very decidedly and oftentimes very pleasing results secured by modifying the colors to tints and shades or various broken tones.
But as has before been stated, and must be constantly reiterated, all fine questions of harmonies can only be determined by a general agreement of experts in color based on accepted standards.
Analogous Harmonies may seem to be more closely related to the dominant than the complementary and hence, logically, should perhaps be considered before the complementary, but there may be greater difficulties involved in the analogous than in the complementary because they are not so definitely limited.
In an Analogous Harmony we may use tones from a number of scales more or less closely related in the spectrum circuit. In some parts of the spectrum it is possible to include a much wider range than in others. It is comparatively easy to produce safe compositions through that part bounded by the orange-yellow and the green scales, while -from the green to the violet experiments are much less safe.
In almost any section of the spectrum a range of three scales is safe if the tones are properly selected and proportioned, and in some sections as many as five or six may possibly be included, by an artist, with striking and pleasing effect.
The compositions which have been classified as Perfected Harmonies may be defined as the combination of two Analogous Harmonies which as a whole are approximately complementary to each other, or in which the key tones of the Analogous Harmonies are complementary to each other. Such compositions may be entirely composed of analogous colors with the addition of but one complementary color, and this is in fact a very safe harmony, especially if that one color is used as a border line or an outline here and there in the design in which case it may sometimes be strong in color and tone.
The chart of spectrum scales as made from colored papers
