The laws of contrast of colour : $b and their application to the arts of painting, decoration of buildings, mosaic work, tapestry and carpet weaving, calico printing, dress, paper staining, printing, military clothing, illumination, landscape, and flower gardening, &c.Chevreul, M. E. (Michel Eugène)
Science
The laws of contrast of colour : $b and their application to the arts of painting, decoration of buildings, mosaic work, tapestry and carpet weaving, calico printing, dress, paper staining, printing, military clothing, illumination, landscape, and flower gardening, &c.
Chevreul, M. E. (Michel Eugène)
Color
515. One very remarkable consequence of this is, that the rays of
mutually complementary colours, successively lighting the same object,
concurrently with the diffused daylight, give rise to _the same
coloration_.
516. This may be proved thus:—Between two windows directly opposite to
each other, admitting diffused daylight, place a white plaster figure
in such a position that each half shall be lighted directly by only
one of the windows. On completely intercepting the light of one of the
windows, and hanging a coloured curtain before the other, the figure
appears only of the colour of the curtain; but if we open the other
window, so that the figure is lighted by diffused daylight, while it
is at the same time lighted by the coloured light, we then perceive
some parts white, and some parts tinted with the complementary of the
coloured light transmitted by the curtain.
517. This experiment, then, teaches us, that if a bonnet,
rose-coloured, for example, give rise to a reflection of this colour
on a complexion, the parts thus made rosy by the effect of contrast,
themselves give rise to green tints, since the figure, while it
receives rosy reflections, receives also diffused daylight.
518. To consider the real influence of the bonnet, we place three white
plaster casts of the same model in a position equally illuminated by
daylight; then observe them comparatively, after having clothed the
middle cast with a white bonnet, and the two others with bonnets of
which the colour of one is complementary to that of the other. _In
this way we may satisfy ourselves that the influence of reflection in
colouring a figure is very feeble, even when the bonnet is placed in
the most favourable manner for observing the phenomenon._
519. _Rose-coloured Bonnet._—Rose colour reflected upon the skin is
very feeble, except on the temples; wherever the rosy parts are
contiguous to parts feebly lighted by daylight, the latter will appear
very lightly tinged with green.
520. _Green Bonnet._—Green colour reflected upon the skin is very
feeble, except on the temples; wherever the green parts are contiguous
to parts feebly lighted by daylight, the latter will appear slightly
rosy; the effect of green in colouring it rose, is greater than the
effect of reflected rose in colouring it green.
521. _Yellow Bonnet._—Yellow colour reflected upon the skin is very
feeble, except on the temples; wherever the yellow parts are contiguous
to parts feebly illuminated by daylight, the latter will appear very
sensibly violet.
522. _Violet Bonnet._—Violet colour reflected on the skin is very
feeble, even on the temples; wherever the violet parts are contiguous
to parts feebly illuminated by daylight, the latter will appear
slightly yellow; but this coloration is very feeble, because the
reflections of violet have it themselves.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account