|The card to be forced is at the bottom of the deck. Hold the deck face down in the Hindu shuffle position in the left hand, i.e., hold the deck with the third phalanx of the fingers with the thumb on one long edge and the other four fingers on the... Read more of The Hindu Shuffle & Force at Card Trick.ca|| Informational|
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Most Viewed- Advancing And Receding Colors
- Wall Proportions
- Contrast Analogies
- Artificial Light Application
- Color Terms
- Color Terms
- Color Proportions
- Color Control
- Color Nomenclature&mdashharmonies
Least Viewed- Room Combinations
- The Wall The Keynote Color
- Light Effect On Color
- Reflective Power Of Color
- Power Necessary
- Sequence Of Harmonies
- Colors That Give Size To A Room
- Floor Treatments
- Period Uses Of Color
- Artificial Lighting
Color In Large Or Small Rooms
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.
A superabundance of light gives an uncomfortable glare.
27. One may mechanically obtain harmony of analogy in proper proportions for the treatment of a room or a design by following the guidance of Diagram I. It will be noted in this diagram that the inner circle is blue, red and yellow, the primary colors.
The second circle is composed of the secondaries; the third circle, the tertiaries, and the outer circle, the quaternaries.
There is a nice distinction in the combination of primaries for the formation of secondaries, and exact proportions are quite necessary.
An orange, for instance, would be off shade if it did not consist of half red and half yellow, but in the making of the quaternaries, which are, at best, gray shades, exact proportions are not necessary.
Nevertheless, in Diagram I we have observed exact proportions in order to make our demonstration clear.
The harmony of analogy is the combination of colors related, but the relationship must be displayed in proportions consistent with the origin of each and every color used.
Let us assume that the prevailing note in a room, in either the side-wall or floor, is sage.
We can tell by drawing lines from the center of Diagram I to the extremities of the space marked sage that there is a little blue and a little yellow, some green and slate and citrine used in the composition of sage, and hence the use of these colors constitutes the harmony of relationship or analogy.
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