Anime & Manga Digital Coloring Guide: Choose The Colors That Bring Your Drawings To Life! (With Over 1000 Color Combinations) Teruko Sakurai

Anime & Manga Digital Coloring Guide:
Choose the Colors That Bring Your

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Combinations) Teruko Sakurai
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Choose the Colors That Bring Your Drawings to Life!
Teruko Sakurai
1
&217(176
Why I Wrote This Book 7
CHAPTER
2
(\HDQG+DLU&RORUV7KDW
How to Use This Book 9
&UHDWHD&KDUDFWHUĹV,PDJH
COLOR PSYCHOLOGY FOR COLORING
CHARACTERS (PART ONE)
CHAPTER
1
&RORU%DVLFV
Hair Color’s Role in Conveying
Personality and Image
28
FOR PEOPLE WHO DRAW Red Hues 30
What Types of Colors Are There? 12

Orange Hues 34
Image Is Determined by Tone 14
Create the Right Ambiance with Tone 18
Consider a Character’s Palette with a Color Wheel 20
Yellow Hues (Including Gold) 38

Color Combination Techniques: A Closer Look 01 24
ASK THE EXPERTS 1 Q & A #1:

Problems with Applying Color 25
Green Hues 42
Blue-Green Hues 46
Blue Hues 50
CHAPTER
3
7KH1HZ6FLHQFHRI&RORU
FOR PEOPLE WHO DRAW
Violet and Purple Hues 54

The Power of Primary Colors 82
What Are Warm, Cold and Neutral Colors? 84
Background Colors and Contrast Effects 86

Pink Hues 58
The Relationship Between Characters and
Background Hues and Tones 88
Color Combinations That Affect Character 90
Impressions Made by Light and Color

Brown Hues 62 Combinations 92
How to Distribute Colors:

Useful for Page Design & Layouts! 96
How Colors Are Perceived: Adjusting the

White Hues 66 Impressions Colors Make 98
The Mystery of Color Assimilation:

Colors Mixed in Front of Your Eyes? 102
Tricks Using Color Effects 104

Gray Hues (Including Silver) 70 A Useful Catalog of Gradients 108
World Views Expressed with Color: Seasons,

Time, Places, Flavors 112
Color Combination Techniques: A Closer Look 03

Black Hues 74
Color Combination Techniques: A Closer Look 02

3
CHAPTER
4
+RZ&RORUV&RPPXQLFDWH(PRWLRQV
COLOR PSYCHOLOGY FOR COLORING CHARACTERS (PART TWO)
How Colors Communicate Emotions 122
Love 124 Surprise 132 Fear 138
Affection 126 Anger 134 Worry 140
Fun 128 Sadness 136 Fatigue 142
Joy 130
Color Combination Techniques: A Closer Look 04 144

CHAPTER
5
:RUOG9LHZV&UHDWHG7KURXJK&RORU
PRACTICE CATALOG
How to Use This Section 148 Seasonal Scenes and Palettes 149
Easter (Springtime) 150 Fishing for Water Balloons at a Summer Festival 154 Halloween Night 158
Cherry Blossom Season 151 The Beach Resort of One’s Dreams 155 A Potluck Party 159
Staying Home on a Rainy Day 152 Shining Gingko Trees Lining a Road 156 A Snowy Quiet Forest 160
An Afternoon After the Rain 153 Idol School Festival 157 Traditional Festive Kimonos 161
Color Conceptions Around the World 162

Fantasy and Futuristic Palettes 163
A Sacred Heaven 164 &<FXYJQFSI'FYYQJ‫ܪ‬JQI 170 An Ancient Japanese Picture Scroll 176
Hell and Demons 165 A Psychedelic World 171 Early Modern Japanese Retro 177
A Forest Inhabited by Fairies 166 A Dreamy Wonderland 172

ASK THE EXPERTS 5
Q & A #5:
PCCS Color List 180

The Mansion of a Medieval Witch 167 A Romantic Space Trip 173
Glossary of Color Terms 185
Introducing the Illustrators 189
A Training Center for Gladiators 168 An Ancient Crystal Palace 174

The PCCS（Practical Color Coordinate
System) images used in this book are
based on the data provided by the Japan
Color Research Institute, but they are not
accurate according to standard values.
To refer to the standard colors of the

A Magic University City in the Near Future 169 A Dystopia in the Near Future 175
PCCS, please refer to the “New Color
Cards 199” or the “PCCS Harmonic
Color Chart 201-L”, issued by the Japan
Color Research Institute. (Website of the
Japan Color Research Institute: http:/
www.sikiken.co.jp).
6
:K\,:URWH7KLV%RRN
“Although my line art looks good, once I add color, that’s when the illustration
starts to falter.” “My color sense is disastrous, and I want to do something about
it.” “I always use the same colors, it’s monotonous.” Does this sound like you? No
worries, these issues can all be solved, not with coloring technique, but with a
knowledge of color schemes! This book offers a revolutionary way to acquire and
apply an understanding of color schemes for manga and anime characters.
9MNXGTTPMFXGJJSIJXNLSJIXTYMFY^TZHFSQJFKYMWTZLMNYFXNK^TZѣWJ‫ܫ‬NUUNSL
through a color tone sample book. Or use it as an encyclopedic guide, studying
YMJJKKJHYXFSINS‫ܫ‬ZJSHJTKYTSJUFQJYYJMZJFSIXFYZWFYNTS
The comments quoted in the introductory paragraph all came from you: artists
J]UWJXXNSLYMJNWINK‫ܪ‬HZQYNJXXYWZLLQJXFSIKWZXYWFYNTSXTSXTHNFQRJINF9MNXNX
why I wanted to create a book that would teach you about color theory in a fun
and easy-to-understand way.
7
I started by interviewing the veteran instructors in the manga and animation
departments of specialized schools. The instructors are also professionals who
\TWPNSYMJ‫ܪ‬JQIXTYMJXYTWNJXYMJ^XMFWJI\NYMRJFWJYMJJXXJSHJTKYMNXGTTP
A knowledge of color is useless if it is just knowledge. I believe that by using that

PST\QJILJNS^TZWJ[TQ[NSLNQQZXYWFYNTSX^TZXJJYMJFUUQNHFYNTSXFY\TWPNS^TZW
T\SHMTNHJXFSIUWTHJXX&XQTSLFX^TZMF[JF‫ܪ‬WRLWFXUTKYMJGFXNHX^TZѣQQ
be able to freely create a world of your own. If you have this book on hand and
ZXJNYFXFLZNIJ\MJS^TZѣWJHTQTWNSL^TZWHMFWFHYJWXRÛWTIZHYNTSFSIYJFR
FSI.HTZQISѣYGJMFUUNJW
—Teruko Sakurai
8
+RZWR8VH7KLV%RRN
It’s time to color your creative world, putting color theory into practice and
applying color to your characters. With so many examples and color swatches
included, even those new to coloration and painting techniques will be
able to apply attractive tones to their characters right away.
CHAPTER 2
02
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You’ll learn the relationships between the colors that
determine the impressions the characters make, such
as hair and eye color, and their relationship with back-
C0 M80 Y36 K50
R147 G46 B68 This is a dark red like red wine. A color
#932E44
that gives a Western atmosphere, or a
The qualities and emotions associated with red are joyous,
mature impression, it’s recommended for
passionate, glad and strong. The keyword I’ve chosen is passion. use on characters with both passion in
ground colors. You’ll be able to create the characters

Use it with robust characters that are always emitting a lot of their hearts and cool decisiveness.
energy, or ones that are strong willed and energetic.
WINE RED CAN BE USED FOR
CHARACTERS LIKE THESE!
and world view that you envision.

Red has the longest wavelength,
Has a hidden passion
POSITIVE
so it’s the color that stands out

the most on its own! More mature than their actual age
Reliable
keyword 3DVVLRQ .S‫ܫ‬J]NGQJ

NEGATIVE
POSITIVE
Does not listen to the opinions of others

Has a cold side
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This is a red with purple jewel tones like a
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This is a bright red that is dyed with the R215 G0 B58
#D12E59
cochineal, an insect native to Central and
#D7003A ruby. It is a color that attracts people, so
South America. It is strong enough to be use it when you want to depict a charis-
called the red among reds, so it’s perfect matic character. It is effective when just
for giving an active impression. used as an eye color too.
RUBY RED CAN BE USED FOR Red Hues 7 8 9

6 10
CARMINE CAN BE USED FOR CHARACTERS LIKE THESE!
CHARACTERS LIKE THESE! C A SE STUDY 1 5 11
Congenial
POSITIVE
A character that stands out

([DPSOHVRI+DLUDQG(\H&RORU&RPELQDWLRQV 4 12
POSITIVE
Has a special presence

A character with combative spirit
Draws people to them
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Is easily swayed by emotion 5HG+XH (\H&RORURI

NEGATIVE
1 15
POSITIVE
Aggressive and stubborn

NEGATIVE
Their emotions are shown quickly

POSITIVE
Forcibly decides matters in their actions

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23 17
Easily angered 8JQ‫ܪ‬XM ,QWHOOLJHQFHWKDW6KLQHV 22 18
7KURXJK*HQWOHQHVV 21 20 19
30 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE Red Hues 31 C A SE STUDY 1
C A SE STUDY 31 C A SE STUDY 21
6WURQJ:LOOHGDQG Coral pink-hued hair with green eyes can be used
$JJUHVVLYH3HUVRQDOLW\ for characters that seem to be easy-going but in
reality are quite mature. The standout character-
C A SE STUDY 1 istic here is the impression of a personality that
Bright red hair, which would stand out anywhere, b2 d14 protects those around them with wisdom and a
combined with dark eyes indicates a passionate strong- maternal nature.
willed character. This combination is recommended for
characters who have an aggressive, rough side because EXAMPLE &SJFX^LTNSL^JYRFYZWJUWJXJSHJ
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A charismatic personality is expressed with purplish
WKHVFHQHDQGWKHHPRWLRQ Pink hair with strong wine red eyes. This combina-
tion can be used for characters who are cute yet
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them by expressing all of their emotions openly.
v24 dp16
red-hued hair and blue-green eyes. This combination
is perfect for a hero who sticks to their intentions.
sf2 v1
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Use accent colors that suggest or hint at the
reason for the shock or sorrow.
6HULRXVEXW)UHH6SLULWHG
Base Color Accent Color
Sadness wears many faces. The right color scheme brings clarity and precision to the (or Subordinate Colors) (or Subordinate Colors) 6WURQJ:LOODQG6WULFWQHVV C A SE STUDY 3
moody moments and gray states you’re summoning in your illustrations. C87 M50 Y25 K70
R0 G44 B70
C A SE STUDY 3 Reddish brown hair and yellow-green eyes. Use
#002C46 this combination for unique characters who have
C10 M60 Y0 K35 This is a combination that uses a hue with high satu-
R167 G96 B135 a hidden passion into research, yet on occasion
ration for the hair and one with low saturation for the
C100 M40 Y35 K15 #A76087 show a free-spirited wild side.
R0 G106 B135 eyes. This is perfect for a character who is spirited and
dk2 v11
IMAGE KEYWORDS
KEY POINTS FOR THESE COLOR SCHEMES! #006A87 reliable with a strong will and sense of responsibility,
C17 M83 Y0 K35 dp2 g2 but occasionally shows a cold, emotionless side.
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[Melancholy] [Loneliness] Gray and blue hues are mainly used for the nuances #5E7986
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of this emotion. Think of brightness as an indica- EXAMPLE &SNSXYWZHYTW\MTMFXFXJSXJTKWJXUTSXNGNQNY^FX\JQQFXHTTQSJW[J ※For the data on each color, please refer to the PCCS list on pages 180–184.
[Disappointment] [Depressed] tion of the intensity of the situation; the darker the C85 M47 Y50 K17
[Despondent] [Discouraged] image the deeper the sadness. This applies to other C0 M20 Y3 K10
R21 G102 B109
R234 G206 B215
32 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE Red Hues 33
emotions too, but for sadness the color of the skin #15666D
[Despair] [Gloom]
#EACED7
is important. If the character is in a lethargic state,
it’s effective to use a colorless, muddy skin color.
This color scheme is based on dark blues, which express
a deep sorrow. Red, which brings to mind an incident or
accident, is also included.
CHAPTER 5 CHAPTER 5
19 20
A DESOLATE WORLD AND A VIRTUAL WORLD A DESOLATE WORLD AND A VIRTUAL WORLD
C A SE STU DY 1 3DLQIXO0HODQFKRO\ CASE STUDY 3 'LVDSSRLQWPHQWDQG
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The emotion of empty sadness is expressed A moody mind shrouded in darkness is
with low-saturation blue-grays. expressed by contrasting monochromatic
white and black.
Base Color Accent Color Base Color Accent Color
(or Subordinate Colors) (or Subordinate Colors) (or Subordinate Colors) (or Subordinate Colors)
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#CDE4F2 #30363A
C35 M20 Y0 K30 C35 M13 Y5 K10

C0 M10 Y3 K0 R164 G190 B213 C5 M13 Y17 K0
R138 G152 B180
R253 G238 B241 R243 G227 B212
#8A98B4 #A4BED5
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Use monochromatic white and black to express the depth

Use dark blue-gray or navy for a color scheme that is centered of the darkness. This is a dark scene where the future
on blue-grays. cannot be contemplated.
136 HOW COLORS COMMUNICATE EMOTIONS Sadness 137
C0 M65 Y100 K87 C30 M25 Y30 K0 C0 M55 Y53 K45 C0 M0 Y20 K75 C0 M85 Y80 K20 C75 M37 Y0 K0 C70 M17 Y65 K0 C40 M70 Y0 K0
R67 G16 B0 #431000 R189 G185 B174 #BDB9AE R161 G94 B70 #A15E46 R102 G99 B85 #666355 R202 G60 B40 #CA3C28 R55 G135 B200 #3787C8 R77 G161 B115 #4DA173 R166 G97 B164 #A661A4
R58 G72 B23 #3A4817 R176 G176 B184 #B0B0B8 R78 G103 B136 #4E6788 R93 G113 B123 #5D717B R248 G230 B0 #F8E600 R0 G160 B233 #00A0E9 R156 G202 B77 #9CCA4D R181 G0 B101 #B50065
R15 G10 B0 #0F0A00 R104 G103 B103 #686767 R233 G229 B216 #E9E5D8 R238 G243 B247 #EEF3F7 R227 G206 B194 #E3CEC2 R224 G187 B203 #E0BBCB R255 G255 B255 #FFFFFF R34 G24 B21 #221815
&UHDWHDZRUOGYLHZZLWKFRORU Keys to This Color Scheme!

A desolate windswept wasteland is suggested with an
“earthy” color palette. Earthen hues centered on brown
bring to mind the color of soil or sand and include variations
p+
lt+
v
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Keys to This Color Scheme!

The color palette uses psychedelic colors to create an
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popular in the latter half of the 1960s and combines vivid,
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such as khaki and olive. This group includes a lot of similar dp XYNRZQFYNSLFSI‫ܫ‬ZTWJXHJSYHTQTWX2FPJKWJJZXJTKUZW- dp
HTQTWXXTYMJPJ^YTZXNSLYMJRXPNQQKZQQ^NXHWJFYNSLXNLSN‫ܪ‬- dk ples, garish yellow greens and electrifyingly shocking pinks dk
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170 WORLD VIEWS CREATED THROUGH COLOR Fantasy and Futuristic Palettes 171
9
2
I’ll explain the basics of color theory such as hue
and tone in an easy-to-grasp way. The more you
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The diagrams below show the color wheel (see page 20),
arranged by tones. This list forms the basis of the book.
6
8
10 6
8
10
How to look at the color wheel and
tone diagrams
b
The color
wheel
The name
The color groupings in this list are
based on the PCCS colors, and are
depicted with the “abbreviation for
the tone + the number inditating the
color.” For example, the b (Bright)
know about color, without a doubt the more fun it

BRIGHT
tone yellow is expressed as “b8.” The
of the tone
4 p+ 12 4
lt+ 12 (Bright)
Healthy • Cheerful
• Glamorous
Practical Color Coordinate System
(PCCS) is a discrete color space in-
PALE (pale) LIGHT (shallow) Keywords and dexed by hue and tone, developed by
2 Lightweight • Light 14 2 Translucent • Breezy 14 impressions the Japan Color Research Institute.
8
HIGH BRIGHTNESS
• Weak • Kind • Soft • Childish • Fun associated
will become to color your characters.

6 10 It is useful for thinking about color
W 24 • Cute 16 24 16 with this tone combinations. PCCS color data is
4 12 listed on page 180.
WHITE
22 18 22 18
b
20 20 BRIGHT (Bright)
2 Healthy • Cheerful 14
• Glamorous
8 8
6 10 6 10 24 16
4 12 4 12 22 18
ltg sf 20
ltGy 2
LIGHT GRAYISH
14 2
SOFT (soft)
14 7 8 9
LIGHT GRAY (light grayish) Calm • Unfocused 10
6
Calm • Cool • Quiet
Brightness = Vertical axis

8 5 11
24 16 24 16 6 10
MEDIUM BRIGHTNESS
4 12
22 18 22 18 4 12
20 20 s 3 v 13 This is the PCCS Tone Map, which
STRONG (Strong) VIVID (Vivid) is useful for thinking about color
2 14 2 Brilliant • Flashy • Lively 14
Active • Passionate combinations. On top are the bright
CHAPTER 1 8 8 • Conspicuous
mGy 6 10 6 10 • Insistent colors, on the bottom are the dark
:KDW7\SHVRI&RORUV +XHV$UH*URXSLQJVRI&KURPDWLF&RORUV 1 15
01
24 16 colors, on the right are the saturat-
MEDIUM
4 12 4 12 24 16 ed colors, and on the left are the
GRAY g d 22 18 desaturated quiet colors.
$UH7KHUH" Chromatic colors are grouped according to the type of color. These color types are called hues. 2 GRAYISH (grayish)
Muddy • Conservative
14 2 DULL (dull)
Subdued
14
20 23
22 18
17
21 20 19
RED GROUP YELLOW GROUP GREEN GROUP BLUE GROUP 24 16 24 16
We live surrounded by color. There’s nothing in this world that doesn’t have color. Let’s 8 Pale
6 10 Shallow
start by learning about the basic types, the groupings and hues that bring order to our 22 18 22 18 Light
Lightness
dkGy 20 20 4 12
prismatic existence. Weak Middle Strong
dp
LOW BRIGHTNESS
DARK GRAY
8 8 DEEP (Dark) Dark and deep
2 14
6 10 6 10 )JJUѬ+ZQ‫ܪ‬QQNSL Dark
• Traditional
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dkg dk
DARK (dark) Circle (Color Wheel)
White
DARK GRAYISH 22 18 Tint
2 14 2 Grown up • Durable 14 20
(Dark gray)
The many types of colors • Mature
Lightness
Bk Heavy • Stiff
that exist can largely be
Gray
Midtones
24 • Sombre 16 24 16
divided into two groups: 7KUHH)DFWRUVIRU'HVFULELQJ&RORU BLACK
chromatic colors and 22 18 22 18
Black
Shade
20 20
achromatic colors.
In color science, the items numbered 1 to 3 here are Saturation
called the three attributes of color. When actually ❹ Tone Brightness and NO SATURATION LOW SATURATION REGION MEDIUM SATURATION REGION HIGH CHROMA ZONE
coloring your illustrations, it’s convenient to think of (2) Saturation combined
brightness and (3) saturation together as (4) tone. High Saturation = Horizontal axis
❷ Brightness ❸ Saturation
(The vertical axis) (The horizontal axis) 16
1 COLOR BASICS Image Is Determined by Tone 17
CHROMATIC COLORS ACHROMATIC COLORS The brightness The saturation
([SODLQHGLQDQHDV\WRXQGHUVWDQGZD\ZLWK
of the color of the color
This points to all colors besides whites, grays and blacks. This points to whites, grays and blacks.
❶ Hue
The characteristics
Low High
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of the color, the tint Low
Hue is described in a circle as

shown here (see page 20). I’ll be
explaining tone on the next page.
If you can see even a little In between white, which is the
color, it is grouped as lightest achromatic color, and
chromatic color! black, which is the darkest, there
are various lightnesses of gray.
12 COLOR BASICS What Types of Colors Are There? 13
3
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#0068B7
minum oxide. It was a color beloved by the
Impressionist painters. This strong blue
can bring out an impression of one who is
I’ve included examples of effective color combinations with committed to a cause, and strives toward
their goals.
illustrations. Since these allow you to understand the effects COBALT BLUE CAN BE USED
FOR CHARACTERS LIKE THESE!
of color instinctively, you can choose the color combinations

POSITIVE
+FRNQNFW\NYMNSKTWRFYNTS
that you like.

Works toward their ideals
-NLMQ^NSKTWRJI
,JYXIT\SNKYMJÎTSѣYLJYWJXZQYX
NEGATIVE
POSITIVE
(T\FWIQ^FSIHFZYNTZX
C23 M30 Y0 K13 C0 M70 Y35 K10 C40 M0 Y30 K0 C15 M0 Y0 K25 )NXQNPJXNRRTWFQYMNSLX
R185 G168 B199 #B9A8C7 R221 G103 B115 #DD6773 R164 G214 B192 #A4D6C0 R184 G200 B209 #B8C8D1
C40 M55 Y0 K10 C5 M90 Y90 K13 C50 M0 Y25 K20 C0 M17 Y75 K13 50 EYE AND HAIR COLORS THAT CREATE A CHA
C
CHARACTER’S
HA
AR IMAGE
R155 G118 B171 #9B76AB R206 G52 B30 #CE341E R113 G177 B175 #71B1AF R232 G198 B72 #E8C648
C45 M65 Y0 K25 C0 M30 Y17 K0 C0 M12 Y5 K0 C0

C0 M7 Y15 K83
R129 G85 B141 #81558D R247 G198 B195 #F7C6C3 R252 G234 B235 #FCEAEB R81
R 81
81 G7
G744 B66 #514A42
2:R 4:rO 6:yO 8:Y 10:YG 12:G 14:BG

BG 16:gB 18:B
18:
8::B
8:BB 20:V 22:P 24:RP
Keys to This Color Scheme! p+
The Heian period (794 to 1185) was the great age of the
lt+
Japanese aristocrat. Of the colors loved by those Heian

COLOR DATA IS INCLUDED SO THAT
b
higher-ups, the purple derived from the gromwell plant v
was the most prized. Pale colors (usuiro) and dark colors
(kokiiro) all meant variations of this main base purple.
dp
YOU CAN REPLICATE THE SAME
COLOR SCHEME RIGHT AWAY!
dk
5FQJYTIFWPWJIXI^JI\NYMYMJXFK‫ܫ‬T\JWUQFSY\JWJFQXT dkg
favored. Here the color palette is centered on light to dark sf
purples and reds, with muted yellows and greens added as

accent colors.
d
ltg
The colors used in the example illustrations
g
are noted in CMYK, RGB and web safe
colors (#). You can use them immediately
<RXFDQWHVWRXWWKHFRORUFRPELQDWLRQ in digital coloring.
WKDWFDWFKHV\RXUH\HULJKWDZD\
10
CHAPTER
1
&RORU%DVLFV
FOR PEOPLE WHO DRAW
It’s useful to have a knowledge of color science and color

classification when bringing your illustrations to life.
In this chapter, I’ll walk you through the basics of applying
color, harnessing the power of the color wheel and
its many hues.
11
CHAPTER 1
:KDW7\SHVRI&RORUV
01 $UH7KHUH"
We live surrounded by color. There’s nothing in this world that doesn’t have color. Let’s
start by learning about the basic types, the groupings and hues that bring order to our
prismatic existence.
&RORUV&DQ%H/DUJHO\'LYLGHG,QWR7ZR*URXSV
The many types of colors

that exist can largely be
divided into two groups:
chromatic colors and
achromatic colors.
CHROMATIC COLORS ACHROMATIC COLORS
This points to all colors besides whites, grays and blacks. This points to whites, grays and blacks.
If you can see even a little In between white, which is the

color, it is grouped as lightest achromatic color, and
chromatic color! black, which is the darkest, there
are various lightnesses of gray.
12 COLOR BASICS
+XHV$UH*URXSLQJVRI&KURPDWLF&RORUV
Chromatic colors are grouped according to the type of color. These color types are called hues.
RED GROUP YELLOW GROUP GREEN GROUP BLUE GROUP
7KUHH)DFWRUVIRU'HVFULELQJ&RORU
In color science, the items numbered 1 to 3 here are

called the three attributes of color. When actually ❹ Tone Brightness and
coloring your illustrations, it’s convenient to think of (2) Saturation combined
brightness and (3) saturation together as (4) tone. High
❷ Brightness ❸ Saturation
(The vertical axis) (The horizontal axis)
The brightness The saturation
of the color of the color
Low High
❶ Hue
The characteristics
of the color, the tint Low
Hue is described in a circle as

shown here (see page 20). I’ll be
explaining tone on the next page.
What Types of Colors Are There? 13

CHAPTER 1
02 ,PDJH,V'HWHUPLQHGE\7RQH
Even if the same red is used, the impression it gives can change a lot depending on how
light it is and and how bright it is. If you think of color as a tone, it becomes easier to
change the impression an image makes by changing the color.
&RORUV&DQ&KDQJH'HSHQGLQJRQWKH7RQH
Let’s look at the changes of tone in one hue.

High Tinted colors
What Is a Tone Diagram?
The colors that are
This is a standard diagram used to
created when white is
p+ depict the tones of a hue.The original
added to the original
Intermediate colors lt+ color
color (pure color) is placed to the
The colors that are right, and the changes in lightness
created when gray b and saturation are arranged accord-
Pure color
is added to the ltg ing to the rules below:
sf The original
original color
color
Lightness
Pale Shallow
s v Light
Lightness
g d Weak Middle Strong
dp Dark and deep

Shade colors Dark
dk The colors that are
dkg created when black is Saturation
Low added to the original color

Low Saturation High
Looks soft and gentle!
Has a calm impression!

Looks reliable!
[ lt + (light) tone] [dk (dark) tone] [d (dull) tone]

※The impressions that tones make are exlained in detail in the List of Tone Impressions on pages 16–17.
14 COLOR BASICS
Tone Case Study 1
Highly Saturated Tones

Unique and distinctive! Bright and gorgeous! Recommended for
These are the pure colors plus
the tones that are created
traditional Japanese
by adding a little bit of white, characters too!
black or gray.
p+
lt+
b
ltg sf
s v
g d
dp
dk
dkg
[v (vivid) tone] [b (bright) tone] [dp (deep) tone]
Tone Case Study 2
Low-Saturation Tones
These are the tones that are
created by adding a lot of white,
black or gray to the pure color.
You can express Stylish and Strong and reliable!
a delicate allure! fashionable!
p+
lt+
b
ltg sf
s v
g d
dp
dk
dkg
[ltg (light grayish) tone] [g (grayish) tone] [dkg (dark grayish) tone]

The diagrams below show the color wheel (see page 20),
/LVWRI7RQH,PSUHVVLRQV
arranged by tones. This list forms the basis of the book.
3&&67RQH0DS
8 8
6 10 6 10
4 p+ 12 4 lt+ 12
PALE (pale) LIGHT (shallow)

2 Lightweight • Light 14 2 Translucent • Breezy 14
HIGH BRIGHTNESS
• Weak • Kind • Soft • Childish • Fun

W 24 • Cute 16 24 16
WHITE
22 18 22 18
20 20
8 8
6 10 6 10
4 12 4 12
ltg sf
ltGy LIGHT GRAYISH SOFT (soft)
2 (light grayish) 14 2 Calm • Unfocused 14
LIGHT GRAY
Calm • Cool • Quiet
Brightness = Vertical axis
24 16 24 16
MEDIUM BRIGHTNESS
22 18 22 18
20 20
8 8
mGy 6 10 6 10
MEDIUM
4 12 4 12
GRAY g d
2 GRAYISH (grayish) 14 2 DULL (dull) 14
Muddy • Conservative Subdued
24 16 24 16
22 18 22 18
dkGy 20 20
LOW BRIGHTNESS
DARK GRAY
8 8
6 10 6 10
4 12 4 12
dkg dk
DARK GRAYISH DARK (dark)
2 14 2 Grown up • Durable 14
(Dark gray)
Heavy • Stiff • Mature
Bk 24 • Sombre 16 24 16
BLACK
22 18 22 18
20 20
NO SATURATION LOW SATURATION REGION MEDIUM SATURATION REGION
Saturation = Horizontal axis
16 COLOR BASICS
How to look at the color wheel and The color groupings in this list are
tone diagrams based on the PCCS colors, and are
The color depicted with the “abbreviation for
wheel the tone + the number inditating the
color.” For example, the b (Bright)
b The name tone yellow is expressed as “b8.” The
BRIGHT of the tone
(Bright) Practical Color Coordinate System
Healthy • Cheerful
• Glamorous (PCCS) is a discrete color space in-
Keywords and dexed by hue and tone, developed by
impressions the Japan Color Research Institute.
8 associated
6 10 It is useful for thinking about color
with this tone combinations. PCCS color data is
4 b 12 listed on page 180.
BRIGHT (Bright)
2 Healthy • Cheerful 14
• Glamorous
24 16
22 18
20
7 8 9
6 10
8 5 11
6 10
4 12
4 12
s 3 v 13 This is the PCCS Tone Map, which
STRONG (Strong) VIVID (Vivid) is useful for thinking about color
2 14 2 Brilliant • Flashy • Lively 14
Active • Passionate combinations. On top are the bright
• Insistent • Conspicuous colors, on the bottom are the dark
1 15
24 16 colors, on the right are the saturat-
24 16 ed colors, and on the left are the
22 18 desaturated quiet colors.
20 23 17
22 18
21 20 19
8 Pale
6 10 Shallow
Light
Lightness
4 12 Weak Middle Strong

dp
DEEP (Dark) Dark and deep
2 14
)JJUѬ+ZQ‫ܪ‬QQNSL Dark
• Traditional
24 • Japanese 16 Saturation
Circle (Color Wheel)

White
22 18 Tint
20
Lightness
Gray
Midtones
Black
Shade
Saturation
HIGH CHROMA ZONE

CHAPTER 1
&UHDWHWKH5LJKW$PELDQFH
03 ZLWK7RQH
When nailing down the ambiance and uniqueness of a character, refer to the List of
Tone Impressions on pages 16– 17. Consider if your aim to make the colors cohesive or
to apply and highlight contrast.
$SSO\WKH6DPHRU6LPLODU7RQHVIRUD&RKHVLYH/RRN
If you combine the same or similar tones, it is easy to create a cohesive look. The impressions given by the tones
become the impression given by the character.
&RPELQDWLRQXVLQJWKHVDPHWRQHV &RPELQDWLRQXVLQJVLPLODUWRQHV
TONE TONE
W W
p+ lt+ The same p+ lt+ Adjacent
b tone! b tones!
ltGy ltGy
ltg sf ltg sf
mGy s v mGy s v
g d g d
dkGy dp dkGy dp
dkg dk dkg dk
Bk Bk
The hair, eyes and This color combination

clothes are all colored uses the tone adjacent
in the same g (gray- to the basic tone. A fair
ish) tones, for a cool, amount of variation
calm impression. is created, so it’s a
combination that’s easy
to use.
g20 g18 Itg24 p10+
※The tone diagrams on this page are simplified versions of the Tone Impressions diagrams on pages 16–17.
18 COLOR BASICS
&UHDWH$PELDQFHZLWK&RQWUDVWLQJ7RQHV
Contrasting tones are those that are far apart on the tone diagram. If they are separated
vertically they have different brightness, and if they are separated horizontally they have
different saturation. Diagonally, you can find tones that have contrast in both.
USED OFTEN!
&RQWUDVWLQJWRQHFRPELQDWLRQV &RQWUDVWLQJWRQHFRPELQDWLRQV &RQWUDVWLQJWRQHFRPELQDWLRQV
FRQWUDVWLQJEULJKWQHVV FRQWUDVWLQJVDWXUDWLRQ FRQWUDVWLQJEULJKWQHVVDQG
VDWXUDWLRQ
TONE Tones TONE TONE TONE
Tones Tones
separated separated separated
W
p+ vertically! W
p+ horizontally! W
p+ diagonally!
lt+ lt+ lt+
ltGy b ltGy b ltGy b
ltg sf ltg sf ltg sf
mGy s v mGy s v mGy s v
g d g d g d
dkGy dp dkGy dp dkGy dp
dkg dk dkg dk dkg dk
Bk Bk Bk
dk4 It14+ Itg2 v2 b24 dkg18

This is the easiest contrasting tone If you use the same color, you can Colors with both differing brightness
combination to use. By combining create effective combinations. Here and saturation have the clearest
colors with different brightness, you red (2:R - see page 20) is used at contrast. This combination is strongly
can sense movement. different saturations to highlight the recommended when you want to
character s appeal. really emphasize the uniqueness of
the character.
Create the Right Ambiance with Tone 19

CHAPTER 1
&RQVLGHUD&KDUDFWHUĹV3DOHWWH
04 ZLWKD&RORU:KHHO
The color wheel is a depiction of colors in a circle. Colors that are placed close togeth-
er on the wheel have complementary characteristics. Colors that are far apart on the
wheel have contrasting characteristics.
2ULJLQVDQG)XQFWLRQRIWKH&RORU:KHHO
In this book we use the color wheel of the PCCS (the Practical Color Coordinate System developed by the Japan
Color Research Institute). It’s usual to depict the v (Vivid) tones of colors with 24 segments on the color wheel,
but other tones are depicted with even numbers only in 12 segments. In the PCCS, even numbers like 2, 4, 6….
and so on are the stars.
8：Y
9:gY
7:rY TIPS
10:
6:y
O YG Colors are all connected! The reason
why colors are depicted in a wheel
11
O
5: The differences in colors are created by
:y
Gree
Yellow
G
Redd
different visible light wavelengths. As a

Yel
nish
Yel
familiar example, we can see changes in a

lo
ish Y
12:
low
O
Or
wG
Ye
variety of colors. The colors of a rainbow

4:r
Yello
an
ll
ge
ow
Ora
ellow
ree
range from red -> orange -> yellow -> green

is
w
nge
hG
Gre
Red -> blue -> blue purple, but purple and red
dish
en
ee r
13:bG
Ora
n
purple are not included. Since purple and

3:yR
nge Bluish
Yellow Green red purple are created by mixing the colors
ish Re
d at both sides of the rainbow, these colors
were added to the color spectrum, and thus
14:BG
Blue Green
2:R
Red
the color wheel was created. The color
Red reen wheel is very useful when considering
lish Blue G
Purp e
Blu
color combinations. Colors that are 180
e
15:BG
rpl degrees apart from each other and facing

1:pR
ish
Pu
en
le
d Gre each other on the color wheel are called

Re
rp
Pu
complementary colors.
ish
ue
Purple
dd
sh Blu
RP
Bl
16:
Blue Purple
Re
24:
rple
gB
e
Blu
Purpli
Bluish
Pu
17
P
:r
:B
23
18: Blue and purple both have

a lot of brightness, so they
P
22: B
21:bP
20:V
19:pB
are on the bottom of the
color wheel!
The reason why yellow is positioned at the top

of the color wheel, is because of all the tones,
it is the ones with the highest brightness!
20 COLOR BASICS
&RORU&RPELQDWLRQV%DVHGRQ7RQHV
Let’s think about color combinations based on the color wheel. From this point on, the
two colors used for the hair and the clothing will introduce the examples, with the hair
color set to v (vivid) yellow.
6DPHKXHFRPELQDWLRQV $GMDFHQWKXHFRPELQDWLRQV
HUE 8 HUE 7 8 9
Although the colors
are so similar, they
differ slightly so they
Same Neighboring look appealing!
colors! colors!
For color combinations you’re particular about!
Use the same color in different tones!
v8 Itg8 v8 v7 v8 v9
This is a combination using the These are combinations using neighboring or adjacent colors on the color wheel.
same color. The impression given 9MJMZJINKKJWJSHJXFWJ[JW^XZGYQJXTNYѣXINK‫ܪ‬HZQYYTGWNSLTZYYMJNSIN[NIZFQNY^
by the color chosen is emphasized. of each; but the combination is very cohesive. Use this when you want to go for
Since the hue is the same, vary the a particular impression with your color combinations.
tones to combine the colors.

USED OFTEN!
0HGLXPOHYHO FRPSOH[
$QDORJRXVKXHFRPELQDWLRQV
KXHFRPELQDWLRQV
HUE 8 HUE 8
6 10
Analogous color
The right amount of change becomes an accent!
combinations are
nice and calming.
Colors that Colors that are
are separated 2 not analogous or
by 2–3 hues! complementary
Color combinations that are balanced
v8 b2
v8 g6 v8 d10
These are color combinations where the contrasting hues are 2 to 3 places away Analogous hues and contrast hues are
from the base hue (8:Y Yellow in these examples). Since these combinations used often in combinations, but here is
look cohesive with the right amount of contrast, they are easy to use. an example of a combination that is nei-
ther. The hues are somewhat different.
22 COLOR BASICS
USED OFTEN!
&RQWUDVWLQJKXHFRPELQDWLRQV &RPSOHPHQWDU\KXH
FRPELQDWLRQV
HUE 8 HUE 8
If you utilize this
combination when
using 2 colors for
Colors that are the hair, you can Colors that
separated by create a distinct are opposite
8 to 10 hues! character! each other!
24
18
20
The contrast is on the strong side!
An intense impact!
v8 v20
This is a combination of hues that are

on opposite sides of the color wheel.
The basic hue difference is 12, but you
can use the hues on either side of that
v8 dp24 v8 It18+
number too. In particular, when creat-
This is a combination that uses hues that are 8, 9 or 10 positions away from the ing a complementary hue combination
base color. Because the hue difference is large there is good contrast, but if you with a v (vivid) tone, a strong impact
combine hues with high saturation the contrast can be too strong. will be created, so if you want to avoid
that, use a hue with low saturation.

01 COLOR COMBINATION TECHNIQUES
7UDGLWLRQDO:HVWHUQ&RORU6FKHPHV
<RX&DQ8VH)RU<RXU&KDUDFWHUV
The effectiveness of color schemes has been studied since ancient times, and in the West several har-
monic color theories have been proposed. The methods introduced here are classic ones, using colors
that are at the points of a triangle or square when drawn inside the color wheel. You can use these
color combinations when you want to use multiple colors in your character’s hair, or when you want to
make a strong impact.
DIAD COLOR SCHEME TETRAD COLOR SCHEME
EXAMPLE A pentadic color scheme

(COMPLEMENTARY COLOR COMBINATION) (4-COLOR COMBINATION)
A diadic or diad color scheme is when two colors A tetradic color scheme splits the color wheel into
(complementary colors) are used in combination. 4. It combines the colors that are at the points of
It is the same as a complementary color combina- a square in the color wheel. COLOR COMBINATION
tion (see page 23). 8:Y EXAMPLE
COLOR COMBINATION
EXAMPLE
2:R 14:BG dp2 dp8
2:R 14:BG
b2 b14
20:V
dp14 dp20
TRIAD COLOR SCHEME PENTAD COLOR SCHEME

(3-COLOR COMBINATION #1) (5-COLOR COMBINATION)
A triadic or triad color scheme is a tricolor combi- A pentad or pentadic color scheme uses 5 colors
nation. They are the colors that are located at the in combination. Since the PCCS system uses 24
points of an equilateral triangle. colors in its color wheel, which cannot be divided
by 5, W (white) and Bk (black) are added.
8:Y
6:yO
COLOR
COLOR COMBINATION EXAMPLE COMBINATION
W EXAMPLE
b6 b14 b22
14:BG
Bk
24:RP 16:gB
v8 v16 v24
22:P
W Bk
SPLIT COMPLEMENTARY COLOR HEXAD COLOR SCHEME You can choose
SCHEME (3-COLOR COMBINATION #2) (6-COLOR COMBINATION) the tone freely!
A split complementary color scheme does not use A hexad or hexadic color scheme uses 6 colors
one of the complementary colors in a pair, but in- in combination. These are the colors that are the
stead replaces it with the two colors on either side points of a regular hexagon in the color wheel.
of it in the color wheel. COLOR COMBINATION EXAMPLE
8:Y
8:Y
4:rO 12:G
COLOR COMBINATION EXAMPLE
ltg4 ltg8 ltg12
lt8+ lt18+ lt22+ 24:RP 16:gB

18:B 22:P 20:V ltg16 ltg20 ltg24
※The color combination examples on this page use the same tone to make the hue relationships more understandable.
24 COLOR BASICS
WE ASKED TECHNICAL SCHOOLS!
ASK THE
EXPERTS 4 $
1 3UREOHPVZLWK$SSO\LQJ&RORU
Q & A
Q ,DOZD\VVHHPWRXVHWKHVDPHVNLQFRORU
+RZFDQ,PDNHLWPRUHYDULHGDQGLQGLYLGXDOLVWLF"
A 2EVHUYHWKHDFWXDOVFHQHFDUHIXOO\
6NLQFRORUORRNVGLIIHUHQWGHSHQGLQJRQWKHWLPHRIGD\
A lot of people tend to paint the skin yellow. However, skin color changes depending on the time of day and
the environment. For example, in the evening the skin takes on a reddish tone, at night shadows deepen.
Another method is to differentiate the skin tones between male and female characters. Female
characters can have a reddish skin tone, and male characters can have a yellowish skin tone; this way
when they are side by side, you can create visual difference between them.
Skin tone in the evening Skin tone at night
Q ,WĹVGLIŤFXOWWRDSSO\VKDGRZV
7KH\DOZD\VWXUQRXWGDUNDQGKDYHDťDWHIIHFWŁ
A *HWULGRIWKHSUHFRQFHSWLRQWKDWVKDGRZV EODFN
6KDGRZVKDYHDOONLQGVRIFRORUV
When applying color to shadows, most people tend to choose black. However, in reality shadow color is
more complex. For example, if you want to apply shadow to skin color to make it darker, instead of just
mixing black into the base skin color, try adding a little red to make it a three-color combination. If you are
having trouble with shadow colors, we recommend observing actual colors carefully to see what other
colors besides black are in shadows.
We would like to thank Nippon Designer Gakuin and Nihon Kogakuin College for their cooperation with this section.
Ask the Experts 25

Q ,DOZD\VWU\WRGUDZUHDOLVWLFDOO\
EXWP\IDFHVEHFRPHWRRGDUNZLWKVKDGRZV:KDWFDQ,GR"
A :KHQ\RXWDNHDSKRWR\RXFDQXVHUHťHFWRUVWROLJKWHQXSWKHIDFHULJKW"
'UDZLQJLVWKHVDPHWKLQJ
Illustrations are created by distorting reality. For example, if you are drawing a character with a backlight,
NK^TZRFPJYMJKFHJYTYFQQÎFWPNYRF^GJYTTWJFQNXYNH/ZXYFX^TZRNLMYZXJWJ‫ܫ‬JHYTWX\MJSYFPNSLUMT-
tographs to cast light on the face, instead of aiming for realistic accuracy, do what you can to emphasize
the point you want to make in the picture.
Q ,ĹGOLNHWRNQRZZKDW,FDQGRWRDSSO\FRORUPRUHVNLOOIXOO\
A ,WĹVLPSRUWDQWWRORRNDWDORWRIH[DPSOHV
DQGWRREVHUYHODQGVFDSHV
The keys to becoming more skilled at applying color are observation and consideration. If there is a pic-
ture you like, look at it carefully, and consider why you think that picture is good. You’ll be able to see how
you want to draw more clearly. In addition, you cannot draw something you don’t know well. Sunrises and
sunsets differ, right? Observe the everyday landscape around you, consider it, and repeat your drawings
until you’re happy with the result.
Q 0\FRORUHGGUDZLQJVWHQGWRFRPHRXWORRNLQJUDWKHULQGLVWLQFW:K\LVWKDW"
A 3HUKDSV\RXGRQĹWKDYHHQRXJKGLIIHUHQFHEHWZHHQOLJKWVDQGGDUNV
$QGKRZPXFKVROLGFRORUGLG\RXDSSO\WRWKHGUDZLQJ"
If a picture looks blurry and indistinct, it means that there aren’t many tonal variances, and a lack of
distinctions between lights and darks. In order to solve this problem, try applying a solid color to at least
half of the drawing. A page with more solid color tends to give a clearer impression. In addition, if you are
aiming to become a professional, it is important to always be aware of mixing the “CMY” colors that are
used for printing.
We would like to thank Nippon Designer Gakuin and Nihon Kogakuin College for their cooperation with this section.
26 COLOR BASICS
CHAPTER
2
(\HDQG+DLU&RORUV7KDW
&UHDWHD&KDUDFWHUĹV,PDJH
COLOR PSYCHOLOGY FOR COLORING CHARACTERS (PART ONE)
Hair and eye color perform an important role when designing

and differentiating manga and anime characters. The right
color scheme brings out the individuality of your characters,
while also adding visual nuance and cohesion.
※The characteristics raised in this chapter are ones based on the impressions given by colors. They do not necessarily correspond with psychology or fortune telling theories.
Eye and Hair Colors That Create a Character’s Image

CHAPTER 2
+DLU&RORUĹV5ROHLQ&RQYH\LQJ
01 3HUVRQDOLW\DQG,PDJH
The hair and eyes determine the impression given by the character. Although the clothes
may change, the hair and the eyes never do, since they are unique to the character.
6L[W\3HUFHQWRIWKH)LUVW,PSUHVVLRQ,V'HWHUPLQHGE\&RORU
We consistently receive essential

Red hues give a Green hues give
NSKTWRFYNTSKWTRTZW‫[ܪ‬JXJSXJX
passionate impression a gentle impression
most of it coming from what we
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FHMFWFHYJWNXQFWLJQ^NS‫ܫ‬ZJSHJIG^
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+DLUDQG(\H&RORU'HWHUPLQHWKH,PDJHDQG,QGLYLGXDOLW\RIWKH&KDUDFWHU
When you want to give further

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WKDWVFKHPHVXJJHVWVWKH SRVVLEOHWRVWURQJO\HPSKDVL]H
JKKJHYN[JYTUFNSYYMJMFNWFSIJ^J
HTQTWXNSHTSYWFXYNSLTWHTRUQJ-
FKDUDFWHUĹVSHUVRQDOLW\ WKHFKDUDFWHUĹVLQGLYLGXDOLW\
RJSYFW^MZJX.SFIINYNTS^TZ
HFSXYFWYG^XJYYNSLFHMFWFHYJWѣX
colors to ones that give an active
NRUWJXXNTSFSIFXYMJXYTW^
UWTLWJXXJX^TZHFSFNRKTW
J]UWJXXNSLRTWJXZGYQJXMFIJX
traits or qualities. There are
LJSJWFQWZQJXKTWHTQTWXGZYSTSJ
XJYNSXYTSJ9MFYѣXYMJKZSUFWYTK
J]UJWNRJSYNSL\NYMYMJR
28 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE

7KH0DLQ&RORU'HFLGHVWKH'LUHFWLRQRIWKH,PDJH
-JWJKTHZXTSYMJNSSJWHNWHQJ‫ܪ‬WXY<JMF[JHWTXXJIY\TF]JX YMJFWWT\XYTHTSYWFXYQFWLJNRFLJHFYJLTWNJX
.SFIINYNTS\Jѣ[JIN[NIJIYMJMZJXNSYTLWTZUXFSIXJYYMJPJ^\TWIXKTWJFHMMZJHFYJLTW^
YELLOW HUES GREEN HUES

Hue numbers 6, 7, 8 Hue numbers: 9, 10, 11, 12
keyword: Cheerful (page 38) keyword: Gentle (page 42)
ORANGE HUES
Hue numbers 3, 4, 5
8:Y
keyword: Energetic 7:rY 9:gY
(page 34) 6:yO 10:yG
5:O
ive
11:yG
ert Yo
ss u ng
4:rO •A 12:G
d
•F
r te
re
ove
sh
3:yR 13:bG
Extr
2:R 14:BG
Int
ous
r
1:pR BLUE-GREEN
o
15:BG
e ri
v
HUES
er
s t
te
Hue numbers:
y
d
RED HUES 24:RP •M •P 16:gB 13, 14, 15, 16
as
Hue numbers ure si keyword:
24, 1, 2
Mat ve
Intelligence
23:rP 17:B
keyword: Passion (page 46)
(page 30) 22:P 18:B
21:bP 19:pB
20:V
VIOLET AND PURPLE HUES BLUE HUES

Hue numbers 20, 21, 22, 23 Hue numbers: 17, 18, 19
keyword: Sensitive (page 54) keyword: Justice (page 50)
Besides the 7 groups above, also consider these:

PINK HUES PINK HUES WHITE HUES GRAY HUES BLACK HUES
keyword: Pretty keyword: Stable Brightness range Brightness range: Brightness range:
(page 58) (page 62) W to ltGy (White mGy (Medium dkGy to Bk (Dark
to Light Gray) Gray) keyword: Gray to Black)
keyword: Pure Neutral (page 70) keyword: Will
(page 66) (page 74)
Hair Color’s Role in Conveying Personality and Image 29

CHAPTER 2
02 5HG+XHV
9MJVZFQNYNJXFSIJRTYNTSXFXXTHNFYJI\NYMWJIFWJOT^TZX
UFXXNTSFYJLQFIFSIXYWTSL9MJPJ^\TWI.ѣ[JHMTXJSNXUFXXNTS
:XJNY\NYMWTGZXYHMFWFHYJWXYMFYFWJFQ\F^XJRNYYNSLFQTYTK
JSJWL^TWTSJXYMFYFWJXYWTSL\NQQJIFSIJSJWLJYNH
7JIMFXYMJQTSLJXY\F[JQJSLYM
XTNYѣXYMJHTQTWYMFYXYFSIXTZY
the most on its own!
keyword 3DVVLRQ
+DLUDQG(\H&RORU'HWHUPLQHWKH,PSUHVVLRQDQG,QGLYLGXDOLW\RIWKH&KDUDFWHU
I K K
C A S E S T U DY 1
&DUPLQH -,6
3DVVLRQ[$FWLYH
C0 M100 Y65 K10
This is a bright red that is dyed with the R215 G0 B58
#D7003A
cochineal, an insect native to Central and
South America. It is strong enough to be
called the red among reds, so it’s perfect
for giving an active impression.
CARMINE CAN BE USED FOR

POSITIVE
&HMFWFHYJWYMFYXYFSIXTZY
&HMFWFHYJW\NYMHTRGFYN[JXUNWNY
&SFYZWFQQJFIJW
&LLWJXXN[JFSIXYZGGTWS
NEGATIVE
POSITIVE
+TWHNGQÎJHNIJXRFYYJWX
*FXNQ^FSLJWJI

CASE STUDY 12
:LQH5HG -,6
3DVVLRQ[3UXGHQFH
C0 M80 Y36 K50
R147 G46 B68 This is a dark red like red wine. A color
#932E44
that gives a Western atmosphere, or a
mature impression, it’s recommended for
use on characters with both passion in
their hearts and cool decisiveness.
WINE RED CAN BE USED FOR

POSITIVE
-FXFMNIIJSUFXXNTS
More mature than their actual age
7JQNFGQJ
.S‫ܫ‬J]NGQJ
NEGATIVE
POSITIVE
)TJXSTYQNXYJSYTYMJTUNSNTSXTKTYMJWX
-FXFHTQIXNIJ
C A S E S T U DY 31
5XE\5HG -,6
3DVVLRQ[3UHVHQFH
C0 M90 Y40 K15
This is a red with purple jewel tones like a R209 G46 B89
#D12E59
ruby. It is a color that attracts people, so
use it when you want to depict a charis-
matic character. It is effective when just
used as an eye color too.
RUBY RED CAN BE USED FOR

Congenial
POSITIVE
-FXFXUJHNFQUWJXJSHJ
)WF\XUJTUQJYTYMJR
.XJFXNQ^X\F^JIG^JRTYNTS
NEGATIVE
POSITIVE
9MJNWJRTYNTSXFWJXMT\SVZNHPQ^
in their actions
8JQ‫ܪ‬XM
Red Hues 31
Red Hues
CASE STUDY 1
([DPSOHVRI+DLUDQG(\H&RORU&RPELQDWLRQV
5HG+XH (\H&RORURI
+DLU WKH6DPH+XH
CASE STUDY 31 CASE STUDY 21

6WURQJ:LOOHGDQG
$JJUHVVLYH3HUVRQDOLW\
C A S E S T U DY 1
Bright red hair, which would stand out anywhere,
combined with dark eyes indicates a passionate strong-
willed character. This combination is recommended for
characters who have an aggressive, rough side because
v2 dkg2 YMJ^MF[JHTS‫ܪ‬IJSHJNSYMJRXJQ[JX
EXAMPLE &XJQKHTS‫ܪ‬IJSYUFXXNTSFYJUFQ
C A S E S T U DY 2 &XWHDQG6WXEERUQ
Pink hair with strong wine red eyes. This combina-

tion can be used for characters who are cute yet
XYZGGTWSFSIXYWTSLQ^NS‫ܫ‬ZJSHJYMTXJFWTZSI
sf2 v1 them by expressing all of their emotions openly.
EXAMPLE &LNWQ\MTXJJRTYNTSXFWJJFX^YTINXHJWS
6WURQJ:LOODQG6WULFWQHVV
C A S E S T U DY 3
This is a combination that uses a hue with high satu-
ration for the hair and one with low saturation for the
eyes. This is perfect for a character who is spirited and
reliable with a strong will and sense of responsibility,
dp2 g2 but occasionally shows a cold, emotionless side.
EXAMPLE &SNSXYWZHYTW\MTMFXFXJSXJTKWJXUTSXNGNQNY^FX\JQQFXHTTQSJW[J

7 8 9
6 10
5 11
4 12
5HG+XH (\H&RORULQD 3 13
+DLU &RQWUDVW+XH 2 14
1 15
24 16
23 17
,QWHOOLJHQFHWKDW6KLQHV 22 18
7KURXJK*HQWOHQHVV 21 20 19
C A S E S T U DY 1
Coral pink-hued hair with green eyes can be used
for characters that seem to be easy-going but in
reality are quite mature. The standout character-
istic here is the impression of a personality that
b2 d14 protects those around them with wisdom and a
maternal nature.
EXAMPLE &SJFX^LTNSL^JYRFYZWJUWJXJSHJ
C A S E S T U DY 2 &RPELQHV6WUHQJWKDQG,QWHOOLJHQFH
A charismatic personality is expressed with purplish
red-hued hair and blue-green eyes. This combination
is perfect for a hero who sticks to their intentions.
v24 dp16
EXAMPLE &HMFWNXRFYNHPSNLMY
6HULRXVEXW)UHH6SLULWHG
C A S E S T U DY 3
Reddish brown hair and yellow-green eyes. Use

this combination for unique characters who have
a hidden passion into research, yet on occasion
show a free-spirited wild side.
dk2 v11
EXAMPLE &KWJJXUNWNYJI^JYXJWNTZXWJXJFWHMJW
※For the data on each color, please refer to the PCCS list on pages 180–184.
Red Hues 33
CHAPTER 2
03 2UDQJH+XHV
&YYNRJXTWFSLJNXLWTZUJI\NYMWJIFSIFYTYMJWYNRJXNYѣXYWJFYJIFXF
^JQQT\.YѣXFHTQTWYMFYGWNSLXYTRNSIXHMFWFHYJWNXYNHXXZHMFX\FWRYM
FXJSXJTKKZQ‫ܪ‬QRJSYFSIFUUJYNYJ9MJPJ^\TWI.ѣ[JHMTXJSKTWTWFSLJ
NXJSJWL^.YѣXUJWKJHYKTWTQIJWHMFWFHYJWX\MTFWJLTTIFYYFPNSLHFWJ
of others or characters who are tolerant.
.S/FUFSJXJTWFSLJNXHFQQJIIFNIFN)FNIFN
NXYMJSFRJTKYMJTWFSLJQNPJHNYWZXKWZNY
YMFYNXIJHTWFYJITSYTUTKFXYFHPTKRTHMN
WNHJHFPJX PFLFRNRTHMNFY3J\>JFWѣX
keyword (QHUJ\
/HWĹV/RRNDW2UDQJH8VHGDV+DLUDQG(\H&RORUV
C A S E S T U DY 1
9HUPLOLRQ -,6
(QHUJHWLF[&RXUDJHRXV
C0 M75 Y75 K0
This is a color originally created with mineral R235 G97 B59
cinnebar, and is a red with a strong yellow tint. #EB613B
You can use it to combine the energy of orange
to give the additional impressions of courage
and power.
VERMILION CAN BE USED FOR

POSITIVE
)TJX\MFYYMJ^ѣ[JIJHNIJIYTITWNLMYF\F^
Powerful
;FQZJXMTSTWFSIMZRFSNY^
Shameless
NEGATIVE
POSITIVE
(FWJQJXX ITJXSѣYHFWJFGTZYIJYFNQX
1FHPXXJSXNYN[NY^
EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE

CASE STUDY 12
2UDQJH -,6
(QHUJHWLF[&KHHUIXO
C0 M60 Y100 K0
R240 G131 B0 A color like the peel of an orange. In
#F08300 Japanese as well as English, this color
name originates from the fruit. This color
expresses an aura that is always positive
and full of energy.
ORANGE CAN BE USED FOR

Fun-loving
POSITIVE
Caring
Gets along with everyone
9WNJXYTUQJFXJJ[JW^TSJ
NEGATIVE
POSITIVE
;FQZJXKWNJSIXMNUT[JWQT[J
.XSѣYLTTIFYGJNSLUFYNJSY
C A S E S T U DY 31
&DUURW2UDQJH -,6
(QHUJHWLF[4XLFN:LWWHG
C0 M67 Y80 K10
A color like a carrot. It is a bit darker and R223 G108 B49
redder than orange. This color is effective for #DF6C31
showing that a character is active yet is also
logical and intelligent.
CARROT ORANGE CAN BE USED

POSITIVE
5WTHJJIXQTLNHFQQ^
Is resilient to changes in their environment
or circumstances
1NPJXSJ\YMNSLX
Restless
NEGATIVE
POSITIVE
)NXQNPJXNSJK‫ܪ‬HNJSH^
1FHPXHTRUTXZWJ
Orange Hues 35
Orange Hues
CASE STUDY 3
CASE STUDY 2
2UDQJH+XH (\H&RORURI
+DLU WKH6DPH+XH
CASE STUDY 1
(QHUJHWLFDQG+HDOWK\
C A S E S T U DY 1
Vivid orange combined with eyes of the same hue
gives an impression of both mental and physical
health and power. Use for a character that eats
everything without being picky, has a loud voice
v4 sf4 and gets along with everyone.
EXAMPLE An active girl who can get along with everyone
C A S E S T U DY 2 2SWLPLVWLFDQG3RVLWLYH
This example has light-colored hair and quiet-looking eyes,
both in orange hues. The combination can be used for a
character who is optimistic and positive, doesn’t complain,
and does the tasks assigned to them without complaining.
b4 d4 They don’t like to over-think things.
EXAMPLE &UTXNYN[JGT^\MTXJXRNQNSLKFHJXZNYXMNR
)UHHDQG8QDIIHFWHG
C A S E S T U DY 3
By making the hair color light and the eye color
dark, this combination expresses a character
with a free aura who is not bound by conventions.
This character lives on their own terms, and likes
lt4 + dp4 fun things. The combination is recommended for
unadorned wild child type characters.
EXAMPLE &\NQIHMNQI\MTQN[JXNSYMJKTWJXY

7 8 9
6 10
5 11
4 12
2UDQJH+XH &RQWUDVW+XH 3 13
+DLU (\H&RORU 2 14
1 15
24 16
23 17
22 18
6WURQJ:LOOHGDQG 21 20 19
6HQVLWLYH
C A S E S T U DY 1
9MJMFNWNX‫ܫ‬FRJHTQTWJIHQTXJYTWJIFSIYMJJ^JX
are a calm blue. Use this combination for characters
who may look strong but are sensitive, with a deep
NSYJWSFQHTS‫ܫ‬NHYFIFWPXNIJTWFIJQNHFYJXNYZFYNTS
v3 sf18
EXAMPLE &QTSJ\TQKYÛJ\NYMFIFWPXNIJ
C A S E S T U DY 2 ,GHDOLVWLFDQG$FWLYH
The combination of vivid orange hair and very
blue eyes can be used for a character that has
high ideals and is also very active, with multiple
talents. This character is not good at relying on
v5 v19 others, and may try to hard on their own.
EXAMPLE &MNLMXHMTTQLNWQ\MTYWNJXYTTMFWI
,QWHOOLJHQWDQG6W\OLVK
C A S E S T U DY 3
This Complex Harmony (page 95) combination
with dark orange and light blue-green is rec-
ommended for an older sister character who is
stylish and also good at her job.
d4 lt14 +
EXAMPLE &LNWQ\MT\JFWXLQFXXJX\MTMFXFXJSXJTKXY^QJFSINXFQXTMFWI\TWPNSL
Orange Hues
CHAPTER 2
04 <HOORZ+XHV ,QFOXGLQJ*ROG
>JQQT\NXYMJHTQTWTKYMJXZSFSINYXWF^XTKQNLMY9MJVZFQNYNJXFSI
NRUWJXXNTSXFXXTHNFYJI\NYMYMJHTQTWFWJMFUUÔT^GQNXXFSINRRF-
YZWNY^9MJPJ^\TWI.ѣRZXNSLNXHMJJWKZQ.YѣX\JQQXZNYJIYTFHMFWFHYJW
YMFYFQ\F^XMFXFGWNLMYINXUTXNYNTSFSINXUTXNYN[J<MJS^JQQT\NX
IFWPJSJINYYFPJXTSYMJNRUWJXXNTSXTKLTQI
.SFSHNJSY(MNSF^JQQT\ZXJIYTGJYMJ
HTQTWTKYMJJRUJWTW.SYMJ(MWNXYNFS
YWFINYNTSNY\FXYMJHTQTWTKYMJINXHN-
UQJ/ZIFX\MTGJYWF^JI/JXZX(MWNXY
keyword &KHHUIXO
/HWĹV/RRNDW<HOORZ8VHGDV+DLUDQG(\H&RORUV
C A S E S T U DY 1
/HPRQ<HOORZ -,6
&KHHUIXO[,QQRFHQW
C0 M0 Y80 K0
This is a color like that of a lemon peel. R255 G243 B63
Since it brings to mind bright light shining #FFF33F
down, it gives an impression of a character
who is not defeated by anything, is inno-
cent and playful.
LEMON YELLOW CAN BE USED

Innocent
POSITIVE
2FPJXJ[JW^TSJFWTZSIYMJRHMJJWKZQ
1NKJTKYMJUFWY^
Careless or goofy
NEGATIVE
POSITIVE
2FPJXFQTYTKRNXYFPJX
9MTZLMYQJXX FHYX\NYMTZYYMNSPNSL

CASE ST UDY 21
1HDSROLWDQ<HOORZ -,6
&KHHUIXO[&XULRXV
C0 M18 Y70 K0
R253 G215 B93 The name of the color refers to the Ital-
#FDD75D ian city of Naples. This color, which gives
an impression of brightness and warmth,
can be used for very intelligent charac-
YJWX\MTFWJ‫ܪ‬QQJI\NYMHZWNTXNY^
NEAPOLITAN YELLOW CAN BE USED

POSITIVE
+NQQJI\NYMHZWNTXNY^
&Q\F^XUTXNYN[J
-FXLWJFYNIJFX
*RTYNTSFQQ^ZSXYFGQJ
NEGATIVE
POSITIVE
Shallow
,JYXGTWJIJFXNQ^
CCAASSEE SSTTUUDY
DY 31
*ROGHQ<HOORZ -,6
&KHHUIXO[([FHSWLRQDO
C0 M35 Y70 K0
A yellow that shines like gold. This is the R248 G184 B86
color that is used to express gold digitally #F8B856
or in print. It’s recommended for use with
characters that you want to give the
impression of having superhuman powers
or abilities.
GOLDEN YELLOW CAN BE USED

POSITIVE
,ZNIJXYMTXJFWTZSIYMJR
5TXXJXXJXXZUJWMZRFSUT\JWX
Changes their circumstances
-FXZSZXZFQMFGNYX
NEGATIVE
POSITIVE
Says outrageous things

(TSHJNYJI[FNS
Yellow Hues (Including Gold) 39

Yellow Hues
CASE ST UDY 2
CASE STUDY 3
<HOORZ+XH (\H&RORURI
+DLU WKH6DPH+XH
(DV\JRLQJDQG
,QQRFHQW CASE ST UDY 1
C A S E S T U DY 1
Use vivid yellow hair with eyes of the same hue for
innocent and goofy characters. The impression given
is of a person who is not good at making plans,
doesn’t sweat the details, is a bit careless but loved
v8 dk8 by everyone around them.
EXAMPLE &GT^\NYM‫ܫ‬ZKK^MFNW\MTNXQT[JIG^J[JW^TSJ
C A S E S T U DY 2 ※The example uses adjacent hues. '\QDPLFZLWK/HDGHUVKLS4XDOLWLHV

Shiny golden hair and eyes are expressed with yellow
hues. This combination is recommended for a type
of character that laughs out loud a lot, and acts as
a leader. They’re able to cheer and inspire those
dp8 v7 around them.
EXAMPLE &UNWFYJXMNUHFUYFNS\MTNXUWTZITKMT\HMFWNXRFYNHMJNX
*RRI\DQG3RVLWLYH
C A S E S T U DY 3
A combination of two bright yellow hues. This com-
bination can be used for a character that is always
optimistic and positive, and is never beaten by their
circumstances. They are goofy and can have their
s8 sf8 head in the clouds, but that’s part of their appeal.
EXAMPLE &LNWQ\MTNXSJ[JWGJFYJSG^MJWHNWHZRXYFSHJX

7 8 9
6 10
5 11
4 12
<HOORZ+XH &RQWUDVW+XH 3 13
+DLU (\H&RORU 2 14
1 15
24 16
23 17
22 18
21 20 19
8QSUHGLFWDEO\&KDUPLQJ
C A S E S T U DY 1
Golden hair with purple eyes can be used for a pop-
ular character who can express themselves with-
out worrying about what others think of them. This
character is unpredictable but has a great sense of
v7 b22 style. They draw attention to themselves.
EXAMPLE &HMFWFHYJW\MTNXXMT\^FSIMFXFGTQIUJWXTSFQNY^
C A S E S T U DY 2 )RUD0HODQFKRO\,PSUHVVLRQ
By combining yellow hair with grayish blue eyes, you
can create a character who gives the impression of
having a sad fate. It’s also useful for scenarios where
FHMFWFHYJWѣXXRNQJNXFHYZFQQ^MNINSLFINK‫ܪ‬HZQYUFXY
lt8 + g18
EXAMPLE &HMFWFHYJW\MTMNIJXFXFIUFXYGJMNSIMJWXRNQJ
5HVLOLHQW'LJQLW\
C A S E S T U DY 3
Soft-colored hair and deep, beautiful blue eyes

are well-suited to a character with a princely
temperament. Use this combination to express
intelligent nobility, a resilient spirit, or a humor-
sf6
s v17 ous personality.
EXAMPLE &UWNSHJ\MTLN[JXYMJNRUWJXXNTSTKGJNSLXTKYFSIPNSI
Yellow Hues (Including Gold)

CHAPTER 2
05 *UHHQ+XHV
9MJNRUWJXXNTSXFXXTHNFYJI\NYM^JQQT\LWJJSFSILWJJSFWJSFYZWFQ
KWJXMWJXYKZQFSIXFKJ:XJYMNXMZJKTWFHMFWFHYJW\MTHFSWJFIYMJ
WTTRFSIFIOZXYYMJNWUTXNYNTSFHHTWINSLQ^TWTSJ\MTNXFSNSINX-
UJSXFGQJRJRGJWTKYMJYJFRYMFYGWNSLXJ[JW^TSJYTLJYMJW
,WJJSNXYMJHTQTWTKHMQTWTUM^QQ
FSINXFXXTHNFYJI\NYMMJFQYM
FGZSIFSHJFSILWT\YM
keyword *HQWOH
/HWĹV/RRNDW*UHHQ8VHGDV+DLUDQG(\H&RORUV
C A S E S T U DY 1
&KDUWUHXVH*UHHQ -,6
*HQWOH[+RSHIXO
C20 M0 Y70 K0
This is the color of a liqueur made at the R217 G227 B103
Grand Chartreuse Monastery in France. This #D9E367
color brings to mind the growth of young
leaves in the spring, and can express a bright,
innocent artlessness.
CHARTREUSE GREEN CAN BE USED FOR

POSITIVE
3NRGQJ
&Q\F^XQTTPNSLYTLWT\
-TUJKZQ
Sometimes their efforts are fruitless

NEGATIVE
POSITIVE
-FXYMJNWMJFINSYMJHQTZIXSTYUWFHYNHFQ
)TJXSѣYQTTPFYWJFQNY^MJFITS

CASE STUDY 12
(PHUDOG*UHHQ -,6
*HQWOH[,QWHOOLJHQW
C80 M0 Y72 K0
R0 G170 B110 A jewel color like an emerald. It brings
#00AA6E to mind abundance and intelligence that
comes from within. It gives an impression
of a well-balanced character who is con-
siderate of those around them.
EMERALD GREEN CAN BE USED
Easygoing
POSITIVE
&UWJXJSHJYMFYUZYXUJTUQJFYJFXJ
.SYJQQNLJSYFSIGWF[J
)NXQNPJXGJNSLHTSYWTQQJI
NEGATIVE
POSITIVE
(FSѣYXUWNSLNSYTFHYNTSVZNHPQ^
Neglects themself
C A S E S T U DY 31
2OLYH*UHHQ -,6
*HQWOH['LOLJHQW
C20 M0 Y75 K70
A color suggested by the deep green color R95 G101 B30
of olive leaves. It has a quiet yet cool ap- #5F651E
peal. Use this combination when you want
to give the impression of a character who
doesn’t mind working diligently.
OLIVE GREEN CAN BE USED

XXX
Maintains their calm
POSITIVE
XXX
Unsung hero
XXX
&UWJXJSHJYMFYTYMJWXWJQ^TS
)TJXSTYHMFSLJYMJNWTUNSNTSX
NEGATIVE
POSITIVE
)TJXSѣYIT\JQQNSLWTZUX
9JSIXYTMF[JFSFWWT\UTNSYTK[NJ\
Green Hues
Another random document with
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Monmouth. The council, where they possessed a strong majority
before his Grace arrived from the army, had written to the king for
instructions how to dispose of the prisoners, promising “at the same
time, on their part, to execute the laws against rebellion, faction, and
schism, as the king should direct them, without gratifying the
humours of such as are apt to grow more insolent by his majesty’s
grace and goodness, who have been encouraged and hardened in
an obstinate opposition to the church by his majesty’s
condescensions and indulgences, and proposing that, after the
ringleaders were punished capitally, the rabble should be transported
to the plantations never to return.”
This model of princes, for whose restoration the cannon of the
Castle of Edinburgh still continue annually to be fired, and the public
offices still keep holyday, returned a gracious answer, approving of
their proposal to send three or four hundred to the plantations, and
bring the ringleaders before the justiciary, after which the rest might
be dismissed upon signing the bond.
The treatment of the majority has been narrated. We shall now
notice the proceedings against those considered ringleaders. The
most conspicuous were their ministers Messrs King and Kid.
Wodrow mentions an incident which occurred while the former was
being carried to Edinburgh, too remarkable to be passed over,
especially as that historian is neither a credulous nor an enthusiastic
writer:—
“Upon the Lord’s day, orders were given to a party of soldiers
immediately to march east and carry Mr John King with them to
Edinburgh; and we will find it was their ordinary [practice] to march,
and especially to transport prisoners from place to place, on the
Sabbath. My accounts of them are, that they were English dragoons.
One of them, a profane and profligate wretch, after they were in the
street and on horseback, ready to ride off with their prisoner, called
for some ale, and drunk a health to the ‘Confusion of the Covenants,’
and another to the ‘Destruction of the People of God,’ and some
more very horrid, and rode off. He met with one of his comrades at
the Stable-green Port, who, knowing nothing of the matter, asked
him where he was going? He answered, ‘to convoy King to hell,’ and
galloped up to the rest, whistling and singing. The judgment of God
did not linger as to this wretch; he was not many paces forward, in
the hollow path a little from the Port, till his horse stumbled; and
somewhat or other touching his piece—which was primed and
cocked it seems—the carabine went off and shot him dead on the
spot. The party went on and carried Mr King to Edinburgh.” Mr Kid
was brought thither and imprisoned along with his friend in the
tolbooth.
The tyranny of Charles, which was exercised in England as well as
in Scotland, had excited much discontent there; and Charles’s
advisers were extremely anxious to trace out some grand conspiracy
which might enable them to resort to extreme measures there as
well as in Scotland, that a similar despotism might be established in
both kingdoms. The king therefore directed that these two should be
especially examined by torture, in order if possible to discover the
conspirators, with which the Scottish managers were very ready to
comply, many of them anticipating a rich harvest of new forfeitures.
Being disappointed in this, the prisoners were ordered to stand trial
before the justiciary. Previously to being brought to the bar, they
presented a petition, praying that they might be allowed to prove in
exculpation—that they were only present with the army casually, and
not intentionally, and were in a manner detained prisoners by them;
and such naked presence, without assistance, was not criminal; and
that they were so far from being incendiaries to incite the people,
they, on the contrary, entreated them to lay down their arms. 2d, That
the Duke of Monmouth, by his commission, had power to pardon;
and they offered to prove by witnesses that he had proffered them a
pardon if they would lay down their arms, and that they had accepted
it. 3d, They were willing to engage to live peaceably, and never to
keep field-meetings hereafter.
The lords refused this equitable request, or, as Fountainhall
expressed it, “repelled their exculpation in respect of the libel,” and,
on the 28th of July, their trial proceeded. They were accused of
having been in the rebellion and in company with rebels, who, in May
last, burned the king’s laws; that they had preached at several field-
conventicles where persons were in arms; that they did preach, pray,
and exercise to rebels, and continued with them till their defeat, and
had been taken prisoners.
Their own confessions, that of Kid emitted under torture, were the
only evidence produced against them, and coincided with what they
had offered to prove. It was deemed sufficient that they had been
with the rebels, and, notwithstanding any extenuating circumstances,
must therefore be deemed rebels themselves. The jury brought them
in guilty, in terms of their own confession; and the lords sentenced
them to be taken to the market cross of Edinburgh upon Thursday,
August 14, betwixt two and four of the clock in the afternoon, and to
be hanged on a gibbet; and when dead, that their heads and right
arms be cut off and disposed of as the council think fit; and that all
their land be forfeited, as being guilty of the treasonable crimes
foresaid. The judges themselves were so convinced of the peculiar
hardship of the case, that they allowed this unusual space between
sentence and execution, on purpose that they might have time to
apply for a remission, and Mr Stevenson, a friend of theirs, rode post
to London to apply for it; but all the avenues to mercy were shut. An
evil influence pervaded the whole court; and it is worthy of remark,
and ought never to be forgotten, that the most gay, most boisterously
mirthful, most joyous, and most irreligious court, headed by the most
facetious and witty monarch that ever sat upon the British throne,
was the most unfeeling, cold-hearted, cruel, revengeful, and vile that
has ever disgraced the annals of our country.
An act of indemnity had been passed; and it might naturally have
been supposed that these good men would have received the
advantage of it, but the very day on which it was to be proclaimed,
was the day chosen on which they were ordered to be executed; so
dead to every sense of common decency, as well as of common
feeling, were the then rulers of Scotland. In the forenoon of the 14th
of August, the magistrates of Edinburgh proceeded to the cross in
their robes, and proclaimed the indemnity from a scaffold erected for
the purpose. In the afternoon, these two worthies, on another
scaffold, were put to death, as if to declare the entire worthlessness
of all government clemency, whenever persons of unflinching
principle were concerned. They both died with much calmness and
serenity; and their dying speeches, which were afterwards published,
may well rank with any of the compositions of the times, for elegant
simplicity, honest integrity, and a plain energetic avowal of their
principles, untainted either by party prejudice or political enthusiasm.
Mr Kid, who was labouring under sore bodily indisposition, said—“It
may be that there are a great many here that judge my lot very sad
and deplorable, I must confess, death in itself is very terrible to flesh
and blood; but as it is an outlet to sin, and an inlet to righteousness,
it is the Christian’s great and inexpressible privilege.
“And give me leave to say this, 1st, That there is something in a
Christian’s condition that can never put him without the reach of
unsufferableness, even shame, death, and the cross being included
in the promise. And if there be reconciliation between God and the
soul, nothing can damp peace through our Lord Jesus Christ; it is a
supporting ingredient in the bitterest cup and under the sharpest and
fiercest trial he can be exposed unto. This is my mercy, I have
somewhat of this to lay claim unto, viz. the intimations of pardon
betwixt God and my soul; and as concerning that for which I am
condemned, I magnify his grace that I never had the least challenge
for it, but, on the contrary, I judge it my honour that ever I was
counted worthy to be staged upon such a consideration. I declare
before you all, in the sight of God, angels, and men, and in the sight
of the sun and all that he has created, that I am a most miserable
sinner, in regard of my original and actual transgressions. I must
confess they are more than the hairs upon my head, and altogether
past reckoning; I cannot but say, as Jacob said, I am less than the
least of all God’s mercies; yet, I must declare, to the commendation
of the freedom of his grace, that I dare not but say, He has loved me
and washed me in his own blood; and well’s me this day that ever I
read or heard that faithful saying, ‘Jesus Christ came into the world
to save sinners, of whom I am the chief.’”
He then warned the servants of God against fomenting divisions to
the detriment of the gospel, especially as there appeared at that time
a great likelihood of its spreading, and dissension would prove a
poison in the pot! “As for rebellion against his majesty’s person or
lawful authority, the Lord knows my soul abhorreth it, name and
thing. Loyal I have been and wills every Christian to be so; and I was
ever of this judgment to give to Cesar the things that are Cesar’s,
and to God the things that are God’s.” This excellent man and his
most worthy coadjutor, not only had to suffer from the oppression of
the oppressors, but from what to them was probably more trying, the
cruel scourge of tongues from those they wished to esteem brethren.
He therefore felt himself called upon to vindicate his character from
these aspersions, and to leave a record of the doctrine he had
preached. “According to the measure God has given me,” he
continues, “it was my endeavour to commend Christ to the hearts
and souls of the people, even repentance towards God, and faith
towards our Lord Jesus Christ; and if this be devisive preaching, I
cannot deny it.”
Mr King expressed himself to the same effect. “I bless the Lord,”
said the dying martyr, “since infinite wisdom and holy providence
hath so carved out my lot to die after this manner, that I die not
unwillingly, neither by force; and though possibly I might have
shunned such an hard sentence, if I had done things that, though I
could, I durst not do; no, not for my soul, I durst not, God knoweth,
redeem my life by the loss of my integrity. I bless the Lord that, since
I have been a prisoner, he hath wonderfully upholden me, and made
out that comfortable word, ‘fear not, be not afraid; I am with thee, I
will uphold thee by the right hand of my righteousness.’ I bless his
name that I die not as a fool dieth, though I acknowledge I have
nothing to boast of myself. I acknowledge I am a sinner, and one of
the chiefest that have gone under the name of a professor of
religion; yea, amongst the unworthiest of those that have preached
the gospel. My sins and corruptions have been many. I have no
righteousness of my own; all is vile, like filthy rags. But blessed be
God there is a Saviour of sinners, Jesus Christ the righteous, and
that through faith in his righteousness I have obtained mercy;
through him only I desire to hope for, and to have a happy and
glorious victory over sin and satan, hell and death; that I shall attain
to the righteousness of the just, and be made partaker of eternal life.
I know in whom I have believed, and that he is able to keep that
which I have committed to him against that day. I have in my poor
capacity preached salvation in his name; and as I have preached, so
do I believe. With all my soul I have commended, and yet I do
commend, to all of you the riches of his grace and faith in his name,
as the alone and only way whereby ye can be saved. As for those
things for which sentence of death is passed against me, I bless the
Lord, rebellious I have not been. He who is the searcher of hearts,
knoweth that neither my design nor practice was against his
majesty’s person and just government. I have been loyal, and do
recommend it to all to be obedient to higher powers in the Lord.
“That I preached at field-meetings. I am so far from acknowledging
that the gospel preached that way was a rendezvousing in rebellion,
as it is termed, that I bless the Lord ever he counted me worthy to be
a witness to such meetings, which have been so wonderfully
countenanced and owned, not only to the conviction, but even to the
conversion of many thousands: if I could have preached Christ and
salvation in his name, that was my work, and herein have I walked
according to the light and rule of the word of God, and as it did
become—though one of the meanest—a minister of the gospel.”
Both bore witness to the doctrine and worship, discipline and
government, of the church of Scotland by kirk-sessions and
presbyteries, synods and general assemblies, to the solemn
covenants, also to the public confessions of sins and engagements
to duties, and that either as to what concerned personal reformation,
or the reformation of the whole land. They also bore witness and
testimony against popery, which had so greatly increased, was so
much countenanced, and so openly professed. The causes of God’s
wrath with the land were particularly noticed and specified by Mr
King:—1st, The dreadful slights our Lord Jesus has received in the
offers of his gospel. 2d, The horrid profanity that had overspread the
whole land. 3d, The horrid perjury in the matter of vows and
engagements. 4th, The dreadful formality and supineness in the
duties of religion. 5th, Awful ingratitude, what do we render to Him for
his goodness? 6th, Want of humility under afflictions. 7th, Dreadful
covetousness and minding of our own things more than the things of
God; and this among all ranks.
But they both departed, praying for Scotland, and rejoicing in the
faith that there would be a resurrection of the name, word, and cause
of Christ in their beloved country; and their last aspirations were, “O!
that he would return to this land again! repair our breaches, and heal
our backslidings! O! that he were pacified towards us! O! that he
would pass by Scotland again, and make our time a time of love!”
Their heads and right hands were, agreeably to their sentence, cut
off, and had the honour of being placed beside those of the
venerated Guthrie on the Netherbow Port, to bear witness to heaven,
along with them, against the iniquity of the times.
Five others were next selected for immolation as a propitiatory
offering to the shade of the grand apostate. Thomas Brown,
shoemaker, Edinburgh; Andrew Sword, weaver, Kirkcudbright; John
Clide, Kilbride; John Waddel, New Monkland; and James Wood,
Newmills—charged with being accomplices in the murder of
Archbishop Sharpe, although none of them were in that part of the
country at the time when it happened—were accordingly brought
before the justiciary on November 10th. Their indictment, as now
became the custom, enumerated as charges against them all the
occurrences which had taken place during the rising, aggravated by
fictitious circumstances of the most revolting nature, i. e. throwing
out of their graves the dead bodies of such children as belonged to
the orthodox clergy in Glasgow; commanding, by a most insolent act
of their supremacy and mock judicatory, all the said orthodox clergy
to remove themselves, their wives and families, from the western
shires, under pain of death; and threatening with fire and sword all
such of his majesty’s good subjects as would not join them;
plundering and ravaging their houses, and carrying off their horses
and arms; declining the bond; and finally, and above all, refusing to
call the late rebellion a rebellion.
Previously to proceeding with the trial, the bond was offered to
them judicially, both the crown lawyers and judges upon this as upon
several other occasions appearing to have entertained some
sympathy for the sufferers; but they peremptorily refused to take it,
as they considered that they would thereby have been condemning
the rising at Bothwell, and their own conduct in what they considered
a justifiable assertion of the principles to which they had solemnly
sworn obedience in the covenants. Four of them resolutely avowed
their having appeared in arms at Bothwell, and were of course found
guilty by the jury upon their own confession of that fact alone; yet, by
a strange vindictive perversity, the court sentenced them “to be
carried to the moor of Magus in the sheriffdom of Fife, the place
where his Grace the Archbishop of St Andrews was murdered, upon
the 18th of November instant, and there to be hanged till they be
dead, and their bodies to be hung in chains until they rot, and all
their lands, goods, and gear to fall to his majesty’s use.”
James Wood was only proven by the evidence of some soldiers to
have been taken at or after Bothwell without arms; and as numbers
in that part of the country were known to have gone to the spot as
mere spectators, a humane tribunal would have given them the
advantage of the supposition that they had been present from a
similar motive. But he was included in the same verdict, and doomed
to the same punishment, which was accordingly inflicted at the place
appointed, though some difference appears in the date of the
execution and the date of their dying testimonies, the latter being
dated 25th November, a week beyond the term allowed by the
former, which might have been given to allow of an application to the
king for mercy. If it was, they found none from their earthly
sovereign; but they all died in the humble confidence of being
reconciled to God by Jesus Christ.
Brown, who went up the ladder first, declared, before being turned
off, “if every hair of his head were a man, and every drop of his blood
were a life, he would cordially and heartily lay them down for Christ
and this cause for which he was now sentenced.”
Sword sang the 34th Psalm, and said to the spectators, “I cannot
but commend Christ and his cross to you. I would not exchange my
lot for a thousand worlds!” He had lived four or five score of miles
distant from that place, and never in his life saw a bishop that he
knew to be a bishop.
James Wood also affirmed that he had never been in that part of
the country before, nor seen a bishop in his life! and as to appearing
at Bothwell Bridge, he added, “for my own part, I am so far from
thinking it rebellion, that I bless God I was a man to be there, though
a man most unable for war, and unskilful, because of my infirm arm:
and I bless God that gave me a life to lay down for his cause; and
though in remarkable providence he took not my life in that day, yet
for holy and good ends he spared it to lay it down this day; and I am
so far from rueing any thing that I had done that day in my appearing
for Christ and his cause, that I would heartily wish if I were to live to
see as many men every year gathered together for the defence of
the gospel. I would count it my honour to be with them.” “And now,
my friends, I am not a whit afraid to go up this ladder, and to lay
down my life this day, for it is the best day ever yet mine eyes saw.”
And being up almost to the top of the ladder, plucking up the napkin,
he said, “Now I am going to lay down this life and to step out of time
into eternity, and if I had as many lives as there are hairs on my
head, or drops of blood in my body, I would willingly lay them down
for Christ, and for you all that are here on Christ’s account.”
John Waddel, respecting the bishop’s death, said, “I declare I was
never over the water of Forth in this country before this time.” “I am
sentenced to die here because I would not call it rebellion being with
my friends at Bothwell Bridge, and because I would not take that
bond, binding me hereafter never to lift arms against the king nor his
authority, which thing in conscience I could not do; for, whatever
others think of it, to me it says, that it is a denying of all appearances
for Christ and his cause that hath formerly been; and likewise it says
to me, that we shall never any more lift arms for the defence of
Christ’s gospel against any party whatsoever that seems to oppose
it, which is far from the word of God:—‘If any man draw back, my
soul shall have no pleasure in him,’ and the covenants, National and
Solemn League, which were publicly burnt in our nation—for which
God in his own time will yet arise—which we are bound to maintain.”
“And now, sirs, I am not a whit discouraged to see my three brethren
hanging before mine eyes, nor before all this multitude to pray.” He
then prayed; and being thrown over,
John Clide was brought to the ladder. When he had reached it, he
turned round and said, “I think our being fetched here is like that
which we have in Scripture about what Herodias said to Herod anent
John the Baptist his head, to gratify the unsatiableness of that lewd
woman; nothing would satisfy the lust of our persecutors, but our
blood, and in this manner and place, to gratify the bishop’s friends.
But the ground of my being sentenced is because I was found in
arms with that poor handful at Bothwell Bridge and would not call it
rebellion; and because I would not take that bond, which thing I had
in my offer, and my life upon the taking of it; and was threatened by
some to take it, and allured and persuaded by others, which I could
not in conscience do, because it binds me hereafter that I should not
appear for Christ and his cause. I durst not do it, for I was not sure of
my life, no not one moment; and I durst not procure the wrath of God
at such a rate; for I judge the loss of my soul to be more dreadful
than the loss of the life of my body, and likewise that it is more
hazardful the offending of God than gaining the greatest advantage
in the world.
“I could not stay at home, but judged it my duty to come forth; for I
could not see how I could evite that curse—‘Curse ye, Meroz; curse
ye bitterly those that would not come out to the help of the Lord
against the mighty.’ And I bless the Lord for keeping me straight. I
desire to speak it to the commendation of free grace; and this I am
speaking from my own experience, that there are none who will
lippen to God and depend upon him for direction, but they shall be
keeped straight and right; but to be kept from tribulation, that is not
the bargain; for he hath said that through much tribulation we must
enter the kingdom, for he deals not with us as satan does—for satan
lets us see the bonniest side of the tentation, but our Lord Jesus lets
us see the roughest side and the blackest. After that, the sweetest
thing comes! And he tells us the worst that will happen to us; for he
hath not promised to keep us from trouble, but he hath promised to
be with us in it, and what needs more?
“I bless the Lord for keeping me to this very hour: little would I
have thought a twelvemonth since that the Lord would have taken
me a poor ploughman-lad, and have honoured me so highly, as to
have made me first appear for him and then keep me straight; and
now hath keeped me to this very hour to lay down my life for him.” At
the ladder foot, he addressed his brother and other relatives who
were standing and weeping around him—“Weep not for me, brother;
but weep for the poor land, and seek God, and make him sure for
yourself, and he shall be better to you than ten brethren. Now,
farewell, all friends and relations; farewell, brother, sister, mother.
Welcome, Lord Jesus; into thy hands I commit my spirit!” And then
lifting the napkin off his face, he said, “Dear friends, be not
discouraged because of the cross, nor at this ye have seen this day,
for I hope you have seen no discouragement in me, and you shall
see no more!”
While these sanguinary proceedings were going forward, the
Scottish rulers were not less assiduous in the more lucrative
departments of persecution, rendering even their acts of indemnity or
indulgence the means of pecuniary oppression; for the conditions
upon which these were granted were so hard, and the penalties for
their infraction so severe, that few would accept of them, and those
who did, found them both burthensome to their conscience and
heavy on their purse, as a common requisition was, that the parties
should bind themselves, their families, and dependants, under a
specified sum, to regular attendance on the ordinances and implicit
compliance with all the injunctions of the established clergy, nor
harbour or hold any communication with those who acted otherwise.
Absence from the parish church, if accompanied with any suspicious
symptoms, constituted rebellion; and associating with rebels, was
construed into the same offence, punishable by death, but
commutable by fining or confiscation of rents, money, and
moveables; so that pretexts were never wanting for plundering the
Presbyterians, wherever “the honest party” were possessed of
property.
More effectually to scour the country, the justiciary was required to
divide into two sections or circuit courts; the one to traverse the west
and south, the other the north and east. By a proclamation sent
before them, the proprietors or occupiers of the lands on which any
of the rebels lived, were required to apprehend and imprison them till
the courts arrived, when they were to present them for prosecution;
and if they should be either under hiding or fugitive themselves, their
wives, children, and servants were to be ordered off the ground.
Clerks were sent before to take up lists of all who were named in the
proclamation, or should be informed against as having been at field-
conventicles, or having threatened, robbed, or abused the orthodox
clergy, who were all to be summoned and examined upon oath
respecting their possessions in lands, money, and bonds, in order
that the proceeds might be forthcoming in case they should be found
guilty. Witnesses were to be prepared and held in readiness—
sixteen in every rural parish, and twenty-four in every royal burgh or
burgh of barony, who were to give information, under a penalty of
forty pounds Scots, of all who had been at Bothwell, or who had
harboured any that were there. They were also to name all whom
they heard or suspected of being there. The sheriffs and justices of
peace were exceedingly active in searching out the proper victims
for spoliation, and so rigid in their duty, that they included several in
their rolls who had been dead or left the place some time before. The
curates were very zealous; and their diligence in this business,
contrasted with their carelessness in their spiritual functions, did not
tend much to exalt their characters or endear their office. Extensive
as the range of sedition had been made, yet were the insatiable
managers unsatisfied. They therefore had recourse to an old statute,
long in dissuetude, by which all who did not attend the king’s host
were liable to be punished with death; and changing the award into a
pecuniary mulct, they with rigorous impartiality fleeced the lieges in
all the devoted counties where there had been the smallest
symptoms of discontent.
In October, the circuit-courts commenced their operations; but, as
they either kept no record of their proceedings, or these records
have been destroyed, the particulars of their extortions are but
imperfectly known, only the general devastation they spread was
long remembered; the absent heritors were denounced, and
numbers of them forfeited, whose estates were bestowed upon
noblemen, gentlemen, and soldiers, as rewards for their ready and
unflinching obedience to the most cruel and barbarous decreets of
the council, which the greater part of them kept hold of till the
Revolution restored them to their rightful owners.
Besides this, the council gifted the moveables of such as were
reported to have been at Bothwell, which laid the whole of those who
were known to favour Presbyterian principles open to the most
vexatious visitations; for the donators, to whom was committed “the
uplifting of the spulzie,” literally “rode upon the top of their
commissions,” exacting to the utmost, and, by returning oftener than
once, frequently subjected the same persons to repeated pillage for
the same accusation. Another source of wealth to the banditti who
now ravaged Scotland, was the compositions of the fines paid to the
clerks, or largesses to the officers, to escape the rifling searches of
the soldiers, who, whenever they chose, could enter the houses of
the most peaceable and destroy their furniture by casting it about,
and rip up and render useless their beds and bedclothes, by
thrusting them through with their swords, to find if any “cursed
Whiggs” were concealed among them. The shires of Lanark and Ayr
were peculiarly harassed—shires which, by every principle of sound
policy, ought to have been peculiarly favoured, as they were the
most industrious and wealthy, but unfortunately they were also
reputed the most pious. Wretched as the country was, yet years
more grievous followed. Monmouth while there had acted with as
much moderation as circumstances would permit, and discouraged
as far as possible the virulent spirit of clerical domination which the
bishops and curates were so eager to display. When he went to
London, he had carried with him very favourable impressions of the
Scottish character, and was desirous to infuse somewhat of his own
kindness into the councils of his father. Before he left Edinburgh,
upon receiving a petition to present to the king, he said, “I think if any
place get favour, it should be Scotland; for a gallanter gentry and
more loving people, I never saw;” and previous to setting out, he
procured what was termed the third indulgence, which was published
at Edinburgh by proclamation, June 29. By it, ministers were
prohibited under pain of death from holding field-conventicles, and all
who attended were to be deemed traitors; but all laws against house
conventicles south of the Tay, were suspended, “excepting the town
of Edinburgh and two miles round about the same, with the lordships
of Musselburgh and Dalkeith; the cities of St Andrews, Glasgow, and
Stirling, and a mile about each of them; being fully resolved not to
suffer the seat of OUR government nor OUR universities to be
pestered with any irregularities whatsoever.” One preacher was to be
allowed to each parish upon giving in their names to the privy council
and finding security for their peaceable behaviour, provided they had
not engaged in the late rebellion, nor been admitted, i. e. licensed,
by the unconform ministers; assuring, at the same time, all who
should offend, that we will maintain our authority and laws by such
effectual courses, as, in ruining the authors, could not be thought
rigid, especially after such unmerited favour. “This our forbearance
being to continue only during our royal favour.”
These tokens of kindliness, stinted as they were, proved very
unpalatable to the harpies who were fattening upon the spoils of their
patriotic countrymen; and they immediately unbosomed their
difficulties to their friend Lauderdale, in the form of an inquiring
epistle from the council, dated July 12:—“There being doubts,” say
they, “as to the sense of that clause in the proclamation, June 29,
suspending all letters of intercommuning, and all other executions, if
these words ‘all other executions’ do import that all persons, whether
preachers at field-conventicles, or other persons, who being
ringleaders of these rebellious rendezvouses, and have been seized
according to former proclamations, promising sums of money to the
apprehenders, the imprisoned should be set at liberty or not; and if
such as have been imprisoned till they pay the fines imposed upon
them by sentence of council or other judges, shall also be enlarged
and set at liberty; and if these field-preachers and other persons,
qualified as aforesaid, are to be liberate—they crave his majesty
may declare his pleasure upon what terms and conditions they are to
be liberate.” The answer appears to have been favourable to the
persecuted.
Several ministers who were in prison for holding conventicles, but
had not been at Bothwell, were now set at liberty upon enacting
themselves in the books of privy council for their peaceable
behaviour, and that they would not preach at field-conventicles.
Others, who could not conscientiously enter into such engagements,
were dismissed for the time, upon giving security to appear when
called for. Among these were fourteen prisoners on the Bass, among
whom was Fraser of Brea, who tells us in his memoirs that in twenty-
four hour’s space, they found security for eight hundred pounds; “for
we would not,” he adds, “give obligement not to rise in arms, nor to
forbear field-meetings, because we saw no law for it, and because it
was considered by us dishonourable, and to reflect upon our
ministry.”
Anxious to improve this breathing time, a numerous meeting of
ministers assembled at Edinburgh, August 8, to consider what steps
should be taken, and proceeded to re-organize, as far as in them lay,
the presbyterial form of their broken down and afflicted church; but
before they could realize their intentions, indeed almost ere they
enunciated them, the wind passed over them and they were gone!
Towards the latter end of the same month, Charles was attacked
with fever, and his life supposed in danger. The Duke of York, who
had been obliged by the ascendency of the patriotic party to retire
from court and reside abroad, was immediately sent for and quickly
arrived at Windsor. His sudden appearance took his opponents by
surprise, and, by the influence which he had over his brother, he
effected the fall of Monmouth, who was sent into that exile from
which he himself had so unexpectedly returned. With his elevation,
all hopes of favour towards the Presbyterians vanished, and the
persecution recommenced with renewed fury. A letter from the king,
September 18, announced that he had recalled his commission to
the Duke of Buccleuch and Monmouth as General. On the very next
day, a warrant was granted by the council to Lieutenant-General
Dalziel to apprehend whoever had not taken the bond or who
harboured recusants, and secure them in prison till they be brought
to justice—to dissipate field-conventicles and seize whoever were
present at them; and they indemnify all slaughter or mutilation in
case of resistance. They also granted him power, along with several
others, to sequestrate the rents of lands, sums of money, and
moveables belonging to heritors or others, who came under their
denomination of rebels, in order to prevent their being embezzled!!
The Duke of York paid a short visit about this time to Scotland.
With the characteristic cunning of a papist, who first cajoles before
he ensnares a community, he carried himself towards all with as
great suavity as his severe unyielding temper and ungracious
manner would permit; but he especially cultivated the goodwill of the
Highland chieftains, who had a leaning towards popery, and whose
assistance he counted on to aid him in the contemplated destruction
of a heretical religion, and forcible establishment of his own. Though
admitted to act as a privy councillor, without taking any of the oaths
at the king’s particular desire, he did not publicly interfere with
political matters, but he paved the way for his subsequent rule, and
received from the authorities, particularly the magistrates of
Edinburgh, the homage and honour so readily paid to an heir-
apparent, being feasted sumptuously, and lauded excessively for
excellences which, if he did not, he ought to have possessed, and
which they were willing to suppose his innate modesty alone
prevented him from exhibiting.
BOOK XV.
A.D. 1680.
Perplexity of the moderate ministers—Murder of Mr Hall—Queensferry paper—

Cargill joins Cameron—Sanquhar declaration—Council’s proclamation in reply
—Reflections—Bond—Fresh plunderings by Dalziel—Skirmish at Airs-moss—
Death of Cameron—of Rathillet—Cargill—Torwood excommunication—York
arrives in Edinburgh—Spreul tortured—Skene, Stewart, and Potter executed—
Effigy of the Pope burnt.
Never, perhaps, were men placed in more perplexing and trying

circumstances than the conscientious ministers who durst not
abstain from preaching the gospel as they had opportunity, but who
could neither accept of the fettered indulgences offered them by their
rulers, nor yet “had clearness” to disown a government which they
thought it their duty to disobey. They got no credit from their
persecutors for their professions of loyalty, and were shunned by
their brethren who more consistently followed out the constitutional
principles they had covenanted to preserve. The breach now
became wider by a transaction which also added fresh fuel to the fire
of persecution.
Mr Henry Hall of Haughead, in the parish of Eckford, in Teviotdale
—one of the proscribed who had fled to Holland—having returned in
order to strengthen the hands of Donald Cargill, at that time
assiduously preaching the gospel on the banks the Forth, in Fife,
and Mid-Lothian, attracted the notice of the curates of
Borrowstounness and Carriden, who informed Middleton, a papist,
governor of Blackness Castle, of the movements of these two
distinguished “rebels.” He immediately went in pursuit, followed by
his men in twos and threes to avoid suspicion. Tracking them to a
house in Queensferry, he introduced himself as a friend, and
requested they might take a glass of wine together, to which they
agreed, when he, throwing off his mask, told them they were his
prisoners, and commanded the people of the house, in the king’s
name, to assist. None, however, paid any attention, except one
Thomas George, a waiter, who came in while Mr Hall was struggling
with the governor—Cargill having made his escape, although
wounded—and striking him on the head with the butt end of his
carabine, mortally wounded him; yet, though in this state, did Dalziel,
whose house of Binns lies in the neighbourhood, on coming to the
spot, order him to be carried to Edinburgh. As might have been
expected, he died upon the road. For three days his body lay
exposed in the Canongate jail, till at last its putrescence forced the
wretches to allow his friends to carry it away and bury it under cloud
of night.
In this gentleman’s pocket was found an unsubscribed paper,
which, from the place where he was murdered, has usually been
called “The Queensferry Paper.” It was merely notes, or rather a
rude draught of a declaration, in which, after stating their adherence
to the doctrine of the reformed churches, as contained in the
covenants, and their determination to persevere in it to the end, they
bound themselves to endeavour to their utmost the overthrow of the
kingdom of darkness, and whatsoever is contrary to the kingdom of
Christ, especially idolatry and popery, will-worship, prelacy, and
erastianism; and, in order to attain this end, they renounced their
allegiance; rejecting those who had rejected God, altered and
destroyed the established religion, overturned the fundamental laws
of the kingdom, and changed the civil government into a tyranny.
Then they proposed to set up governors and a government
according to the word of God, ‘able men, such as fear God; men of
truth, hating covetousness;’ and no more to commit the government
to one single person, or a lineal succession, that kind being liable to
most inconveniences and aptest to degenerate into tyranny; at the
same time, obliging themselves to defend each other in their
worshipping of God, and in their natural, civil, and divine rights and
liberties.
Cargill, upon his escape, fled south, and joined Mr Richard
Cameron and the wanderers who followed him, and were outlawed,
and declared rebels. After much deliberation, they finally agreed
upon a declaration and testimony, suitable to the melancholy
appearance of the times and the distressed state of the church,
which Michael Cameron, accompanied by about twenty persons
armed, carried to the small burgh of Sanquhar, read, and afterwards
affixed to the cross, on the 22d of June 1680. This declaration, which
was in substance the same as “The Queensferry Paper,” after stating
that they considered “it as not among the smallest of the Lord’s
mercies to this poor land, that there had always been some who had
given their testimony against every course of defection, which they
reckoned a token for good that he did not intend to cast them off
altogether, but to leave a remnant in whom he would be glorious, if
they through his grace kept themselves clean and walked in his
ways, carrying on the noble work of reformation in the several steps
thereof, both from popery and prelacy, and also from erastian
supremacy, so much usurped by him, who,” they add, “it is true, so
far as we know, is descended from the race of our kings; yet he hath
so far deborded from what he ought to have been by his perjury and
usurping in church matters, and tyranny in matters civil, that although
we be for government and governors such as the word of God and
our covenants allow, yet we for ourselves, and all that will adhere to
us, the representatives of the true Presbyterian church and
covenanted nation of Scotland, considering the great hazard of lying
under sin any longer, do by these presents disown Charles Stuart,
who hath been reigning, or rather we may say tyrannizing, on the
throne of Britain, forfeited several years since by his perjury and his
breach of covenant with God and his church. As also, under the
banner of our Lord Jesus Christ, the Captain of our salvation, we do
declare war with such a tyrant and usurper.” “As also, we disown and
resent the reception of the Duke of York, a professed papist, as
repugnant to our principles and vows to the most High God, and as
that which is the great, though, alas! the just reproach of our church.
We also protest against his succeeding to the crown, as against

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