align="left">Red

4 Light Red 3 Blue 3 White 1 —— 100     No. 6. Green 36 Blue-Green 24 Yellow 14 Red 11 White 10 Dull Red 3 Black 2 —— 100     No. 7. Green 36 Blue-Green 24 Yellow 14 Red 11 White 10 Dull Red 3 Black 2 —— 100  

 

BLACK—WHITE—GRAY

30. We do not wish to be understood as stating that the work of the colorist is solely mechanical; but we would emphasize that the influences of color are very largely the result of studied proportions. The basis upon which one operates must be soundly constructed upon the theory of scale, and scale is mechanically determined. If red is lightened by the addition of white, or darkened by the addition of black, it is removed to another scale, and can only harmonize by contrast with its complement by adding to green the same amount of white or black that has changed the character of the red, and this should be mathematically accurate.

31. To place white by the side of a color heightens or intensifies the tone of that color. To put black beside a color has the opposite effect. It weakens the color. Every woman looks better in white, hence white is the universal wedding gown, the universal party dress for children, and, wherever practical, the universal Summer dress for adults as well. White is worn universally by men and women next to the face, in collars or in neckwear, and the reason for it is that the contiguous white intensifies whatever color they may possess. Black, on the other hand, lessens the color or lowers its tone.

32. Gray is a medium between the two. While it renders an adjacent color less brilliant, it takes to itself at the same time a tint that is a complement of that adjacent color. In other words, gray by the side of green appears faintly pinkish.

33. Black is always desirable as an associate with luminous colors. Black does not associate as well with two colors, one of which is luminous and the other sombre, as when associated with two luminous colors.

 

The green being yellowish and the violet reddish.

 

White is preferable when associated with a luminous and a sombre color. Thus,

The violet being bluish, the green yellowish.

 

ROOM COMBINATIONS

 

SEQUENCE OF HARMONIES

As these twenty-one sections are arranged, one has the layout for a suite of seven rooms; following the top line across in a light scale, the harmony is complete; following the center line across in a normal, the harmony is complete; so also with the bottom line in a lower scale. Follow the colors diagonally and you find they are repeats, or very close to repeats—red, russet, red, for instance;