Informational.caPrivacy
| Of all Irish ghosts, fairies, or bogles, the Banshee (sometimes called locally the "Boh[-e][-e]ntha" or "Bank[-e][-e]ntha") is the best known to the general public: indeed, cross-Channel visitors would class her with pigs, potatoes, and other... Read more of Banshees, And Other Death-warnings at Scary Stories.ca | Informational.ca Privacy |
 |
 |
| Home - Chromatography - Color Value - Aesthetics - Photography | |
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- Light Effect On Color- Light Color Form Proportion And Dimensions - Color In Large Or Small Rooms - Color Schemes For Rooms Under Normal Conditions - Power Necessary - Color Control - Contrasts - Room Combinations - Contiguous Harmonies - Harmonies For The Room |
To Determine The Color SenseColor, like music, while subjected to positive rules of harmony, appeals to natures according to the responsiveness of their nerve sense, and the practical decorator in dealing with a customer should discover at the outstart the character of that nerve sense. Some natures respond to the normal colors, barbaric colors. Some respond to the softer tints and are disturbed by the sharper tones. A dulled sense requires sharp contrasts; a quickened sense is satisfied with the soft gray tones. Apart from any question of propriety or environment the individual taste for color must be determined before the individual taste can be pleased. A demonstration of four examples in color may serve the purpose of determining one’s color sense. First. Combinations of normal primary and secondary colors, (a) arranged in contrasts, (b) in analogies. Second. Combinations of tones of the above colors, (a) arranged in contrasts, (b) in analogies. Third. Combinations of tints of the above colors, (a) arranged in contrasts, (b) in analogies. Fourth. Combinations of the gray (tertiary) tones of the above colors, (a) arranged in contrasts, (b) in analogies. 95. Do not allow your personal color-sympathies to dominate your work. All colors have their usefulness, for there are occasions when it is proper they should be used, apart from any question of harmony; one must consider always the uses of colors, the lights, and the purpose of the room under treatment. 96. Nature gives to the dark forest depths great brilliancy of floriculture, and dark-skinned people indulge unconsciously the same bright scale of color. But as we come out of the forest and advance in civilization we use barbaric colorings more discriminately. 97. We employ gold, orange or yellow for the north room not for inherent beauty, but for the sense of warmth which they convey to an atmosphere chilled by the absence of sunlight. We employ receding colors in a small room that the room may look larger. We employ cold colors in a sunny room, especially in the summer home, for reasons psychological rather than æsthetic.
Next: Period Uses Of Color Previous: The Psychology Of Color
Viewed 282 |
||||||||||||||||||||
