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
182. 1. _Yellow and Violet_ form an arrangement which, as regards
depth of tone, is most distinct, since the least intense or lightest
colour, the yellow, is separated from the others. Because of this
great contrast of tone, the deep, but pure, greenish-yellow combines
better with light violet, than light yellow and deep violet. 2. The
arrangement, _white, yellow, violet, white_, &c., appears to me
inferior to the preceding arrangement (1). 3. The arrangement, _white,
yellow, white, violet, white_, &c., seems to me inferior to 2.
C. _Ternary Assortments of Colours not complementary with White._
183. 1. Red and orange do not accord well. 2. The arrangement, _white,
red, orange, white_, &c., is scarcely preferable. 3. The arrangement,
_white, red, white, orange, white_, &c., is not so bad as the
preceding, because white being favourable to all the colours, its
interposition between the colours which injure each other, can only
produce an advantageous effect.
184. _Red and Yellow_ accord pretty well, especially if the red is
purple-red rather than scarlet, and the yellow rather greenish than
orange. 2, The arrangement, white, red, yellow, white, is preferable to
the preceding. 3. The arrangement _white, red, white, yellow, white_,
is still better.
185. 1. _Red and Blue_ accord passably, especially if the red incline
rather to scarlet than to crimson. Deep tones are preferable to
light ones. 2. The arrangement _white, red, blue, white_, &c., is
preferable to 1. 3. The arrangement _white, red, white, blue, white_,
is preferable to the second.
186. 1. _Red and Violet_ do not accord well, yet they are found in some
natural productions, as the sweet pea. 2. The arrangement _white, red,
violet, white_, is not so bad as the preceding. 3. The arrangement
_white, red, white, violet, white_, is preferable.
187. 1. _Orange and Yellow_ accord incomparably better than red
and orange. 2. The arrangement _white, orange, yellow, white_, is
agreeable. 3. The arrangement _white, orange, white, yellow, white_, is
not so good as 2, and perhaps 1, because there is too much white.
188. 1. _Orange and Green_ do not accord well. 2. The arrangement
_white, orange, green, white_, is preferable to 1. 3. The arrangement
_white, orange, white, green, white_, is perhaps preferable to 2.
189. 1. _Orange and Violet_ accord passably, yet not so well as orange
and green; the contrast, in the latter case, is greater than in the
arrangement orange and violet. 2. The arrangement _white, orange,
violet, white_, &c., is preferable to the preceding. 3. The arrangement
_white, orange, white, violet, white_, &c., is preferable to 2.
190. 1. _Yellow and Green_ form an agreeable combination. 2. The
arrangement _white, yellow, green, white_, &c., is still more
agreeable. 3. The arrangement _white, yellow, white, green, white_,
&c., is inferior to the preceding, and perhaps to the first. The
inferiority of 3 seems to me to be caused by too much light for the
_green_.
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