COLOR HARMONY
89
chroma of blue-green is used in the trimming. This is clearly expressed by the notation thus: Y87, G65, BG43, and written on the score by three dots and their chromas,—7, 5, and 3.
(161) 3. The inward path which leads by increase of gray to the neutral centre, and on to the opposite hue red-purple, RP45, is full of pitfalls for the inexpert. It combines great change of hue and chroma, with small change of value.
(162) If any other color point be chosen in place of gray-green, the same typical paths are just as easily traced, written by the notation, and recorded on the color score.
These paths trace sequences from any point in the color solid.
(163) In the construction of the color solid we saw that its scales were made of equal steps in hue, value, and chroma, and tested by balance on the centre of neutral gray. Any step will serve as a point of departure to trace regular sequences of the three types. The vertical type is a sequence of value only. It is somewhat tame, lacking the change of hue and chroma, but giving a monotonous harmony of regular values. The horizontal type traces a sequence of neighboring hues, less tame than the vertical type, but monotonous in value and chroma. ‘The inward type connects opposite hues by a sequence of chroma balanced on middle gray, and is more stimulating to the eyes.
(164) These paths have so far been treated as made up of equal steps in each direction, with the accompanying idea of equal quantities of color at each step. But by using unequal quantities of color, the balance may be preserved by compensations to the intervals that separate the colors (see paragraphs 109, 110).
Unequal color quantities compensated by relations of hue, value, and chroma.
(165) Small bits of powerful color can be used to balance large
