76 
May, 1920 
Ol)e Slower (Brower 
Blending Colors in Flowers. 
By William H. Phipps. 
[Written expressly for The Flower Grower . ] 
O NE of the most important ques- 
tions the grower must decide 
when he concludes to hybridize, 
is the question of color or hue 
of color that he desires in his new or 
improved variety. 
He should consult the solar spectrum 
and learn what colors blend and as 
nearly as possible the percentage of 
each of the primary colors that enter 
into the blended color. 
Take a piece of well cut glass, or 
better still a clear white diamond, and 
hold it in the sun so that the reflection 
will rest on some opaque substance, 
preferably white and you will note the 
dissolution of the rays of the sun into 
primary colors, and we have 
Blue 
Red 
Yellow 
Orange and violet are not primary 
colors but are combinations of color. 
Green, in so far as flowers are con- 
cerned, will not be discussed, for now 
we do not have pure green flowers. 
It is true that at an earlier period in 
vegetation flowers were green but that 
stage has long since been passed and we 
now have the brilliant colors of flowers 
arising from the primary colors and 
combinations of primary colors. 
White is not called a color, being the 
opposite of black which likewise is not 
a color, but so far as flowers are 
concerned must be considered, for we 
have many white flowers, and growers 
are constantly striving to produce pure 
white, an object in many varieties of 
flowers not yet attained, but so nearly 
approached as to produce magnificent 
bloom. 
The value of white lies in the fact 
that it is beautiful in itself, and har- 
monizes with any color or combination 
that the artist may desire. I use the 
term artist here, I think advisedly; for 
surely, he who by his skill in hybrid- 
izing, produces a new flower more 
beautiful than has been heretofore pro- 
duced, is a greater artist than the most 
skillful painter, for he— the painter — 
only produces an imitation of the real 
flower and the painting never equals 
the flower itself. 
Black is being sought for in the grow- 
ing of almost all sorts of flowers now, 
and we frequently see the names “Mid- 
night,” “Queen of the Night,” and other 
names indicating the production of a 
black flower. 
However, for the purpose of consider- 
ing flower colors, both white and black 
must be considered in connection with 
the modifications of color. 
Take for instance the primary color 
red as a base and modify it with blue 
and yellow, or either of these colors 
singly, and you have nearly the whole 
range of color in the various shadings 
in proportion to the amount of color 
used of the several primary colors. So 
to your liking in the selection of the 
parents of your seedling you assure 
yourself of the desired blending of 
color just as does the great painter in 
selecting the pigments to be used on his 
canvas that shall some day make him 
famous. 
To illustrate what I am trying to say 
I have drawn a chart based on an au- 
thentic discussion by some of the great- 
est color scientists, whose articles have 
been published under the sanction of 
the best authorities of the present day, 
and I give this chart herewith. 
In so far as we wish to use these com- 
binations in flowers we may eliminate 
all greens. 
We wish to call attention to the fol- 
lowing; 
Blue enters into twenty-six named 
colors; Red enters into twenty-four 
named colors; and Yellow enters into 
twenty-two named colors. 
Blue and red enter into combination 
in twenty named colors. 
Blue and yellow enter into combina- 
tion in nineteen named colors. 
Red and yellow enter into combina- 
tion in sixteen named colors. 
Blue, red and yellow enter into com- 
bination in twelve named colors. 
The addition of white lightens all 
shades. 
If you want a cream color you pol- 
lenate a white with a light yellow. 
If a scarlet is desired you will pol- 
lenate a red flower with a yellow flower. 
The results to be obtained are almost 
infinite. It is well to remember, how- 
ever, if you cross with blue, or with any 
color having blue in it as one of its 
primary colors, that you can never 
eradicate that trace of blue. It is well 
to keep this in mind, and when pollen- 
ating keep in mind this color chart; it 
will be invaluable to the grower. 
White always has a purifying effect 
wherever used, but in some cases it 
may have the effect of detracting 
rather than adding to the color effect. 
The statements made in connection 
with this article are on the basis of 
pure colors and since pure colors are 
very rarely obtained in flowers, the re- 
sults necessarily must be modified to 
the extent that the color in flowers is 
impure or a combined color. 
It is up to the breeder to study his 
subject and to arrive at his own con- 
clusions. No hard and fast rule can be 
laid down for the reason that one must 
judge from the flowers themselves. 
Make the trial; ripen and gather your 
seed and await results, if you have 
given the matter careful attention you 
will not be disappointed. 
named colors and hues. 
Blue, red and yellow] being the primary or elemental 
colors, all other colors and hues are combinations of 
these colors. 
