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Most Viewed- Advancing And Receding Colors
- Wall Proportions
- Contrast Analogies
- Color Proportions
- Artificial Light Application
- Color Terms
- Color Terms
- Color Nomenclature&mdashharmonies
- Color Control
Least Viewed- To Determine The Color Sense
- Power Necessary
- Dress And Complexion
- Room Combinations
- Sequence Of Harmonies
- Harmonies For The Room
- Decorative Proportions
- Colors That Give Size To A Room
Light Effect On Color
143. To illuminate a city, with the dull grim environment of streets and houses, a soft yellow glow will give warmth and tone; the greenish yellow of the Welsbach or the blue green of the mercury arc may even be desirable, but the same green or violet rays are ghastly in a house, and should never be permitted.
144. The warm glow of the yellow light, while pleasing to the complexion, is, however, objectionable as disturbing the color composition of dress or furnishings. A gaslight sends a yellow glow over all that it reaches, and has the same effect as the introduction of yellow into every color tint in the room. The walls that are red take on a scarlet hue; the scarlet ones are yellowed to orange; the blues become greenish.
145. In order that the decorator may more readily grasp the subject, we have arranged a table showing the color changes effected by rays of yellow, blue, green and violet:
Orange rays falling on white make it appear orange.
Yellow rays falling on white make it appear yellow.
Green rays falling on white make it appear green.
Blue rays falling on white make it appear blue.
Violet rays falling on white make it appear violet.
146. The pale tints of electric lights, which make every face in a room look ghastly, will affect quite as disastrously every soft color in the furnishings. In ordinary gaslight a pair of white gloves looks yellow, and we have seen Welsbach lamps which threw out a violet-blue illumination, depressing in the extreme. Under a yellow glow, blues, greens, violets and purples are greatly changed. Under a violet glow, yellows and greens are ruined. To see all colors in about the same value that they possess by daylight one must have a light in which no color tone is apparent.
The question as to the disposition and intensity of the lights is of vital importance, and must be considered with the requirements of each particular room in mind.
147. For the drawing-room and reception-room it is desirable that all parts of the room be evenly lighted, without a pronounced glare in any particular part of the room. One of the most effective ways of accomplishing this is by distributing the lights around the room, either on the ceiling, in the cove or above a wide molding, so that the ceiling acts as a reflecting agent, and distributes an even tone of light to all parts.
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