{"schema":"record/v1","id":"art_01M5MT4J1SEDKGE1XEQR0111EW","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What does Munsell's Chapter VII give a designer to do about colour harmony (paths through the colour solid, area balance), and what does he say is still unproven?","summary":"Munsell rejects the musical analogy for colour harmony and the 'three parts yellow, five red, eight blue' formula, and says only that a measured, orderly relation underlies harmony. He gives three typical paths from any colour (vertical = value change, lateral = hue change, inward through grey to the opposite hue), says small areas of strong chroma balance large areas of weak chroma, and says collecting measured records of pleasing and disliked groups 'should discover some broad law'. He defines complements as points opposite through the centre of the solid and shows balance by Maxwell-disc area ratios; his appendix criticises Runge's and Chevreul's colour solids as distorted.","status":"active","body":{"text":"Munsell rejects the musical analogy for colour harmony and the 'three parts yellow, five red, eight blue' formula, and says only that a measured, orderly relation underlies harmony. He gives three typical paths from any colour (vertical = value change, lateral = hue change, inward through grey to the opposite hue), says small areas of strong chroma balance large areas of weak chroma, and says collecting measured records of pleasing and disliked groups 'should discover some broad law'. He defines complements as points opposite through the centre of the solid and shows balance by Maxwell-disc area ratios; his appendix criticises Runge's and Chevreul's colour solids as distorted.\n\nCurator qualifications: Verified. Wording: Munsell rejects colour-sound correspondence and borrowed musical terms, but praises music as a 'measured art' with defined intervals and wants colour to have the same kind of measured system. 'Rejects the musical analogy' should be narrowed accordingly. Narrow 'rejects the musical analogy for colour harmony' to: rejects sound-colour correspondence and vague musical terms, while holding up music's measured system as the model for a colour notation.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/26054/pg26054.txt","note":"Ch. VII (148)-(153); Ch. VII"}]},"categories":["T12","T17"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/cache/epub/26054/pg26054.txt","claim":"Munsell rejects the musical analogy for colour harmony and the 'three parts yellow, five red, eight blue' formula, and says only that a measured, orderly relation underlies harmony. He gives three typical paths from any colour (vertical = value change, lateral = hue change, inward through grey to the opposite hue), says small areas of strong chroma balance large areas of weak chroma, and says collecting measured records of pleasing and disliked groups 'should discover some broad law'. He defines complements as points opposite through the centre of the solid and shows balance by Maxwell-disc area ratios; his appendix criticises Runge's and Chevreul's colour solids as distorted.","locator":"Ch. VII (148)-(153); Ch. 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He gives three typical paths from any colour (vertical = value change, lateral = hue change, inward through grey to the opposite hue), says small areas of strong chroma balance large areas of weak chroma, and says collecting measured records of pleasing and disliked groups 'should discover some broad law'. He defines complements as points opposite through the centre of the solid and shows balance by Maxwell-disc area ratios; his appendix criticises Runge's and Chevreul's colour solids as distorted.\n\nCurator qualifications: Verified. Wording: Munsell rejects colour-sound correspondence and borrowed musical terms, but praises music as a 'measured art' with defined intervals and wants colour to have the same kind of measured system. 'Rejects the musical analogy' should be narrowed accordingly. Narrow 'rejects the musical analogy for colour harmony' to: rejects sound-colour correspondence and vague musical terms, while holding up music's measured system as the model for a colour notation.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/26054/pg26054.txt","note":"Ch. VII (148)-(153); Ch. VII"}]},"tags":[],"type":"article","links":[],"title":"What does Munsell's Chapter VII give a designer to do about colour harmony (paths through the colour solid, area balance), and what does he say is still unproven?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Munsell rejects the musical analogy for colour harmony and the 'three parts yellow, five red, eight blue' formula, and says only that a measured, orderly relation underlies harmony. He gives three typical paths from any colour (vertical = value change, lateral = hue change, inward through grey to the opposite hue), says small areas of strong chroma balance large areas of weak chroma, and says collecting measured records of pleasing and disliked groups 'should discover some broad law'. He defines complements as points opposite through the centre of the solid and shows balance by Maxwell-disc area ratios; his appendix criticises Runge's and Chevreul's colour solids as distorted.","evidence":{"claims":[{"url":"https://www.gutenberg.org/cache/epub/26054/pg26054.txt","claim":"Munsell rejects the musical analogy for colour harmony and the 'three parts yellow, five red, eight blue' formula, and says only that a measured, orderly relation underlies harmony. He gives three typical paths from any colour (vertical = value change, lateral = hue change, inward through grey to the opposite hue), says small areas of strong chroma balance large areas of weak chroma, and says collecting measured records of pleasing and disliked groups 'should discover some broad law'. He defines complements as points opposite through the centre of the solid and shows balance by Maxwell-disc area ratios; his appendix criticises Runge's and Chevreul's colour solids as distorted.","locator":"Ch. 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