50 
HARMONY OF COLORS— Perfected Harmony. 
Definition. Perfected Harmony is an agreeable color effect, pro- 
duced by using colors in such proportions that their admixture will 
produce, or approximate, white (gray). 
Explanation. This is nearly equivalent to ChevreuPs Harmony 
of Contrasting Colors. 
Perfected Harmony may be produced by using the required colors 
in about the proportions given in the following list, or it may consist of 
the different tones of two analogous scales that are complementary to 
each other. It may also be produced by using two or more analogous 
colors with but one color that is complementary to their general effect. 
Rood calls this harmony an optical balance, and he says, concerning 
it, "It has been a common opinion among English writers on color, 
that the best result is attained by arranging the relative areas of the 
colors in a chromatic composition in such a way that a neutral gray 
would result if they were mixed together. It is quite true that, if the 
colors were portioned out in this manner, there would be a balance 
in an optical sense, though how far balance in an aesthetic sense 
would be attained is quite another question." 
Almost every piece of color work gives the impression of some one 
color ; it may have a slight quantity of another color mixed with it, as 
of blue with a little green added to it, which would make the color 
green blue; this, with blue or violet blue, would make the key color 
blue; the complementary of green blue is orange, and of blue, orange 
yellow, so that in this combination the colors to be added to produce 
perfected harmony will be a little of both of these colors, or a color 
between the two. Bradley, in his little color scheme says, "By per- 
fected harmonies we mean those in which analogous colors are com- 
bined with the complementary of the key color, as yellow green 
tint, green blue shade with violet red. All those in which the effect 
of one analogous harmony is complementary to the effect of ano- 
ther." 
Combinations. The colors as assorted in the list below, when 
used in the proportions given, will produce Perfected Harmonies. 
The different tones of one color of each line, with the right hue or 
tone of the other color of the same line, will also produce this har- 
mony. 
Red. 
1. Violet Red and Green. (V. It. 70, and G. 30, or V. 29, R. 38, and G. 
33.) 
2. Red and Blue Green. (R. 47, B. 19, G. 34.) 
3. Orange Red, Blue and Green. (0. R. 34, B. 27, G. 39.) 
Orange. 
4. Red Orange, Blue and Green. (R. 0. 24, B. 34, G. 42.) 
5. Orange, Green and Blue, (0. 23, G. 41, B. 36.) 
6. Yellow Orange, Blue and Green. (Y. 0. 28, B. 38, G. 34.) 
Yellow. 
7. Orange Yellow, Yellow and Blue. (0. Y. 21. Y. 11, G. 30, B. 38.) 
8. Yellow, Violet and Blue. (Y. 46, V. 13, B. 41. 
9. Green Yellow, and Violet. (G. Y. 39, V. 61,) 
Green. 
10. Yellow Green, Violet and Red. (Y. G. 30, V. 40, R. 30.) 
11. Green, Violet and Red. (G. 32, V. 28, R. 40.) 
12. Blue Green and Red. (B. 18, G. 31, R. 51.) 
Blue. 
13. Green Blue and Orange. (G. B. 75, 0. 25.) 
14. Blue, Orange, Yellow and Green. (B. 44, 0. 10, Y. 21, G. 25.) 
15. Violet Blue, Yellow and Green. (V. B. 50, Y. 30, G. 20. 
Violet. 
16. Blue Violet, Yellow and Green. (B. V. 50, Y. 28, G. 22.) 
17. Violet, Green and Yellow. (V. 52. G. 26, Y. 22.) 
18. Red Violet, Green and Yellow. (R. V. 58, G. 31, Y. 11.) 
As each of these combinations produce white, (gray) when min- 
gled, they are, theoretically perfect harmonies, still for actual use 
there is scarcely one of them that will produce a satisfactory effect 
without the addition of one or more of the neutral colors, or touches 
of color not given in the combinations. These additional effects 
are, however, allowable in any of the harmonies. 
