone. Because this has not heretofore been possible, comparatively little advance -has been made during the last two decades in the æsthetic consideration +has been made during the last two decades in the æsthetic consideration of material color <i>which is the only practical phase of the subject</i>, and if any greater progress is to be achieved in the future it evidently must be along new lines.</p> @@ -949,7 +911,7 @@ nearly as possible the same kind of color. For example in the red, it is the aim to obtain the same <i>kind</i> of red, by which we mean the same location in the spectrum, i.e. a red neither more orange nor more violet than the reddest spot in the spectrum. -This selection must be based on a purely æsthetic perception +This selection must be based on a purely æsthetic perception or impression of color. The same is true of each of the six standard colors, as for example, for orange we select the location which has seemed to a large number of good judges to @@ -1047,7 +1009,7 @@ and their disk combinations; and Colored Papers and Water Colors made in accordance with these standards.</p> <p>For spectrum standards, six definite locations expressing the -natural æsthetic or psychological impressions of red, orange, +natural æsthetic or psychological impressions of red, orange, yellow, green, blue and violet are selected. Six standards are chosen instead of a larger number as for example twelve, because for the purpose of a nomenclature the smaller number @@ -2001,7 +1963,7 @@ combination of the secondaries in pairs may produce a distinct class of colors called tertiaries.</p> <p>It will be the aim of the following pages to demonstrate that -in all this there is neither scientific or æsthetic truth nor educational +in all this there is neither scientific or æsthetic truth nor educational value.</p> <h3>The Old Theories Tested by Mixture of Three Pigments.</h3> @@ -2291,7 +2253,7 @@ that this experiment is somewhat affected by the degrees of illumination, and also that colored light from the walls and ceiling of a room must of necessity have its effect, but all these matters are so insignificant as to be of no material consequence -in the æsthetic study of the subject, and they can be very nearly +in the æsthetic study of the subject, and they can be very nearly eliminated when necessary by a careful selection of conditions. Whenever accurate experiments in pigmentary color comparisons are to be made, either by the use of rotating disks or otherwise, @@ -2300,7 +2262,7 @@ northern exposure and to select a morning or noonday light from a slightly overcast sky. These conditions obviate the unpleasant effect of direct sunlight in the room and also the very slightly blue effect of the clear sky. These precautions are unnecessary -in experiments relating to the ordinary æsthetic consideration +in experiments relating to the ordinary æsthetic consideration of color combinations, but even in such work it is important to exclude all light reflected from neighboring trees or colored buildings. Also the interior of the room should be as @@ -2739,7 +2701,7 @@ therefore some of his deductions from his experiments seem to have been more or less influenced by the attempt to make them harmonize with this theory, and yet the subject which he has treated so exhaustively and intelligently is one of the most important -in the æsthetic study and use of colors. In all expressions +in the æsthetic study and use of colors. In all expressions of colors in combination with each other, whether in nature, fine arts or the decorative and industrial arts, every color is affected by its surrounding colors, a fact which is exhaustively @@ -3139,7 +3101,7 @@ the entire range of the spectrum scales.</p> <p>As explained on Page 50, the complementary of any color can be determined by means of the color wheel, or nearly enough -for æsthetic purposes with the color top. But even though the +for æsthetic purposes with the color top. But even though the colors complementary to each other may be determined scientifically there will always remain ample opportunity for the exhibition of color sense and artistic feeling in the choice of colors @@ -3352,7 +3314,7 @@ named by Field can produce a neutral gray effect in the eye.</p> <p>For practical study of color some economic material is absolutely necessary and nothing so well combines manual work -with æsthetic cultivation as colored papers, if specially prepared +with æsthetic cultivation as colored papers, if specially prepared in standard colors and with a dead plated surface.</p> <p>In the manufacture of the colored papers adopted in the @@ -3554,7 +3516,7 @@ Papers were selected.</p> <p>After many months of labor in securing samples of material colors, and many days spent with the spectrum, a committee of artists, scientists, teachers, and artizans unanimously decided -that æsthetically and psychologically the colors adopted +that æsthetically and psychologically the colors adopted <span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> were the best possible material expression of the six localities in the spectrum corresponding to the feeling or psychological @@ -3793,7 +3755,7 @@ idea of light and dark colors in the same scale.</p> <p>This idea can be more clearly shown by means of a simple model very easily made for the purpose. Take, for example, -three pieces of standard red paper, 4×4 inches, and mount +three pieces of standard red paper, 4×4 inches, and mount them on a piece of cardboard side by side, in a row. Trim the card parallel to the edges of the papers, leaving a margin of uniform width, and with the point of a knife "score" a line @@ -4156,7 +4118,7 @@ size for darkest tone.</p> of teachers who may have occasion to illustrate the compositions of the various classes of colors comprised in the Chart of Broken Spectrum Scales, which covers the entire -range of the æsthetic colors and from which by modifications +range of the æsthetic colors and from which by modifications every subdued color in material substances can be analyzed and definitely named.</p> @@ -4289,7 +4251,7 @@ exercise which will afford valuable practice for the pupils.</p> <p>In preparing the papers for the Chart of Broken Spectrum Colors the selection of the tones of the several colors has been -made in accordance with the æsthetic color feeling of those to +made in accordance with the æsthetic color feeling of those to whom the matter was intrusted, but the hues of the colors are based on the standards of the pure spectrum colors.</p> @@ -5452,7 +5414,7 @@ nor any educational selection, both of which we have to-day.</p> <p>Water colors are now furnished which so closely approach the standards of the colored papers that they are of the greatest -assistance in developing the æsthetic taste and judgment +assistance in developing the æsthetic taste and judgment of the pupils, and it is remarkable how early in the training of children paints can be used with advantage.</p> @@ -6242,382 +6204,6 @@ Knowledge for Ornithologists by Robert Ridgway, Curator, Department of Birds, National Museum. 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