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
W.
Wainscoting for the interior of buildings, 151;
colour of, 155, 156.
White, juxtaposition of coloured surfaces with, 18;
modifications of, 19;
assortments of different colours with, 50, 63;
ternary assortments of colours not complementary with white, 51.
White draperies, 171.
White light, various modifications of, 75 _et seq._
Windows, of coloured glass, 113 _et seq._, 219, 223;
in churches, 147, 149;
of white glass, 148, 149.
Women’s clothing, colours of, 167;
assortment of colours in, according to complexion, 177.
Wood, in the interior of a building, assortments of
colours for, 164.
Wood, definition of a, 186.
Wool, employed in tapestry and carpets, effect of contrast
upon the browns and lights of, 208.
Y.
Yellow, placed beside orange-yellow, 24;
its arrangement with a binary colour, 63.
Yellow and blue, changed by juxtaposition, 27;
assortments of with white, 53;
with black, 57;
with grey, 62;
mixture for coloured threads, 105.
Yellow and green, assortments of with white, 53;
with black, 57;
with grey, 61.
Yellow and grey, effects of juxtaposition of, 22.
Yellow and violet, assortments of with white, 51;
with black, 56;
mixture of, for coloured threads, 107.
Yellow draperies, 170.
Yellow light, modifications produced by, 71.
Yellowish-green, complementary to violet, 19.
Yellowish-orange, complementary to indigo, 19.
THE END.
LONDON:
SAVILL AND EDWARDS, PRINTERS,
CHANDOS STREET,
COVENT GARDEN.
Public-domain text, read in full here on John Shaqi.
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