10. The Aesthetic Instinct

Lacking the guidance of definite rules and regulations for color har­mony, the artist must rely to a con­siderable extent on what we rather loosely term the aesthetic instinct or the "eye." This vague, subcon­scious power helps him in many ways. Strangely, he can often depend on it more than on his conscious judgment. Although it varies greatly in different individuals, it is present to a marked degree in most of us who feel an interest in painting (possibly it is a cause of that interest), and, even among those who seem to lack it most, it can be cultivated.

The comparatively undeveloped in­stinct of the novice is frequently of far more use to him than many of the rules and regulations which he consciously acquires. Although the author would be the last to belittle the valuable things which the student can be taught, he feels it would be unwise indeed to put this knowledge wholly above instinot. In selecting color schemes, for example, he should place great reliance on this power, choosing the colors which his "eye" tells him are right.

When it comes to painting, let him fearlessly apply his color; his advance will be faster and more substantial than if he weighs every move and so proceeds too conservatively. Once he has a number of colors on his paper or canvas, he will usually recog­nize those which are discordant or unpleasant. He may not know the why of the discordance (although it would be well for him to try to an­alyze it), but if he senses discord, he can change or remove the offending pigments.

Even the professional artist relies to a surprising degree on this sub­conscious sense, applying hue after hue more or less intuitively. If any­thing chromatically offensive devel­ops, his intuition gives warning and he makes the necessary changes be­fore going on. This bold method of working, with reliance on instinct or "the eye," strengthens that instinct. In fact, it seems that anything which one does to further his knowledge of color or his appreciation of it reacts in this advantageous manner.

We have spoken of the value to be derived from investigation of the laws of color science; an understand­ing of color can also be broadened through a study of nature. For na­ture, although not all perfection, as some writers would have us believe, is a never-failing source of color harmonies and so always of interest to the painter. The student should early acquire the habit of sketching from nature and of studying her ever-changing hues with the thought in mind of their interpretation in pig­ment form. It is a splendid practice to carry a little white cardboard with a rectangular opening in the center (perhaps an inch and a half by two inches in size), holding it upright, as a finder, peeking through it with one eye closed, selecting pleasing "pic­tures" much as is done with the viewfinder of a camera. By comparing visible hues with the white of the card, it is easy, after a bit of practice, to estimate what pigments would be necessary for their representation.

Works of art are also splendid illustrations of color harmony, as Walter Sargent points out in his excellent book, The Enjoyment and Use of Color (unfortunately now out of print but still available in many libraries). Familiarity with works of art, according to Sargent, "educates our eyes as good music does our ears, and develops our discrimination and enjoyment beyond what can be gained in any other way. Works of art show us in perfected form what we are striving to attain in our ex­periments with color, and thus give a new meaning to our more-or-less crude results. The combinations of color in nature are often more beauti­ful but are complicated with other interests, and the harmonies, al­though highly suggestive, are seldom set forth as clearly as in art."

We should, in fact, look for color schemes everywhere, not only in nature and in works of art, but in everything we see that depends on color — rugs, wallpapers, upholstery fabrics and home interiors; advertise­ments, book jackets, magazine illus­trations; window displays, stage settings and costumes; women's fashions; the possibilities are endless. It is even a good idea, especially for the student painter who is not yet sure of his own color judgment, to make notes or color sketches of attractive color schemes (no matter where he sees them) with the idea of adapting them for use in some future painting. By thus training him­self to look for color schemes, he will gradually become aware of the many factors that can create discords and the subtle balance that is usually needed to make a complicated scheme harmonious. It is then just a step to creating successful schemes of his own.

If the reader, having faithfully per­formed the exercises set forth in this book for his guidance, now finds himself perhaps more confused than when he began, let him not be dis­mayed. Such a feeling is quite normal at this point. Color is a fascinating subject, but a most confusing one, and we have barely touched on many aspects of it. The more one learns about color, the more he comes to realize how little he knows. For the scientist, there are endless unan­swered questions to be investigated, but for the artist, in the long run, there is only one: How can he use color to create a work of art? No theory of color vision or color measurement or color harmony can give him the answer to that question. Only his own talent, strengthened and devel­oped by training and experience, can help him perhaps to find it some­day. It is our hope and belief that the experience gained in performing the exercises suggested here will prove valuable in this direction.

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