Quaternary,
24 parts Red, 16 parts Yellow, 24 parts Blue
25 parts Blue, 23 parts Red, 16 parts Yellow
26 parts Blue, 22 parts Red, 16 parts Yellow
27 parts Blue, 21 parts Red, 16 parts Yellow
28 parts Blue, 20 parts Red, 16 parts Yellow
29 parts Blue, 19 parts Red, 16 parts Yellow
30 parts Blue, 18 parts Red, 16 parts Yellow
31 parts Blue, 17 parts Red, 16 parts Yellow
[Illustration]
131. One who attempts to make color compositions with no more reliable
guide than taste can expect to accomplish no more than he who in music
possesses a good ear but no musical training.
132. The note of discord in color is best avoided by an infallible
guide, as the discord in music is best avoided by thorough training in
the law of harmony. The color chart on page 73 has been so arranged that
each of the shades is in exact harmony with the shade directly opposite.
133. For example, to ascertain the color that is in harmony with the
shade denominated Red-Orange, it is necessary simply to lay a ruler
across the diagram to find the corresponding harmony, which is
Blue-Green.
134. We know that the primary colors are red, yellow and blue, and that
the combination of any two of these gives a secondary color. The
secondary color is the complement of the remaining third color; thus
yellow and blue form green, and green is the complement or contrasting
harmony of red. Red and yellow form orange, and orange is the complement
of blue. Blue and red form violet, and violet is the complement of
yellow. These are facts we all know. Now, if red is the complement or
contrasting harmony of green, and yellow contrasts with violet, then red
with one, two or three degrees of yellow added will contrast with green
with one, two or three degrees of blue added.
Assume, for example, that a decorator dealing with a red side-wall
wishes upholsterings in the correct shade of green. He knows he has a
red wall, he knows also that he wishes to use some shade of green, but
without some fixed standard it is impossible for him to do more than
approximate the correct shade of green to use. If, however, he could
compare the red of his wall with his color chart and determine exactly
which of the many shades of red, or which of the many yellow reds, or
blue reds, the wall is toned in, it is a simple process to ascertain the
exact green harmonizing with this red.
The second great use of the color chart is then an infallible guide to
color harmony, whether analagous or contrasting.
OLD
SYSTEM| R |RRO|RO |ROO| O |OOY| OY|OYY| Y |YYG| YG|YGG| G |GGB| GB|
------|===|===|===|===|======|===|===|===|======|===|===|===|=====|===|===|
NEW | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10| 11| 12| 13 | 14| 15|
SYSTEM|RED|R 7|R 6|R 5|ORANGE|R 3|R 2|R 1|YELLOW|Y 7|Y 6|Y 5|GREEN|Y 3|Y 2|
| |Y 1|Y 2|Y 3| |Y 5|Y 6|Y 7| |B 1|B 2|B 3| |B 5|B 6|
+---+---+---+---+------+---+---+---+---+--+---+---+---+-----+---+---+
H[A]| |56R|48R|40R| 32R |40Y|48Y|56Y| |56Y|48Y|40Y| 32Y |40B|48B|
NORMAL| 64| | | | | | | | 64 | | | | | | |
LINE | | 8Y|16Y|24Y| 32Y |24R|16R| 8R| | 8B|16B|24B| 32B |24Y|16Y|
+---+---+---+---+------+---+---+---+---+--+---+---+---+-----+---+---+
I[B]|56R|49R|42R|35R| 28R |35Y|42Y|49Y| 50Y |49Y|42Y|35Y| 28Y |35B|42B|
| | 7Y|14Y|21Y| 28Y |21R|14R| 7R| | 7B|14B|21B| 28B |21Y|14Y|
| 8W| 8W| 8W| 8W| 8W | 8W| 8W| 8W| 8W | 8W| 8W| 8W| 8W | 8W| 8W|
+---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
J|48R|42R|36R|30R| 24R |30Y|36Y|42Y| 48Y |48Y|36Y|30Y| 24Y |30B|36B|
| | 6Y|12Y|18Y| 24Y |18R|12R| 6R| | 6B|12B|18B| 24B |18Y|12Y|
|16W|16W|16W|16W| 16W |16W|16W|16W| 16W |16W|16W|16W| 16W |16W|16W|
+---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
K|40R|35R|30R|25R| 20R |25Y|30Y|40Y| 40Y |35Y|30Y|35Y| 20Y |25B|30B|
| | 5Y|10Y|15Y| 20Y |15R|10R| 5R| | 5B|10B|15B| 20B |15Y| |
| W|24W|24W|24W| 24W |24W|24W|24W| 16W |24W|24W|24W| 24W | | |
+---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
L|32R|28R|24R|20R| 16R |20Y|24Y|28Y| 32Y |28Y|24Y|20Y| | | |
| | 4Y| 8Y| 8Y| 16Y |12R| 8R| 4R| | 4B| 8B| | | | |
|32W|32W|32W|32W| 32W |32W|32W|32W| 32W |32W| | | | | |
+---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
M|24R|21R|18R|15R| 12R |15Y|18R|21Y| 24Y | | | | | | |
| | 3Y| 6Y| 9Y| 12Y | 9R| 6R| | | | | | | | |
|40W|40W|40W|40W| 40W |40W| | | | | | | | | |
+---+---+---+---+------+---+---+---+------+---+---+---+-----+---+---+
A color is indicated by the intersection lines perpendicular and
horizontal.
[A] This line shows the colors of the normal scale running from Red (R)
to Yellow (Y) to Blue (B) to Red (R).
[B] This line and all below it show the same primary and secondary
colors lightened by added white.
#ARTIFICIAL LIGHTING#
135. In considering artificial light, we will avoid all efforts to
analyze the different forms of energy, magnetic energy, electric energy,
heat energy, mechanical momentum, radiating energy, and deal with result
rather than with cause and effect. It will be sufficient to state as the
deduction of the scientist that certain waves or vibrations which affect
the fibers of the optic nerve are transmitted by the brain into color.
(¶ 3.) Self-luminous bodies are bodies which produce light. Illuminated
bodies shine by borrowed light, and are distinguished by the different
amounts and quantities of light which they reflect. A dense cloud which
appears nearly black when between the observer's eye and the sun, owing
to the degree of density with which it intercepts the light, may become
brilliantly white when the sun's rays fall upon its constituent
particles, for the light which cannot penetrate the cloud is continually
reflected to and from the surface of its minute parts. Thus it happens
that the lower part of a cloud seen against a background of dark
mountain may appear white, while the upper part may appear dull gray. In
the alteration of reflection we have an alteration of color. A stick of
sealing wax will show in some positions white reflected light, while in
other positions we see only the red. A polished plane furnishes one kind
of reflection, a piece of chalk another.
136. The decorator has for years past been disposed to defer to the
illuminating engineer in the artificial lighting of a home. But while
the technical man or engineer may have a knowledge of power and energy,
he has not studied the decorative value of lighting. His problem has
been economic rather than psychologic. The illuminating engineer cannot
be expected to appreciate fully the harmonies of color in decoration.
137. It is the decorator's province to consider not only the power of
light in the furnishing of a house, but the character of the light--not
only its color influence, but the structural character of its
introduction, as affecting these furnishings. It is beyond his province
to determine whether carbon should be replaced by tantalum, osmium or
tungsten to get higher efficiency, but he must understand the effects of
these lights and prescribe accordingly.
#ABSORPTION AND REFLECTION#
138. The architect who designates the number and location of outlets for
the lighting sources, and specifies the candle-power of the lamps, knows
nothing of the ultimate decoration of the house. Very often the
specifications are finished before the color scheme has been decided
upon, and as a result the degree of illumination either falls short of
what is needed in case of dark-colored interiors, or proves excessive
with light-tinted rooms. The architect works from one point, economy,
the decorator from another, aesthetic; while the householder, the
consumer who pays the illuminating bills, cannot comprehend why his
lighting bills increase as his taste for luminous or dark-colored
furnishings is gratified. Many houses are left in the white plaster for
a year or more until the plaster settles. In this condition a small unit
of light is sufficient, but when the decorator completes his work,
adding fabrics and wall-papers which absorb and diminish the light, the
householder, unaware of the cause, notices a material increase in his
bills for illumination. These facts must be understood to be remedied,
and it remains for the illuminating engineer to determine by direct
experiment the value of any light as it affects and influences color, as
well as the value of color as it affects light. It may be assumed
without danger that the softest light is that of the candle, but we are
not living in the candle age, and have to deal with either gas or
electricity as the main illuminating agents.
139. We have to consider the mercury arc light, the yellow flame carbon,
the white magnetite and titanium arc--all of high efficiency, giving
orange yellow in the flame-carbon to yellow and yellow white in the
acetyline of the tungsten filaments. Then we have the greenish yellow of
the Welsbach mantle, the bluish green of the mercury arc, the yellowish
white of the carbon arc, as well as the clear white of the titanium
arc.
140. The subject may be divided into three heads: Quality, or
approximation to natural light. Quantity, as demanded by reflection or
absorption. Installation, diffusion or mechanical distribution.
141. Normal light is the light of general diffusion in daylight, and
when we can find an artificial light that has the character of natural
light we will have what is obviously the best illuminant for the home.
Bear in mind that natural light as it appears out of doors is materially
altered when indoors by the presence of different planes and angles,
which cast and receive various depths of shadow; the quality required is
that which will provide illumination without glare. The sun's rays are
softened and mellowed by the depth of air through which they pass, and
it is this mellowness that is the chief requisite in illumination.
Good decorative illumination does not mean illumination that reveals
every hidden corner of a room. We need shadows to betray form, relieve
monotony and give depth to the _ensemble_. If in an illuminated area
light is of a uniform intensity, we have a bad effect. The variation of
tone in a fabric is due to the light reaching it from a given point.
Differences in intensity make shadows and tones.
142. The illuminating engineer treats the home as he treats a public
hall. He ignores the individuality of the room; the ball-room and the
sickroom are lighted alike. He does not always consider the diminished
force of light as it passes through a refracting surface, for it must be
borne in mind that any method of indirect lighting by refraction is apt
to cause a loss of volume. The use of various kinds of globes or lamp
shades must all be considered. A light-colored wall reflects
illumination, a dark-colored wall absorbs it; hence the amount of
illumination is increased or diminished by the color of the walls.
#LIGHT EFFECT ON COLOR#
143. To illuminate a city, with the dull grim environment of streets and
houses, a soft yellow glow will give warmth and tone; the greenish
yellow of the Welsbach or the blue green of the mercury arc may even be
desirable, but the same green or violet rays are ghastly in a house, and
should never be permitted.
144. The warm glow of the yellow light, while pleasing to the
complexion, is, however, objectionable as disturbing the color
composition of dress or furnishings. A gaslight sends a yellow glow over
all that it reaches, and has the same effect as the introduction of
yellow into every color tint in the room. The walls that are red take on
a scarlet hue; the scarlet ones are yellowed to orange; the blues become
greenish.
145. In order that the decorator may more readily grasp the subject, we
have arranged a table showing the color changes effected by rays of
yellow, blue, green and violet:
Orange rays falling on white make it appear orange.
" " red it appears reddish-orange.
" " orange it appears deeper orange.
" " yellow it appears orange-yellow.
" " green it appears dark yellow-green.
" " blue it appears dark reddish-gray.
" " violet it appears dark purplish-gray.
" " black it appears brownish-black.
Yellow rays falling on white make it appear yellow.
" " red make it appear orange-brown.
" " orange make it appear orange-yellow.
" " yellow make it appear deeper yellow.
" " green make it appear yellowish-green.
" " blue make it appear slaty-gray.
" " violet make it appear purplish-gray.
" " black make it appear olive-black.
Green rays falling on white make it appear green.
" " red make it appear yellowish-brown.
" " orange make it appear grayish-leaf-green.
" " yellow make it appear yellowish-green.
" " green make it appear deeper green.
" " blue make it appear bluish-green.
" " violet make it appear bluish-gray.
" " black make it appear dark greenish-gray.
Blue rays falling on white make it appear blue.
" " red make it appear purple.
" " orange make it appear plum-brown.
" " yellow make it appear yellowish-gray.
" " green make it appear bluish-green.
" " blue make it appear deeper blue.
" " violet make it appear bluer.
" " black make it appear bluish-black.
Violet rays falling on white make it appear violet.
" " red make it appear purple.
" " orange make it appear reddish-gray.
" " yellow make it appear purplish-gray.
" " green make it appear bluish-gray.
" " blue make it appear bluish-violet.
" " violet make it appear deeper violet.
" " black make it appear violet-black.
146. The pale tints of electric lights, which make every face in a room
look ghastly, will affect quite as disastrously every soft color in the
furnishings. In ordinary gaslight a pair of white gloves looks yellow,
and we have seen Welsbach lamps which threw out a violet-blue
illumination, depressing in the extreme. Under a yellow glow, blues,
greens, violets and purples are greatly changed. Under a violet glow,
yellows and greens are ruined. To see all colors in about the same value
that they possess by daylight one must have a light in which no color
tone is apparent.
The question as to the disposition and intensity of the lights is of
vital importance, and must be considered with the requirements of each
particular room in mind.
147. For the drawing-room and reception-room it is desirable that all
parts of the room be evenly lighted, without a pronounced glare in any
particular part of the room. One of the most effective ways of
accomplishing this is by distributing the lights around the room, either
on the ceiling, in the cove or above a wide molding, so that the ceiling
acts as a reflecting agent, and distributes an even tone of light to all
parts.
#ILLUMINATION#
148. For the dining-room and living-room a different plan must be used,
because of the different requirements. The table is usually in such
rooms the chief feature of the furnishings, and it is customary to focus
upon it the main body of light. While this is obviously necessary, the
surroundings must not be ignored; neither is it possible to raise the
center light to such a height that its radiation may reach all parts of
the room, because in so doing the light reaches the eye at an extremely
unpleasant angle. The drop fixture should be low enough to effectively
light all parts of the table, while at the same time its shade should
screen the light from the eyes of the room's occupants. To illuminate
the surrounding parts of the room other lights should be distributed
where they will most effectively supply what further illumination is
required.
149. For the bedroom or boudoir the location of the lights should also
be subordinated to the purposes of the room, and in addition to
providing sufficient illumination to the entire area, special
illumination should be provided for the mirrors and the dressing-table.
The lights for the mirrors should be planned to illuminate the person
and not the image.
150. For large reception-rooms in hotels and public institutions the
plan is frequently adopted of having all light provided by small table
lamps with opalescent shades. These provide a medium glow throughout the
entire room that is pleasing, and avoid entirely the garishness usually
associated with such rooms. One of the mistakes of the day is the use of
high-power lights, which are so intense that they require to be screened
or shaded, involving waste of light and concentrating an unnecessary
amount of illumination upon a narrow sphere.
#REFLECTIVE POWER OF COLOR#
The following table will give an idea of the percentage of light
reflected from ordinary wall-hangings and papers:
Per Cent.
Reflection
White blotting-paper .82
White cartridge-paper .80
Ordinary foolscap .70
Ordinary newspaper .50 to .70
Chrome yellow paper .62
Orange paper .50
Yellow wall-paper .40
Yellow painted wall (clean) .40
Tracing cloth, pale blue .35
Light pink paper .36
Blue paper .25
Emerald green .18
Dark brown paper .13
Vermilion paper .12
Blue green paper .12
Cobalt blue paper .12
Black paper 0.5
Deep chocolate paper 0.4
French ultramarine blue paper 3.5
Black cloth 1.2
Black velvet 0.4
151. It is very difficult to select practical artificial illuminants,
because of the various color properties possessed by each. A Welsbach
mantle, which gives a greenish tint, is pretty sure to alter the
character of any color other than green. Incandescent electric light, as
well as ordinary gaslight, contains a yellow tint.
#THE COLOR OF ARTIFICIAL LIGHTS#
152. In planning or matching colors for a room, it is best to consider
the purpose for which the room is to be used, and match the colors under
the same light conditions that will prevail in the finished room.
Deep, full colors are less affected by the shadings in artificial
illuminants than lighter tones of the same color.