The Munsell Color System - Forward

by T. M. Cleland
"Color Anarchy is Replaced by Systematic Color Description" Albert H. Munsell

In representing this pamphlet descriptive of the Munsell Color System, it is appropriate to sketch briefly the inception and development of the idea by the founder, Albert Munsell. Mr. Munsell was fundamentally an artist. Upon graduating from the Boston Normal Art School, he was appointed instructor and awarded a three-year scholarship for the study of art abroad. After his return to this country he was made lecturer in Artistic Anatomy and Color Composition at the Normal Art School, he held this position with distinction for twenty-five years. All throughout his student days Mr. Munsell was keenly aware of the lack of any practical theory of color. In fact, as far back as 1879, he placed two tetrahedrons base to base, applied balanced colors, and twirled them to produce a neutral gray. By 1898 he was spending all his spare time in widespread reading and experiment with the physical bases of pigment colors. He constructed a sphere on which were plotted a double set of spirals representing color sequences. From this model grew the evenly balanced Munsell Color Sphere, which demonstrates the exact relations of Hue, Value and Chroma. He also invented a small portable daylight photometer, which proved to be of the greatest assistance, not only in the measurement of colors, but also in the standardization of railroad signal lights. Most important of all, he accomplished the previously impossible task of publishing a standard color atlas. By 1912 his work began to attract world-wide attention. In the spring of 1914 he was invited to present his invention at the meetings of the scientific societies of England, France and Germany. Although he contracted a severe cold on the voyage across, he was not willing to cancel any of his lectures. Enthusiastic audiences greeted him in London, Paris and Berlin. Large groups of ardent questioners kept him long over the scheduled time. This proved a heavy drain upon his already weakened constitution. In spite of his retirement from active work when he returned to this country, his health steadily declined until his death, June 28, 1918. In February, 1918, a company bearing his name, Munsell Color Company, was incorporated with the threefold purpose of carrying on the scientific work which he had so ably begun, of furthering the introduction of his system into schools and colleges, and of taking the first steps in its application to the varied problems of the business world. One of the first important applications of the system came in 1918, when the Strathmore Paper Company became interested in the project of making the Munsell Color System the basis of one of their distinctive advertising books. Mr. Munsell was deeply interested in this first application of his work, and agreed to write the introduction. As the work progressed, more and more interesting possibilities were discovered. Mr. T. M. Cleland was asked to write a popular explanation of the system to accompany Mr. Munsell's introduction. Additional colored pages were added, until in the spring of the present year, [Editor's note - 1921] the Strathmore Paper Company published their beautiful book, "A

Grammar of Color." It is with their kind permission that the Munsell Color Company is reprinting Mr. Cleland's remarkably simple and lucid article. The first essential to the application of the Munsell Color System is a clear understanding of the three dimensions of color. Once the simple logic of these dimensions is grasped, the practical advantages of the Munsell System will be apparent. The reader should be warned at the outset against that fear of scientific perplexity which is ever present in the lay mind. The three dimensions of color do not involve the mysteries of higher mathematics. There is nothing about them which should not be as easily comprehended by the average reader as the three dimensions of a box, or any other form which can be felt or seen. We have been unaccustomed to regarding color with any sense of order and it is this fact, rather than any complexity inherent in the idea itself, which will be the source of whatever difficulty may be encountered by the reader who faces this conception of color for the first time. The idea of the three dimensions of color can be expressed thus: With these three simple directions of measurement well in mind, there need be little confusion for even the least scientific mind in comprehending what is meant by color "measurement." In considering further the qualities of color, which are expressed by these three dimensions known as Hue, Value and Chroma, we will take each one of them separately in the order in which they are written, trusting that having done so we may pass to the subject of color balance or harmony and its application to every day practice, equipped with a clear understanding of how it may be measured and noted.

HUE
This first dimension is defined by Albert Munsell as "The quality by which we distinguish one color from another, as a red from a yellow, a green, a blue or a purple." This dimension does not tell us whether the color is dark or light, strong or weak. It merely refers to some point in the spectrum of all colors like we have seen in the reflection of sunlight through a prism. Let us suppose now that we had such a spectrum cast by a prism or a section taken out of a rainbow. We know it to be a scientific fact that it contains every possible Hue Color. These Hue Colors merge one into the other by indistinguishable degrees, but always in a fixed order. Now let us imagine that we have such a spectrum fixed or printed on a band of paper and that it begins at one end with red and going through all possible Hues, it arrives back at red again at the other end. The Color Hues are unevenly divided and they merge one into the other by indistinguishable degrees. While still preserving the order of these Hues, let us divide them into equal steps as we do on a ruler into inches, by selecting certain colors familiar to us in every day use -- red, yellow, green, blue and purple. These we will call the Simple Hues. Between each of them we will make another division where each one merges into the other. These we will call yellow-red, green-yellow, blue-green, purpleblue and red-purple. They will be known as Compound Hues because each of them is compounded of two Simple Hues.* Thus we shall have 10 divisions upon our band. The reason for this number of divisions will be understood when we come to discuss the question of Color Balance. It presents a sufficient variety of lines for purposes of demonstration and for most practical uses. Now if we bend this band around into a circular hoop so that the red at one end meets and laps over the red at the other end, we have a perfect scale of Hue in the circular form in which we shall always consider it. So it is that when we state the first dimension of a color we are merely referring to its position on this circle of Hues. In writing a color formula, this first dimension is expressed by the initial letter of the Hue R for red, which is a Simple Hue, and B-G for blue-green, which is a Compound Hue, etc.

These 10 steps being a decimal number, may, of course, be infinitely subdivided and it may frequently happen that a given color does not fall exactly on any one of these 10 divisions of Hue, but somewhere between two of them. Allowance has been made for this by dividing each of the steps of the Simple Hues into 10 further divisions. These 10 subdivisions represent about as fine a variation of Hue as even a trained eye can distinguish and it would be obviously futile, for practical purposes, to carry it further. If we uncurl our band again, in order to better see what we are doing and note these divisions upon it, they will appear in this order: Reading from right to left, beginning at the left of a Compound Hue, the numerals run from 1 to 10, 5 always marking a Simple Hue and 10 falling always on a Compound Hue. Thus we have a series of numerals denoting any practical step or gradation between one Hue and another. In writing a color formula, of which one of these intermediary Hues is a part, we place the numeral, denoting the position of the Hue on this scale before the letter which stands for the nearest Simple Hue, thus 7 R, 2 Y, etc. If, for example, we wish to write the formula of a color, the Hue of which is neither Red nor Yellow-Red, but about half way between the two, we would write it 7 R or 8 R, depending on whether it was nearer to the Red or to the Yellow-Red. FOOTNOTES: *In the naming of these steps of Hue, Albert Munsell has wisely adopted a terminology which is commonly understood as referring only to color. He has avoided the use of such terms as orange, pink, violet, etc. which have other meanings and might lead to confusion. What is called orange, for example, he calls yellow-red because it is a mixture of these two Hues.

Color Value
The Munsell Color System
This is the second dimension of color and is possibly the simplest to understand. It is, according to Albert Munsell's definition, "The quality by which we distinguish a light color from a dark one." We noted that the first dimension did not tell us whether a color was light or dark. It told us that the color was green and not red, but we know that there may be light green and dark green. The function of Value is to tell us how light or how dark a given color is. For this purpose we shall need a scale of Value, which we may conceive as a vertical pole, or axis, to our circle of Hues. Black is at the lower end, representing total absence of light. White is at the top, representing pure light. Between these are a number of divisions of gray, regularly graded between black and white. This gradation could also be infinite. Since pure black is unattainable, we will call that 0 and begin our scale with the darkest gray as 1, numbering the steps up to 9, which is the lightest gray. Pure white, which is also unattainable, we will call 10. In the practical use of the scale of Value, therefore, we shall have but 9 steps and the middle one of these will be 5 - what is referred to as Middle Value. These steps of Value, have been scientifically measured and registered by means of an instrument called a Photometer.* In writing a color formula we express this dimension of Value by a numeral, which denotes at what step upon the scale of Value this color falls. This numeral is written above a line, as B 6/ for example, by which we mean that this particular blue, regardless of its other qualities, is as light or as dark as the 6th step upon the scale of Value. A color such as is commonly called "maroon" is an example of a red which is low in Value, because it is dark. What is called "pink" is a red which is high in Value because it is light. Now having familiarized ourselves with these two dimensions and understanding what qualities of a color they express, we may proceed to consider the

third dimension. Without this third dimension our description of any given color is incomplete.

FOOTNOTES: *This instrument is described in Albert Munsell's book, "A Color Notation." Munsell Color Co., Boston, 1919, p. 38.

Munsell Chroma
The Munsell Color System
When we have stated that the color is yellow or green or blue and that it is dark or light, we have indicated two of its important qualities its Hue and its Value, but by no means have we described EDITOR'S NOTE: it completely. We may say that an emerald is green and that it is light, but we can say that certain grapes are Color Chroma and Color green and also light. Yet there is a decided difference Saturation are not the between their respective colors if we place them side by same thing, although side. Both may be green and of the same Value of light, they are very close. but the emerald is strong in color and the grape is weak Chroma color is the in color or grayer. This difference is measured in the measurement of how dimension of Chroma. The scale of Value may be referred pure a Hue is in to in the convenient and easily understood term of a relationship to gray. vertical pole. The pole represents a neutral axis to all the Color Saturation is circle of Hues and in itself has no color, but is pure gray. simply the degree of Around this pole we may place our band representing the purity of a Hue. scale of Hue. Then if we imagine any one of these Hues on the circumference of the band to grow inward toward the gray pole in the center, growing grayer or weaker in color strength until it reaches this center pole and loses its color entirely, we have grasped the idea of the dimension known as Chroma. By dividing this into regular measured steps, we have a scale upon which the strength of color may be measured. This dimension of Chroma is written in a color formula by means of a numeral below a line. The numeral denotes the step upon the Chroma color scale at which it falls, thus /5, /8, /9, etc. All of the Hues may be measured on this dimension at right angles to the vertical pole and grading from gray, step by step away from the pole to greater and greater strength of color. Mr. Munsell, in his book "Color Notation," refers to "The Color Sphere." * This is a general form which enables us to consider color in an orderly fashion. Within this form all color can be balanced, as will be shown later. But in the actual measurement of pigment colors, such as we use in printing or painting, all Chroma color paths would not be of the same length nor would they all be fit within a sphere. Certain of them would extend to points outside of the sphere. Nor would all the Chroma color paths reach their greatest length at the equator of the sphere (the level of Middle Value). There are two reasons for this which are important to understand. First: By nature, colors differ in their Chroma strength, some being much more powerful than others. For example, The strongest red pigment used is twice as powerful as the strongest blue-green pigment and will require a correspondingly greater number of steps on a longer path to reach gray. The Chroma path of Red is the longest and extends far outside the sphere. It is 10

measured steps from the neutral pole.** Blue-Green is the shortest, being only five steps. The sphere is limited in size to this shortest axis for reasons which will appear when we take up the question of Balance or harmony of color. The second reason is: All colors do not reach their maximum Chroma Strength at the same level of Value. It can be readily understood, for example, that the strongest yellow pigment is by nature much lighter, or higher in Value, than the strongest blue pigment and, therefore, that the complete Chroma paths of these two colors will each touch the neutral pole at different levels. We have described each of the three dimensions by which any color may be measured ( Hue, Value and Chroma) and noted how each is written in a color formula.It only remains to put these separate notations together and to write a complete color formula encompassing all three dimensions. For example, we are given a certain color to measure and define and we find that on the scale of Hue it is Red-Purple. When comparing it with the scale of Value, we find it is but three steps from the bottom and that it is only two steps away from the neutral gray pole on the scale of Chroma. A complete formula for this color would, therefore, be written R-P 3/2. It is scarcely necessary to point out the practical advantages of such a system of definite measurement and notation over the vague and variable terms in general use, which are borrowed from the vegetable and animal kingdoms, such as olive, plum, fawn, mouse, etc., of which no two people ever have quite the same idea. It is hoped that the foregoing explanation of the three dimensions of color has been sufficiently clear to convey to the reader a distinct mental image of what is meant by the terms Hue, Value and Chroma, in order that we may proceed to the study of certain principles of order for the intelligent and harmonious use of color (Complementary Colors, Balance and Color Combinations), which grow out of this simple and logical system of measurement.

FOOTNOTES: * This is the Chroma of vermillion in dry pigment form. Red printing inks are now made (Ed. Note: When this was written in 1921) which are considerably stronger than ten steps of Chroma color. ** The Munsell Color Sphere is a globe, the north pole of which represents white, the south pole black, and the axis made up of a sequence of grays extending from white to black. Around the equator is a band of Hues whose Value is 5/ and Chroma /5. Above the equator are bands of Hues of successively higher Value, while below it are bands of successively lower Value. Upon rotating the sphere each band of Hues turns to gray. (Condensed from "A Color Notation," Munsell Color Co., Boston, 1919, page 19.)

Hue, Value and Chroma Chart

This perspective diagram graphically illustrates the three dimensions of color used by the Munsell Color Chart for color measurement and notation.

The first dimension is HUE, measured on the band or equator shown in perspective as encircling the central pole. This is divided into ten equidistant Hues arranged in the order of the spectrum: Red, Yellow-Red, Yellow, Green-Yellow, Green, Blue-Green, Blue, Purple-Blue, Purple, Red-Purple. Five simple Hues and one compound Hue are printed in the diagram as they appear at these points. The other compound Hues are designated by letters only: G-Y, P-B, R-P, Y-R. In the second dimension of his color wheel, Munsell defines VALUE. It is measured on the central pole which is gray and neutral to all the Hues. This pole is divided into regular steps from dark to light. This dimension shows how light or dark a color may be. The third dimension on this Munsell Colour Wheel is CHROMA, measured on the paths (shown in perspective) running from the neutral pole out to the equator or beyond it. This dimension measures the weakness or strength of a color. The Chroma scales of RED and its opposite Hue, BLUE-GREEN, are shown here at middle Value, from neutral out to the maximum strength of each. It will be noted that RED is twice as strong as BLUE-GREEN. The Chroma paths of the other Hues are indicated in outline only. Each of these paths may be drawn from any other step on the Value scale. Yellow, for example, which is weak at middle Value, can only attain its maximum strength at a higher step. The dimension of Hue is expressed by a word or the initial letters of the word: GREEN, YELLOW-RED, etc., or G, Y-R, etc. The dimension of VALUE is expressed by the number of the step upon the Value scale, written over a line thus: 5/ The dimension of CHROMA is expressed by the number of the step on the Chroma scale, written below the line thus: /5 For example, the color at the extreme right of the diagram is Red, Value 5, Chroma 10 and is expressed as: R 5/10

Complementary Colors
The Munsell Color System

The above diagram, displaying a circle of the 10 regular Hues arranged in the immutable order imposed by the spectrum, reading clockwise beginning with Red at the

top, will serve, with little explanation, to illustrate what is meant by "opposite," or the more familiar term "complementary," colors. The term opposite is the preferred term in the Munsell Color System because it is simple and self-explanatory, as can be seen by reference to the above diagram, where each Hue on the circle will be found directly opposite another Hue. Thus a straight line drawn from Red on the circle of Hues through the neutral pole will pass through Blue-Green, its opposite or complementary color. A line from Yellow through the neutral pole will pass through Purple-Blue and so on throughout the whole circle. It should be noted that each of the simple Hues (Red, Purple, Blue, Green and Yellow) falls opposite a compound Hue (Blue-Green, GreenYellow, Yellow-Red, etc.). Now two colors which are opposite to each other are not only farthest apart upon the diagram, but are in actual use the most strongly contrasting. It does not matter at which point we draw the line, whether it is from one of the regular Hues or from a point between two regular Hues, if it passes through the center, it will fall upon the Hue or intermediary Hue which is its strongest contrast. This may be easier to visualize if we imagine the spindle indicated on the diagram as pivoted on the neutral pole and movable to any point on the circle. It may be asked how it is determined that these colors which fall opposite to one another on the scale of Hue, are, in fact, the most strongly contrasting colors. The answer to this question will serve to demonstrate the logical foundation of the Munsell Color System. When any two colors are truly opposite (at the point of strongest contrast), their admixture* will produce a perfectly neutral gray. Though this may be accepted as indisputable, it can be easily proven with scientific accuracy by arranging two opposite colors on a disc in proportions relative to the Chroma strength of each and revolving them with such rapidity that we cannot see them separately and they become mixed. If they are truly opposite, they will unite in a perfect gray. Therefore, working back from this fact, the scale of Hue has been so composed that those colors which when mixed with each other do actually make gray, are placed directly opposite on a line running through the neutral gray pole. Another question which may arise is - what will take place if we draw a straight line between two Hues which are not opposites and what would be the result of the admixture of them? This can best be answered by the diagram below, where three different lines have been drawn, none of them going through the neutral center. These lines, it will be seen at once, cross points which are not neutral, but are nearer to one or another of the Hues lying between the ones from which the lines are drawn. The result of the admixture obtained is seen in the diagram. This will be sufficient to further demonstrate the simplicity and logic of the Munsell Color System and to suggest to the reader other interesting examples of it. FOOTNOTE: * Using Maxwell discs.

Color Balance
The Munsell Color System
In describing the dimension known as Chroma, we noted the fact that certain of the Hues were much more powerful than others, in this regard, and were represented by lines or paths extending beyond the others and outside of the sphere. We found that Red, for example, on any step of Value is more powerful and requires a longer path than its opposite, complementary, Blue-Green. Yellow, on the other hand, is longer than its opposite, complementary, Purple-Blue, on the high steps of Value, but shorter on the lower steps of Value. This brings us naturally to the question of Balance of Color, the vital question in all practical applications of color. Now if we mixed equal parts of Red at

its maximum Chroma with its opposite, Blue-Green, at its maximum, we would not get a perfectly neutral gray, but one in which the Red was decidedly predominate. It would be somewhat like a tug-of-war in which there were 10 men on one side, each representing a step of Chroma, and only 5 on the other. The resulting color would be pulled well over to the Red side, because, as already stated, Red at its maximum Chroma is so much stronger than Blue-Green at its maximum Chroma. If, however, instead of taking equal amounts of the two colors, we took what would correspond to an equal number of steps upon the scale of Chroma, we would find that they do balance and produce a perfectly neutral gray, in which neither the one Hue nor the other predominates. Let us glance for a moment at the above two diagrams, in which a bar represents the line of Red and Blue-Green, with 5 steps of Chroma for Blue-Green and 10 steps of Chroma for Red, as is the case at middle Value for these two Hues. The bar rests upon a fulcrum at the neutral point and it obviously will not balance, but will fall to the Red side, as in Figure 1. But if we were to cut off steps 6, 7, 8, 9 and 10 from the Red side of the bar, it would balance upon the neutral gray, as in Figure 2. This will likely strike the reader as so simple and obvious that it scarcely merits explanation; but it is just this simplicity which is characteristic of the Munsell Color System throughout, if approached from the same point of view. This, too, explains why the diameter of our Color Sphere is limited to the shortest Chroma path (5) at Middle Value. It is apparent that within a sphere thus limited, all opposite colors will balance because, since they are all of equal length at each level of Value, no Chroma path can be longer than another or outbalance it. By using this system, two opposite colors will be balanced by using only equal Chroma steps of each color on the same level of Value, that G 5/3 will balance R-P 5/3 and R 5/5 will balance B-G 5/5 and so on throughout all of the Hues. But in practice we may wish to employ a weak Chroma of one Hue with a strong Chroma of its opposite. In this case we cannot simply chop off the excess strength of color on one end of the line, but must attain the desired Balance by another means. If our purpose is merely to make a perfect gray, we would use a greater amount of the weaker color. But if we want to produce a balanced or harmonious color design, we would use a larger area of the weaker color than of the stronger. If we do this in correct proportions, relative to the strength of Chroma in each of the colors, we will achieve Balance. We may prove that we have achieved Balance by the fact that everything in our design, thus apportioned as to area and strength of Chroma, if mixed together, * would produce a perfect gray. Let us suppose, for example, that in our design we want to use the maximum of Red and Blue-Green at Middle Value. Since we are speaking of Balance, a pair of scales is an apt figure with which to illustrate the point. We will put five blocks of Red 5/10, its maximum Chroma, into the pan on one side. In order to balance this we must put ten blocks of the strongest Blue-Green, which is only 5/5, into the other pan. Thus we find that, in order to balance two colors with unequal Chroma but with the same Value, we use a larger area of the weaker Chroma with a lesser area of the stronger. The proportions are simply in inverse ratio to the strength of Chroma of each. That is, we use ten parts of Blue-Green at /5 Chroma with five parts of Red at /10 Chroma, or let us say six parts of Yellow-Red 3/4 with four parts of Blue 3/6, etc. Thus far we have considered only Balance of opposite Hues on the same level of Value; but more often than not we will want to print a design in colors which are not only different in Chroma strength but also on different levels of Value. This difference of Value will also affect the question of Balance and of the amount of area which each color should occupy in order to attain it. Let us assume that we wish to print a design in

Yellow of a high Value and strong Chroma, say Y 7/9, with its opposite, Purple-Blue, at low Value and weak Chroma, say P-B 3/4. The path formed by a line drawn between these colors, passing through the neutral pole would not be horizontal, since they are at different levels of Value, but would appear as in this diagram. To arrive at a perfectly balanced color design, we now have to take the Value into account in determining the amount of area of each of these two colors to be used. This is done by the simple process of multiplying the Chroma by the Value of each of the colors. Multiplying the Chroma by the Value of Yellow 7/9, 7x9 = 63, and doing the same with Purple-Blue 3/4, 3x4=12, we get these two products 63 and 12. These are applied inversely, as in the former case. We would use 63 parts of Purple-Blue 3/4 with 12 parts of Yellow 7/9. The conclusion is that the stronger Chroma and higher Value should occupy the lesser area and the weaker Chroma and lower Value should occupy the greater area. It is not to be assumed that in printing a complicated color design the areas could all be measured and made to conform strictly to this law; or that the effect would necessarily be inharmonious if they did not. This is merely a guiding principle or ideal point at which we may aim in the actual printing of a color design. If we had such a design to print in two colors, for example, and one of the blocks from which we were to print it occupied what we would estimate by eye to be about twice as much surface or area as the other block, it would be a simple matter to choose colors to which would work. We might use Purple 4/6 for the larger area and Green-Yellow 6/8 for the smaller. Or we could use Blue 2/3 for the larger and Yellow-Red 3/4 for the smaller, or any other colors which would give us a proportion approximating that of the difference between the areas of our design. Circumstances will often not permit a strict adherence to the proportions indicated by this formula; but it will rarely, if ever, be impossible to follow the general principle of printing the larger area in the lower Value and weaker Chroma and the smaller area in the higher Value and stronger Chroma. For purposes of illustration we have considered only designs in two colors; but, obviously, the same rule would apply to three or any other number of colors. FOOTNOTE: *On Maxwell discs.

Color Combinations
The Munsell Color System
If in the foregoing discussion we have touched upon the combining of colors in use, it has been only by way of explanation of some point in the laws of Measurement and Balance. I it is hoped that no impression has been given that the color combinations possible within the range of the Munsell Color System are limited to the examples which have thus far been mentioned. This is so far from being the case that any attempt to cover the subject of color combinations possible with this System would be quite futile within the limited scope of this article. A orderly and logical system will, in fact, offer a greater range of possibilities for the combination of color than could be discovered at random. We must, therefore, be content to mention here only a few of the directions or paths which offer harmonious color combinations, trusting that the reader may be sufficiently interested by these to seek other possibilities of his or her own accord.

In considering the use of two colors together, we have usually used those having opposite Hues, because that is the clearest example with which to explain the idea of Balance. This combination of opposites is one of the simplest and surest means of producing color harmonies. We have seen how, if properly proportioned as to amount or area, these opposite colors will balance in perfect neutrality. But another interesting fact is that when placed together these contrasting colors tend to stimulate and enhance each other. Another very simple and practically infallible series of color harmonies may be made within a single Hue. We may combine a low Value of any Hue with a high Value of the same; or a weak Chroma of any Hue with a stronger Chroma of the same. A more interesting combination within a single Hue is that of a low Value and weak Chroma with a high Value and stronger Chroma or vice versa. This suggests variations in the application of the rule, such as are indicated in the smaller perspectives above, where the elliptical path is shown tilted to different levels of Value. *EDITOR'S NOTE: The above is the result of Mr. F. G. Cooper's research study on the Munsell Color System. A correction was made after this book went into print. The original printing said "We may avoid this danger in the selection of our colors between these opposites by choosing steps of Chroma for them which shall be nearer to the neutral pole and approach to within, perhaps, three steps of it." This should have said, "to within, perhaps, two steps of it." The diagram is incorrect. The short axis of the ellipse should extend only two steps instead of three. A further study of Color thus arranged in measurable order will certainly be rewarded by the discovery of many interesting possibilities which we have failed to note here. The subject is endless and unless this article is to be likewise endless, the few suggestions which it offers must suffice. The deeper we penetrate this always fascinating subject, the more clearly we shall see that "Color Harmony" is only another term for color order and that order will yield order. Any path in the Color Sphere, and some paths outside it, which are themselves orderly in form and interval, will lead through a series of colors which are in accord and when used together will render the agreeable sensation which we seek in all color relations. Editor's Note: Now that you've finished reading this interesting book, if you are ready to experiment with colors, try this full featured Color Wheel.

Appendix - Page 1
The Munsell Color System

It is natural for the reader of this pamphlet to believe that a color system of such relative accuracy and precision as the foregoing is too difficult for application to the color problems of daily life. This feeling, however, is wholly the result of the rudimentary condition of color knowledge. The system and its application are intrinsically simple. If the beginner simply strives for relative accuracy, he will attain quite pleasing results. For such preliminary study it may be helpful to keep in mind the following few suggestions.

1. HUE. Use as few Hues as possible. A single Hue properly used is very effective. If two or more Hues are employed, choose either opposite or closely neighboring Hues. 2. VALUE. Use a high Value with a low Value. Generally one part of high Value will balance three or four parts of low Value. 3. CHROMA. Use a strong Chroma with a weak Chroma. One part of a strong Chroma will balance a number of parts of a weaker Chroma. (Caution: Avoid the overuse of very strong Chromas.) 4. AREA.* Area is inversely proportional to the product of Value times Chroma.** For instance, let W equal one color and Z equal another color. 5. COLOR HARMONY. Harmony is attained when any three of the foregoing rules are followed. Thus it is permissible to use Hues which do not absolutely balance in Gray, provided, however, that the laws of Value, Chroma and Area are obeyed. On the other hand, the law of Chroma may be partially disregarded as long as those of Hue, Value and Area are adhered to.

Appendix - Page 3
The Munsell Color System REVISION OF HUE NOMENCLATURE
It has been found advisable to revise the hue nomenclature explained on the page which discussed Hue so that the hue circle consists of 100 steps as indicated below: The 10 principal hues, then, are expressed: 5R, 5YR, 5Y, 5GY, 5G, 5BG, 5B, 5PB, 5P, 5RP. The steps between 5RP AND 5YR (from extreme right of the diagram to left) read 6RP, 7RP, 8RP, 9RP, 10RP, 1R, 2R, 3R, 4R, 5R, 6R, 7R, 8R, 9R, 10R, 1YR, 2YR, 3YR, 4YR. The following adaptation of the above is suggested for advanced applications of the Munsell Color System to practical problems: The 10 principal hues now read 5R, 15YR, 25Y, 35GY, 45G, 55BG, 65B, 75PB, 85P, 95RP. The steps falling between 95RP and 15YR are indicated as follows (from extreme right of diagram to left): 96RP, 97RP, 98RP, 99RP, 100RP, 1R, 2R, 3R, 4R, 5R, 6R, 7R, 8R, 9R, 10R, 11YR, 12YR, 13YR, 14YR.