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- Wall Proportions
- Contrast Analogies
- Artificial Light Application
- Color Terms
- Color Terms
- Color Proportions
- Color Control
- Color Nomenclature&mdashharmonies
Least Viewed- Harmonies For The Room
- Illusion Effect And Expression In The Use Of Lines
- Absorption And Reflection
- Color Vocabulary
- Artificial Lighting
- Light Effect On Color
- Power Necessary
- Decorative Proportions
- Color Schemes For Rooms Under Normal Conditions
- The Wall The Keynote Color
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 observation.
45. On the upper floors the scale of color should be gradually softened, for the yellow or ivory tints that are pleasing on the first floor would be harsh and glaring where there is greater light. Exterior conditions must be borne always in mind.
46. Recalling that the primary colors are yellow, red and blue, and that the secondary colors are orange, violet and green, and that the tertiary colors are russet, slate and citrine, all with many tints and shades, let us arrange a series of five rooms seriatim, so treating ceiling, side-wall and floor that in passing from one room to another they will be in sequence of color harmony—each complete from floor to ceiling and all in harmony along the ceiling lines, the wall lines and the floor lines.
Let us take the suite of rooms suggested in Diagram IX. We must consider desirable colorings in all of the rooms to be treated, and so far as possible adjust the sequence of treatments, as shown in Diagram VIII, so that the approach to each room will be in harmonious order as viewed from any room. We have five rooms to treat. The library happens to be on the north side, hence we wish to treat it in colorings that supply the deficiency of sunshine. The hallway is rather dark. The living-room has only one window, and requires more warmth of color than the billiard-room and dining-room, which being sunshiny can be treated in more sombre tones. Therefore we select combination 6 for the hallway. The one room on the right we treat in No. 1. The rooms on the left we treat in Nos. 5, 4 and 3. We have, therefore, as we stand in room No. 6, treated in green, citrine and orange, a view to the right of yellow, orange and red, which is in harmonious juxtaposition. To the left we have a glimpse of rooms, the floors of which adjoining the orange floor of the entrance hall, are yellow, green and blue. The wall spaces adjoining the citrine wall space of the hall treatment are green, slate and violet. The frieze lines adjoining the green of the hall treatment are blue, violet and red—all juxtaposed harmonies. The floors of all rooms are of one deep scale; the walls lighter scale; the friezes and ceiling still lighter. If viewed from room 4 the harmonies are equally effective.
47. Diagram VII is useful for many reasons. In its present shape it shows the harmonies of analogy or related parts. To arrange harmonies of contrast, combine the colors of the first room with the fourth room, the colors of the second room with the fifth room, the colors of the third room with the sixth room.
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