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| There was once a shepherd-boy who kept his flock at a little distance from the village. Once he thought he would play a trick on the villagers and have some fun at their expense. So he ran toward the village crying out, with all his might,-- ... Read more of THE BOY WHO CRIED "WOLF!" at Children Stories.ca | Informational.ca Privacy |
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Most Viewed- Advancing And Receding Colors- Artificial Light Application - Contrast Analogies - Color Proportions - Color Terms - Color Terms - Light - Wall Proportions - Color Nomenclature&mdashharmonies - Illumination Least Viewed- Color In Large Or Small Rooms- Light Effect On Color - Light Color Form Proportion And Dimensions - Color Schemes For Rooms Under Normal Conditions - Power Necessary - Color Control - Contrasts - Room Combinations - Sequence Of Harmonies - Contiguous Harmonies |
Color Proportions28. 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 produce the Diagram IA, and it will be here seen that the relative proportions existing in the segments of the circles have been observed in the triangles. Thus we have thirty-two right-angled triangles. Sage occupies fourteen-thirty-seconds of the entire composition; slate occupies five-thirty-seconds; citrine, five-thirty-seconds; green, six-thirty-seconds; blue, one-thirty-second; yellow, one-thirty-second; and these colors, to observe the proper harmony of analogy in a room, should be used in the proportions above indicated. Sage should be in the preponderance; citrine and slate should occupy nearly one-sixth of the entire composition, green about one-fifth, and the whole should be picked out with touches of sharp blue and sharp yellow, representing each one-thirty-second. Let us take, for instance, a room that is in white woodwork, and apply the sage to the walls and the slate to the floor, and lighten the sage with citrine and lighten the slate with violet, and intersperse orange and green in a way permitted by the proportions at our command. When the work is completed we find a harmony of analogy which can be then relieved by touches of the primitive colors, blue and yellow, in the proportions shown. 29. Good examples of contrast color effects may be found in the following series of combinations:
PROPORTIONS OF COLOR ANALYSIS FROM
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