Color Nomenclature&mdashharmonies
9. Color nomenclature includes primary, secondary and tertiary colors, and innumerable hues, shades and tints. All these colors bear relations to one another, either relations of analogy, or relations of contrast.
The Circle Diagram I shows the manner in which the various colors are formed.
DIAGRAM I
The third circle shows how slate, citrine and russet are made. For instance, slate is one part of violet and one part of green. Hence, a tertiary color is made of equal parts of two secondaries.
The outer circle, buff, sage and plum, can be analyzed in the same way.
This Diagram I is arranged to show not only component parts of a color, but the parts that properly harmonize.
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Absorption And Reflection
<p>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... Advancing And Receding Colors
<p>80. Citrine is an advancing color, because while it contains some blue in the green of its composition, it contains a preponderance of yellow and orange; slate is a receding color, because while it contains some yellow in the green of its composi... Artificial Light Application
<p>153. The introduction of light by the medium of a wire, which may be carried to any point in a room, encourages so many possibilities for comfort and effect that it behooves us to forget traditional customs which were established during the gasli... Artificial Lighting
<p>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... Black&mdashwhite&mdashgray
<p>30. We do not wish to be understood as stating that the work of the colorist is solely mechanical; but we would emphasize that the influences of color are very largely the result of studied proportions. The basis upon which one operates must be s... Color Control
<p>158. Mechanical lighting is so easily undertaken that it predisposes one to extravagance. Properly applied, artificial light adds materially to the charm of a room, but with illumination secured by the mere twist of the wrist one is prone to igno... Color In Large Or Small Rooms
<p>26. For a large room well lighted, yellow, red and orange in delicate shades are not as desirable as orange, violet and russet in light shades. This rule, however, may be reversed for a large room that is dimly lighted.</p> <p>A superabundance ... Color Nomenclature&mdashharmonies
<p>9. Color nomenclature includes primary, secondary and tertiary colors, and innumerable hues, shades and tints. All these colors bear relations to one another, either relations of analogy, or relations of contrast.</p> <p>The Circle Diagram I show... Color Proportions
<p>28. But to arrive at proportions we must reduce the circular table to a geometrical table. We must straighten out the lines so that the exact proportions are apparent. We need not confuse the reader by mathematics, but to establish our theory we ... Color Schemes For Rooms Under Normal Conditions
<p>(TN: left page of two page table)</p> <div> <table summary="" border="0" cellpadding="3" cellspacing="0"> <tbody> <tr> <td align="right"></td> <td></td> <td align="left"></td> <td></td> <td ... Color Terms
<p>120. In the study of color and its application authorities differ so materially that it is not only impossible to reconcile their theories, but the different terms used to express color thought create inextricable confusion.</p> <p>121. One au... Color Terms
<p> Broken Color. Color changed by the addition of black, white or gray.</p> <p>Chroma. Color.</p> <p>Cold Colors are colors containing very little, if any, red or yellow.</p> <p>Contrast Analogies. Apparent contrasts of secondary and t... Color Vocabulary
<p>126. In music, a tone which is formed by a certain number of vibrations per second is the same the world over, and each and every tone has a name; but in color no such standards exist. People have attempted to formulate a system by denominating the... Colors That Give Size To A Room
<p>76. The wall and fabric designs must be of a size proportionate to the size of the room. The color treatment of a well-lighted room must be subdued to offset the glare of the natural illumination, and the natural illumination be subdued to soften... Contiguous Harmonies
<p>44. For the lower floor he must arrange his colors so that while they moderate the direct glare of a sunny exposure or brighten the cheerlessness of a north light, they will also form a composition that pleases when seen from a point of common obse... Contrast Analogies
<p>17. Diagram III is of the utmost value to the colorist, illustrating not only the composition of color, but showing the origin of each secondary from the two primaries, the origin of each tertiary from two secondaries, and of each quaternary from... Contrasts
<p>10. In music it is an established fact that certain notes used in pleasing combination produce sounds we call harmonies. The moment that more than one note is struck, there is danger of discord, and when ten notes resound to the touch of the play... Decorative Proportions
<p>(SEE CHART)</p> <p>On the preceding pages we present a quick-reference chart of rules that should be followed in furnishing rooms under various conditions of Light and Proportion.</p> <p> 67. A large room with high ceiling and well lighted.<br /> ... Dress And Complexion
<p>160. The nerves of the eye, exhilarated by any pronounced color, unconsciously observe the complement of that color when turned from it. The eye accustomed to the red of a woman’s dress, unconsciously sees a greenish cast in the face that i... Floor Treatments
<p> </p> <div> <img src="/images/img40.png" alt="floor rug" title="" height="297" width="500" /> </div> <p> </p> <p>84. Continuous design in ceiling or carpet weakens the size effect; hence rugs which break the continuity by being laid ac... Harmonies For The Room
<p>48. The floor should usually enter into the color scheme as the low note in the scale. It is the background for the furniture, and should be deeper than the dado or wainscoting. The wood trims—baseboard, doors, plate-rails, and everything ... Illumination
<p>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. Whi... Illusion
<p>111. A doorway looks wider that has at the top a drapery which crosses in one complete curved sweep. A side-wall is larger apparently if along the frieze line long, wide loops or festoons are arranged. The same wall is more contracted and higher ... Illusion Effect And Expression In The Use Of Lines
<p>107. We very often notice a room which has been carefully carried out but is utterly lacking in charm. The color seems right, and, considered in detail, the furniture and the furnishings are appropriate, but the room lacks effectiveness.</p> <p>... Light
<p>1. The white light of the sun is compounded of an almost innumerable number of color elements, as shown by the phenomena of the rainbow or by experimenting with the prism. When a ray of sunshine passes through a glass prism it is decomposed or s... Light Color Form Proportion And Dimensions
<p>Whatever is good in interior decoration is the result of consistent relationship between Light, Color, Form, Proportion and Dimensions. The choice of Color should be guided by the conditions of Light. The beauty of Form and the symmetry of Proporti...