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are produced by increased or diminished illumination. There may 
be tones of the hues, of the grays, and of other color effects, the same 
as of the normal colors, consequently there may be as many scales of 
tones as there are different color effects, for as every color and hue is 
susceptible of increased or diminished luminosity, each may have a 
scale of its own. 
Tint. 
A tint is a tone ot a color lighter or weaker than the 
standard tone. 
The term is applied both to the normal colors and the hues when 
modified with white or with increased light. 
In pigmentary colors a tint is produced by adding white to the 
standard color. In the prismatic colors it is produced by increased 
illumination. 
A shade is a tone of a color that is darker than the 
standard tone. 
Shade. 
Hue. 
In pigmentary colors a shade is produced by adding black to the 
standard color. In the prismatic colors it is produced by diminished 
illumination. 
The tints and shades of a color are its different tones, the tints 
being lighter and the shades darker than the accepted standard of 
intensity. 
Hue is a variety of color. The term is applied to the 
modifications which a color receives by the addition of 
a small quantity of another color ; thus, if a small portion of blue is 
mingled with red, we have a blue red, which is a hue of red. The 
number of hues of a color are unlimited, but for convenience in 
teaching, generally not more than two hues of each color are used. 
The last name indicates the color family to which the color belongs, 
and its first name is the added color. 
In blue green the prevailing color is green, with a little blue mixed 
with it ; in green blue the prevailing color is blue, with a little green 
added to it. 
Broken colors. 
white (gray). 
Broken Colors are the normal colors, or the hues 
dulled more or less by the addition of both black and 
Chevreul defines broken colors as " Pure colors mixed with black 
from the highest to thedeepest tone," and his translator adds : "The 
tones which stand above the pure color are broken tones." This is 
equivalent to calling the shades of a normal color broken colors, and 
the tints of a normal color broken tones. 
Value. 
Value is the luminous intensity of a tone, hue or 
color, in relation to other tones, hues, or colors in the 
same composition. 
., .. - . In black and white work, the basis of comparison, or 
Unit of value. ^ ' 
key to the values, is usually black, or the darkest part 
of the composition, and all of the variations of light and shade. in the 
composition are given a relative intensity or tone value, compared 
with the key tone. 
If these variations do not hold a right relation to one another, 
the composition is said to be weak, poor, or faulty in values. 
In color work the basis of comparison is usually white. Many 
artists, when sketching, put a slip of white paper upon some object 
in the foreground, as a basis of comparison for determining the tones 
and hues of the various colors in the scene they are painting. 
In elementary color work, keeping the values of the composition, 
means having a harmonious balance of tone or -intensity of the 
different colors used, so that the combined effect is not injured by an 
excess of any particular color. For instance, a light blue and a pink 
will go nicely together, as far as values are concerned, because neither 
is sufficiently intense to overpower the other ; but an equal quantity 
of light blue and normal red would not harmonize in value, because 
the greater intensity of the red would overpower the light blue. When 
the intensities of the colors differ, the quantities must also differ, if 
the values are to be preserved . 
Potentiality. 
Potentiality is the power or strength of a tone, hue or 
color to affect other tones, hues or colors when com- 
bined or associated with them. The potentiality or combining 
influence of the spectrum colors is in this order : yellow, orange, 
red, green, blue, violet. 
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