Page:A color notation (Munsell).djvu/85

 to bring before the eye their maximum chromas, most of which are well outside the spherical shell and at various levels of value. One way to describe the color sphere is to suggest that a color tree, the intervals between whose irregular branches are filled with appropriate color, can be placed in a turning lathe and turned down until the color maxima are removed, thus producing a color solid no larger than the chroma of its weakest pigment. (See illustration facing page 32.)

(125) Thus it becomes evident that, while the color sphere is a valuable help to the child in conceiving color relations, in uniting the three scales of color measure, and in furnishing with its mount an excellent test of the theory of color balance, yet it is always restricted to the chroma of its weakest color, the surplus chromas of all other colors being thought of as enormous moun- tams built out at various levels to reach the maxima of our pigments.

(126) The complete color solid is, therefore, of irregular shape, with mountains and valleys, corresponding to the inequalities of pigments. To display these inequalities to the eye, we must prepare cross sections or charts of the solid, some horizontal, some vertical, and others oblique.

(127) Such a set of charts forms an atlas of the color solid, enabling one to see any color in its relation to all other colors, and name it by its degree of hue, value, and chroma. Fig. 20 is a horizontal chart of all colors which present middle value (5), and describes by an uneven contour the chroma of every hue at this level. The dotted fifth circle is the equator of the color sphere, whose principal hues, $R 5⁄5$, $Y 5⁄5$, $G 5⁄5$, $B 5⁄5$, and $P 5⁄5$, form the chromatic tuning fork, paragraph 117.