CHAPTER III.

CONTRAST AND HARMONY.

33. Colours Affected by Adjacent Colours--34. How Colours are Changed by Juxtaposition--35. Contrast--36. Examples in Contrasts--37. Economic Contrasts--38. Two Kinds of Contrasts--39. Poly-chromatic Contrasts--40. Mono-chromatic Contrasts--41. Toned and Tinted Contrasts--42. Comparison of Contrasts by Shade and Contrasts by Colour--43. Shaded and tinted Compositions--44. Bright Colour Contrasts Modified with Black and White--45. Successive and Simultaneous Colour Effects--46. Methods of Neutralizing the Effects of Strong Colour Contrasts--47. Harmony--48. Principles of Harmony.

33. _Colours Affected by Adjacent Colours._--The intensity, potency, and hue of a colour may apparently undergo change by placing it in juxtaposition with other colours. The process of colour modification has been considered, when it was indicated in what manner hues are subjective to change in proportion to the quantity of black, white, or a colour which forms part of their composition; but the behaviour of colours when in contact or close together remains to be explained. Change of hue and tone of colour originated by the laws of contiguity is both varied and subtle. Trained and practical colourists realize some difficulty in determining the precise nature of the alteration, but it is none the less evident. That the attributes of colours are somewhat modified when the hues with which they are blended are combined, is an essential principle of shade compounds. If, for example, a series of small scarlet spots were woven on black, grey, and white grounds in succession, the hue of the scarlet, when the several fabrics were compared, would prove to be different in appearance in each sample, though the same scarlet yarn were employed in the production of the respective textures. Cutting away the grounds and comparing the spots from each on a common surface would show that identically the same scarlet had been used in the three fabrics: yet so apparent is their dissimilarity of hue that a casual examination would pronounce them distinct shades. Thus, on the black surface the spots gain intensity and lustre; on the grey they appear murky and dingy; whereas on the white surface the spots are bright, but evidently pale and washy as compared with those on the black ground. On varying the colour of the spots a different set of modifications ensues. Taking blue as the spotting colour, the black ground neutralizes a degree of its bloom and brightness; on the grey it suffers in lustre, but retains its precision of colour, and increases in richness and fulness of tone on the white fabric. Continuing this idea: if a batch of red threads were interspersed in a white warp, a degree of the colour quality would be subdued by the white threads; but should similar yarns be introduced into a black warp, an augmentation in the intensity of the red would be observed, because of the contrast thus created between the sombreness of the black and the rich brightness of the red: a contrast which, if the quantity of the red be large, is sufficient to give a copper-coloured cast to the black threads with which the red is in immediate contact. A law of colours is, that if the fancy shade is lighter than the ground colour, it will increase in brightness of tone; but if, on the other hand, the “fancy” is darker than the coloured surface on which it is distributed, it will suffer in tone. Moreover, if two colours, such as light and dark olive, were arranged together in the same warp, the former would appear lighter and the latter darker than they really are. This illusory alteration is entirely attributable to contrast. Colours of contrasting qualities and tones undergo two modifications when juxtaposed; first, they alter in depth, and, second, in nature of hue. When yellow and blue yarns are woven together, each is subject to this twofold change produced by contrast; first, as to tone, the yellow becomes brighter and the blue deeper; second, as to hue, each is tinged with the complementary colour of the other.

34. _How Colours are Changed by Juxtaposition._--It is a generally accepted principle of colours that when two surfaces of different shades are placed in contiguity, each is changed as though it had been mingled with the complementary of the other. Chevreul relates an incident, in his Treatise on Colours, which so clearly sets forth this important rule that it may be stated here. Certain merchants requested a firm of manufacturers to ornament red, violet blue, and blue woven stuffs with black spots or figures. When the goods were produced, the merchants complained that the spots were not black, as ordered, but that those on the red fabrics were tinged with green, on the violet with dark greenish yellow, while those developed on the blue were toned with a chocolate or coffee-coloured shade. Chevreul,[8] in order to prove that the spots were perfectly black, covered the separate grounds with white paper, when it was at once discovered that the changes in the colours of the spots were entirely due to the contrast ensuing between the black shades and the respective grounds on which the spots had been arranged. All this conclusively shows that colour is a modifier of colour, and hence those hues which possess bloom and richness of tone on one species of coloured surface may be quite different on another. It is a good plan to combine the shades in the precise order in which they are intended to occur on a black ground. Classification in this way enables the colourist to estimate at a glance, without putting the pattern into the loom, the general tone of the shades.

A common law of Colouring is, that the general effect of combining colours is that they appear further apart in the chromatic scale. Thus, when orange and red are combined, the former does not become reddish or the latter orangish, but the red seems to approach purple and the orange to assume a greenish cast. Complementary colours--_i.e._ those farthest apart in hue--are the least affected by association, as is evidenced by the results of such contrasts as red and green, blue and orange, and yellow and purple. An illustration may elucidate this primary principle of colour combinations. If a striped fabric were composed of bands of rose (Tint 4, Plate IV.) and lavender (Tint 10, Plate IV.) colours, one hue would help to give prominence to the other, because they strongly contrast with each other. On the other hand, if the same rose tint were combined with straw or primrose (Tint 16, Plate IV.), then the individuality of the separate colours would suffer, for, being similar in character, they would neutralize each other’s attributes, and would impinge upon one another. Hence, if in colouring textiles, it is required to preserve the intrinsic attributes of a shade, it should be combined with such colours as will differ most decidedly from it in hue and other qualities; whereas, if it is sought to change, by the law of contrast, any particular shade, it should be brought into contiguity with potent colours more or less allied to it in tone and hue.

[Illustration: Plate VII

1. BLUE TEXTURE 2. FANCY-TWIST YARN SPECIMEN]

35. _Contrast._--What is termed “contrast” is that principle or quality of tints which produces a change in their lustre, depth, saturation, and hue, when in immediate contact with each other.

Contrast may be explained by considering the effect of black and grey yarns in a woven style to which white is subsequently added. There is contrast in the pattern before the white is introduced, but it lacks precision and force. The addition of white imparts lustre to the grey, and fulness of tone to the black. Correctly speaking, neither the black nor the grey are changed by the white; they are, as it were, developed by it. White, in this instance, has the same function as in shaded drawings, in which clearness and boldness are given to form and outline by increasing the dark element of some parts and the light element of others. What may be designated a Tempered Contrast, originates when a quantity of grey intervenes in a mixture of black and white. In the shading of a round surface, this kind of contrast, in neutral tints, is developed to perfection, undue harshness of effect being neutralized by the gradual toning of black into white; but in the shading of angular objects, the sudden transitions from the extreme light to the extreme dark end of the scale of shades, produce good illustrations of the characteristics of Decided Contrasts. A pattern composed solely of black and white yarns is full of this kind of contrast, but by adding grey a toning element is introduced which forms a mellowed or tempered combination. Decided or “hard” contrasts, resulting from the use of positive (primary and secondary) colours, are exactly the reverse of graduated ones; they are inartistic, and deficient in softness which constitutes good colouring; on the other hand, toned contrasts possess richness and mellowness. Contrasts obtained by combining pure colours may be harsh and displeasing to the eye. Red and blue, for example, form a strong colour contrast, but this may be subdued by changing them to tones or tints. This will be seen by combining the following derivatives of these primaries: dark brown (Shade 1, Plate IV.) and dark blue (Shade 7, Plate IV.), and rose pink (Tint 5, Plate IV.) and blue lavender (Tint 11, Plate IV.). On account of the colours in these cases being either shades or tints, they produce mellow or tempered and not harsh or pronounced contrasts.

36. _Examples in Contrasts._--On Plate VIII. and in Nos. 1 and 2, two illustrations in contrast are given. In No. 1 the two ground colours, pale blue and straw, form a passable contrast, but the small lines of orange impart harshness of effect to the stripe. The strength of hue of this colour is not suitable for the stripings on which it is placed. Providing only three colours were allowable in this composition, then to prevent the orange from being too pronounced, it should be softened or tempered as in the illustration, No. 2, Plate VIII. While in this latter example the pale blue and straw remain the same, yet the mellowing of the orange into a paler tint produces a strip of colouring in which each element, being of similar depth of tone, is equally prominent and effective. Comparing these illustrations further, it is obvious that in No. 1 the orange characteristic first strikes the eye. The slight hardness of tone does not arise from any want of beauty in the separate colours, but from the relative undue strength and vividness of the shade of orange. Providing this hue were replaced by green, an imperfect contrast would be formed; for green, while detracting from the lustre of the pale yellow or straw, would also harmonize indifferently with the lavender or tempered blue. From these illustrations it will be evident that in a satisfactory blend of colours all hues contribute to the attractiveness of the _ensemble_; but in an imperfect contrast one or more colours may subtract from the lustre of adjacent hues, and partially neutralize their effect.

37. _Economic Contrasts._--Economic Contrasts comprise the production of the most effective styles with a minimum variety of hues. It does not follow because a pattern contains a diversity of shades that it will be attractive. Just as it frequently happens that the most permanently beautiful patterns result from the simple but unique methods of amalgamating forms, so by the artistic arrangement of a few choice colours excellent contrasts may be produced. To multiply the diversity of hues in any combination without marked increase of beauty is calculated to be more detrimental than beneficial to the style. An economic method of colouring consists in blending shades or tints of the same colour, and freshening or brightening the style by the use of “extras” or “fancies.” To practise economy in colour compounds, the first care should always be to obtain appropriate ground shades: if these produce harmony and possess a rich though subdued bloom, but few bright colours will be necessary to impart freshness and lustre to the style. On the other hand, an indifferent selection of foundation shades implies the employment of an increased range of fancies to tone, strengthen, and brighten the contrasts.

38. _Two Kinds of Contrasts._--All types of colour compounds may be included under two heads: namely, Mono-chromatic and Poly-chromatic Contrasts. The former comprise all species of contrasts due to a diversity of tint or shade in one colour; the latter comprise all kinds of contrasts arising from combining two or more distinct colours. The strongest and most effective colourings occur in poly-chromatic contrasts; while soft, subdued, and graduated tonings are largely characteristic of analogous colour contrasts. Blends of scarlet and green, yellow and blue, and orange and purple are colour couplets which illustrate the principles of contrast due to a diversity of hues; but blends of two shades of brown, blue, or slate, form contrasts belonging to the mono-chromatic class. In textile designing both these types of colouring obtain. They are frequently present in the same pattern, for a style may contain contrasts in shade, as well as contrasts in hue. For example, if two shades of brown, forming the bulk of a pattern, are brightened by extra threads of scarlet and blue, its colour elements are a co-mixture of both kinds of contrasts defined above.

39. _Poly-chromatic Contrasts._--A suggestive illustration of this species of colour arrangement is given on Plate VIII. in No. 3. It is a scrap of textile ornament, borrowed from a Japanese work on decorative fabrics found in a Buddhist temple. A more vigorous combination of colours, possessed of greater potency and lustre, it would be difficult to conceive. With such chromatic science have the various hues been associated that each retains, unaffected, its individual strength and vividness. Considering that this group of forms contains no fewer than seven colours, in addition to black and white, and that the ground shade is a deep purple, the lustre of the separate hues is exceptional and a forcible quality of the design. Purple, as a rule, is a shade that, in virtue of its potency, alters all colours with which it may be mingled that are in any way akin to it, such as greens, blues, and reds; but it forms strong and decided contrasts with yellow, orange, and their derivatives. It becomes, therefore, an interesting inquiry, why in this blend of hues, green and blue lose none of their freshness and saturation. The method of arranging the colours, or the plan of combination--comprising the couplets scarlet and orange, deep and pale greens, and deep and pale blues--supplemented by the ingenious touches of black and white, are elements at the base of the colour emphasis characterizing the entire pattern. For the purpose of making the sequent analysis as lucid and instructive as possible, one of the four triple-leaved conventional forms surrounding the central diamond figure may be isolated, and its colourings alone considered; for each of these not only comprises every kind of hue entering into the design, but also illustrates the system of colour-mingling adopted throughout the design. Starting with the minute spots of scarlet--they are contingent, on the one side, with the purple ground: and, on the other side, with the small curved strips of orange. If the eye is allowed to single out and rest upon these scarlet sections where they are in contiguity with the purple, it will be noticed that the scarlet gains a crimsonish hue; but the eye takes simultaneous cognizance of the whole series of hues--a feature of the pattern which markedly contributes to the freshness of the individual colours. As a result of the incompetency of the eye to view the colours separately, and also on account of the method of arranging the colours, green at once associates itself in the mind of the observer with scarlet, and orange with pale green and deep blue. The law of contrasts brings the complementary colours in affinity, and, as a consequence, develops strength and fulness of hue. Impingement of colours is by this means avoided. The white edging of the leaves prevents the purple ground from affecting the purity of the pale blue, and also imparts clearness of outline to the ornament in general.

The lessons to be learnt from this colouring may be summarized as follows: First, pure complementary colours, when adjacent, do not neutralize, but develop the qualities of each other; second, that by an appropriate use of white and black, as agents for separating colours, kindred hues may be arranged to produce an attractive contrast; and third, a medium shade of green gives lustre to scarlet, and palish green and deepish blue are complementary to orange.

Some useful ideas may be gleaned from this example in Colour Contrasts for textile purposes. Thus, the small figures composed of the tints, as arranged in one of the conventionalized leaves of this design, may be grouped on a sateen system in a style for fancy vestings. It is suggestive in other ways. Ideas for cotton stripes or checks of a flannelette class may, for example, be obtained from it. Stripes of the blue shades here given, placed on a white ground, and brightened with a few threads of the orange hue, would form harmonious colouring. Again, a fabric of a dress-stuff description, in which the same arrangement of tints is observed, but the colours softened or tempered with black, could be appropriately coloured on this system. In such an instance scarlet would be replaced by dark brown (Shade I, Plate IV.); orange by reddish olive (Shade 9, Plate VI.); medium green by deep green (Shade 2, Plate VI.); pale green by toned green (Shade 3, Plate VI.); blue by dark blue (Shade 7, Plate IV.); and pale blue by toned blue (Shade 9, Plate IV.). It is evident from this group of shades that such a brilliant blend of hues as that composing the design given in No. 3, Plate VIII., may be turned to useful account; for in this instance it has been made to form the base of a new scheme of combining a number of dark colours adapted to a dress-stuff style. Of course it will be noticed that the modified colours are related in hue to the pure colours of the specimen of colour contrast considered; hence it follows that if the original colouring is characterized by balance of tone and harmony, the resultant blend of shades must possess similar qualities mellowed and tempered in intensity.

One further thought on this plan of colour-mingling should be alluded to. In the foregoing example in shade-deduction from a combination of bright hues, dark colours have been employed; but it is equally feasible to appropriate tints as follows: rose (Tint 6, Plate IV.) for scarlet; pinkish orange (Tint 11, Plate VI.) for orange; pale blue (Tint 11, Plate IV.) for blue; lavender (Tint 10, Plate IV.) for light blue; pale green (Tint 5, Plate VI.) for green; and very pale green (Tint 4, Plate VI.) for light green. This series of tints, when associated with suitable quantities of white, might be applied to textiles with satisfactory results, more especially if the system of grouping given in No. 3, Plate VIII., were adopted. Illustrations, based on this interesting specimen of colour amalgamation, have been multiplied because they indicate how useful “hints” in harmonious colouring may be gleaned from an apparently extravagant though elegant arrangement of hues.

[Illustration: Plate VIII

EXAMPLES IN COLOUR CONTRASTS 1, 2. Stripes. 3. Figuring in Bright Colours.]

40. _Mono-chromatic or Analogous Contrasts._--This kind of colour contrast is extensively applied to all classes of decorative work. Nature abounds with suggestive illustrations of the principles of these colourings, a few of which may be described. Amongst flowers and plant forms which exhibit contrasts in reddish hues, the rose and stem of a forced rhubarb are particularly good. Take the rose first. What a beautiful delicate series of red tints it contains, and how mellow and rich are its finely gradated tones! There is an entire absence of harshness or even tendency to hardness of tinting in its colour composition. Ruskin, writing on gradation of hues, observes: “The victorious beauty of the rose as compared with other flowers depends wholly on the delicacy and quantity of its colour-gradations, all other flowers being either less rich in gradation, not having so many folds of leaf, or less tender, being patched and veined instead of flushed.” A stem of rhubarb also contains an infinite variety of gradations of crimson. At the base, it commences with a saturated crimson which alters in intensity to a palish pink. Not only are examples in red contrasts discovered in natural forms, but also shadings and tintings of green, blue, and brown. In the flimsy, delicate petals of the harebell several gradations of blue occur, running from a deep to a palish tint. For browns, the foliage of autumn only need be referred to. The leaves teem with diversity of shade, yet all the colours are of a brownish cast, varying from bright tan to rich russet. Some species of sandstone and pebbles exhibit useful gradations of fawn, such as cool and warm colours, especially suitable for application to textile patterns.

The chief characteristics of graduated contrasts--which compose a large variety of colourings in decorative design--are softness and mellowness of toning, combined with lustre and force of effect. Compared with hue contrasts, they may lack strength and precision of emphasis, but they possess a soft, saturated fulness which makes them useful in the production of fancy textures.

41. _Toned and Tinted Contrasts._--Mono-chromatic compositions may be considered under two varieties, namely, Toned and Tinted Contrasts. The former comprise all associations of shades in which the colours have been toned or darkened by admixture with black; while the latter are composed solely of colours which have been tinted with white. These contrasts comprise the most valuable assortments of colours seen in fabrics produced for wearing purposes. Their quiet and mellow toning makes them of great utility in textile designing. Probably the largest proportion of fancy textures manufactured for men’s wear, results from this sort of colour composition.

Illustrations in this type of colouring deserve to be carefully considered. The first example which will be alluded to is on Plate IX., No. 1. It is a toned contrast, being a mixture of the three browns, Shades 1, 2, and 3 on Plate IV. The style is suitable for either woollen or worsted materials, and is of a check description. The mode of sketching shows the effect due to the simple twilled weave used in its construction, as well as the peculiar form of check resulting from the plan of blending the shades. But it is the colour element of this fabric, with its gradated contrasts, that is at this stage most important. The three shades of brown have been combined thus in both warp and weft: 8 threads of dark brown, 8 threads of medium brown, 8 threads of light brown, and 8 threads of medium brown. The medium shade thus alternates with the dark and light colours, maintaining one depth of contrast throughout the pattern. Blues (Shades 7, 8, and 9, Plate IV.), greens (Shades 1, 2. and 3, Plate VI.), or olives (Shades 7, 8, and 9, Plate VI.) might have been selected with similar results as the browns of this illustration. Three greys would also have shown the principle of this type of contrast, for compositions of dark, medium, and light greys form an endless diversity of textile patterns. But to return to this brown example. The contrast is of a mellow kind. There is no marked distinction between the shades, the three composing a softly-toned coloured effect. This characteristic of the style is of course attributable to the several shades being derivatives of the same hue--the red element predominating in each. Whatever kind of shaded or tinted contrasts are considered, they are characterized by the same tone of colouring seen in this pattern.

In order to show the precise nature of this class of contrast in tints instead of shades, another illustration is that in No. 2 on Plate IX., composed in this instance of three lilac tints similar to those given in Nos. 16, 17, and 18, on Plate VI. Again, the plan of the weave of the fabric is cassimere twill, but the system of colouring has been diversified; thus, it consists of 16 threads of the deep tint, 8 threads of the medium tint, 16 threads of the light tint, and 8 threads of the medium tint. While this arrangement forms a somewhat more varied style than the preceding method of combination, the tints of which it is composed are distributed in equal quantities, producing a uniform colouring. Its quality of mellowness is even more pronounced than that of No. 1. Being a light pattern, it possesses a unique delicacy of toning. This applies to all compositions of tints, which, when properly graduated, constitute the most mellow type of colouring producible.

These illustrations in Toned and Tinted Contrasts are typical of the general effects obtainable by combining colours of the same hue but of different degrees of lightness and shade; they show that while effective compositions may be acquired with shades or tints, yet they are usually deficient in that force of contrast characterizing patterns containing a variety of hues.

42. _Comparison of Contrasts by Shade and Contrasts by Colour._--Relatively considered, contrasts in several colours are more definite and brilliant than contrasts in shades or tints; hence the former are applied to all classes of decorative fabrics, while the latter constitute the bulk of the colouring in textures made for wearing purposes. Of course, both systems of colouring largely overlap each other, making it impossible to limit the classes of fabrics in which each finds expression; still, in the general run of styles, tempered colours are the most appropriate for the ground or foundation of wearable textures; while, on the other hand, bright and positive colours impart the most telling precision to ornamental forms. Hence it may be affirmed to be a common law in textile colouring, that shades and tints compose a large proportion of styles intended for garments, whereas the special province of hue contrasts is in the development of figured designs. Tartan checks or plaids (see Plates V. and X.) are amongst the principal exceptions to this rule.

43. _Shaded and Tinted Compositions._--These may either result from the use of one or more colours. First, suppose an instance in which blue shades are combined with blue tints, or in which the same hue prevails throughout the whole of the colouring. Thus, take the three shades given in Nos. 7, 8, and 9, and combine them to form a striped pattern with the three tints, Nos. 10, 11, and 12, on Plate IV. Providing they are arranged in the order here mapped out, they would constitute a perfectly toned shade of blue. The gradations would run from a deep shade to a light tint, or from an extreme dark to an extreme light blue. An idea of how shaded patterns are arrived at in woven textures, in one hue of colour, may be gleaned from this example, for it is evident from the elements of its arrangement that a shaded effect may be produced in all kinds of hues, such as brown, olive, and green, if they are capable of yielding a sufficient diversity of toning.

But, in addition to this method of associating tints and shades, these colour derivatives are also combined in distinct hues, forming a varied assortment of colourings. A ground pattern, for example, consists solely of an arrangement of shades; but, in order to give brightness to the style, a few fancy threads of tints derived from other hues--possibly of opposite, or may be of complementary, qualities to those from which the shades have originated--may be called into requisition. This principle of colouring may be clearly demonstrated by referring to the brown check pattern given in No. 1, Plate IX. To impart a degree of freshness to this design, blue tinted threads might be employed, say about two between each shade. Exactly the same tint should not be introduced between the checks of the several shades. For the darkest shade the deepest tint should be used, for the medium shade the medium tint, and for the light shade the light tint; in other terms, whatever the nature of the shade, a corresponding tint is requisite. Balance of colouring and of contrast is only attainable by strict adherence to this rule. If the same tint were used for all the shades, it would appear stronger and more pronounced in some sections of the pattern than others. The blue tint which produces exactly the desired contrast when associated with the light brown of this pattern, would have a very different effect if placed on the dark brown: so that in applying tints to a good blend of shades, or shades to a good blend of tints, to secure diversity and freshness of pattern, combined with uniformity of contrast, care must be exercised in the selection and appropriation of these fancy or brightening elements, otherwise they are likely to prove more or less effective in some instances than calculated, and to destroy the harmony of the whole colouring.

[Illustration: Plate IX

MONO-CHROMATIC CONTRASTS 1. Contrasts in Tones 2. Contrasts in Tints]

The methods of acquiring Colour Contrasts by combining tints and shades may be summarized as below: I. Compositions of several Shades or Tones of the same Hue;[9] II. Compositions of several Tints of the same Hue;[9] III. Compositions of Shades of different Hues; IV. Compositions of Tints of different Hues; V. Compositions of Shades and Tints of the same Hue; and VI. Compositions of Shades and Tints of different Hues.

44. _Bright Colour Contrasts Modified with Black and White._--Some elaborate check patterns for dress and other materials consist of bright colours. An example of this type of contrast is supplied on Plate X. The colouring is harmonious and choice; showing that the most potent colours may be used in textiles with satisfactory results.

However this pattern is examined, it is lustrous and rich in composition. Possibly the black and white introduced into the texture mellow and soften the general colouring, for they undoubtedly subdue the strength of the contrast arising from three such positive hues being in immediate affinity with each other. It is already understood that these shades are of great utility as mellowing agents when combined with bright colours. They prevent the sharp contrast which sometimes ensues when several lustrous hues are in close proximity with each other. Blue and red in certain forms constitute a harmful contrast, the two producing anything but delicate harmony. Vigorous as the contrast is, in this instance it is not harsh or defective. There are several elements which are conducive to its harmony. First, there are the black and white threads just alluded to; second, the quantities in which the several colours are associated; and third, the peculiar effect due to the plan of interlacing the warp and weft threads in the construction of the texture. Weaving largely multiplies the effects due to a combination of colours, as is instanced by this pattern, which, though only comprising four distinct colours, and white and black, contains many varieties of colouring. These result from the different colours crossing and blending with each other in the formation of the check. At intervals, the scarlet weft covers the scarlet, blue, green, yellow, white and black warp yarns, producing a specific effect in every transition. Analysis shows the various effects to comprise solid checks of red, green, blue, yellow, black, and white; and mingled checks of the following shade couplets: blue and red; yellow and red; green and red; blue and yellow; blue and black; blue and white; red and black; red and white; yellow and black; yellow and white; and black and white. What a variety of lessons in colouring such a woven sample teaches! The black and white on the red adds mellowness to this bright colour, in addition to giving diversity of effect. The white in other sections in contiguity with the medium green, and crossing the yellow, has a like toning quality. The black against the yellow enhances its brightness, but in juxtaposition with the blue forms a soft shading, the latter making a clear definition of colour with the shaded green effect to which it is adjacent.

The quantities or proportions in which these colours are distributed in the pattern should be observed. Any increase or even variation in the quantities of each colour would produce a different harmony of composition. Regard must, therefore, be paid to the nature and potency of colours in determining their scheme of association in textile design.

45. _Successive and Simultaneous Colour Effects._--In the above pattern, both successive and simultaneous contrasts are found. A simultaneous contrast is a blend or group of colours in which the several hues are in proximity. The intermingled checks of red and blue, yellow and blue, etc., are all illustrative of this type of contrast. In successive contrasts, there may be the same colours, but instead of being in juxtaposition they are separated; and, consequently, do not act in perfect unison on the eye, but each independently.

Comparison of the results of these contrasts shows, that colours suffer the most in lustre and purity of hue when in “simultaneous” association. Several examples of this kind occur in the pattern given. For instance, in those sections in which the red and green are intermingled in equal proportions, both colours undergo an apparent change in hue. In reality, it is simply the fundamental law of all colour contrasts asserting its influence on the colouring as a whole, whereby each hue is modified.

Amongst some of the most salient principles of textile colouring emphasized by this design that should be specially noticed, are these: Colours are modified the most largely in hue when in actual contact; the stronger two or more colours, the less are they changed by simultaneous contrast; bright colours on a dark ground increase in luminosity, but are impoverished if applied to light grounds; and lastly, that intense colours gain in saturation on light grounds, but suffer in this quality on medium and dark surfaces.

46. _Methods of Neutralizing the Effects of Strong Colour Contrasts._--It has been pointed out that when any positive colours are in immediate proximity, each suffers somewhat in purity of hue. To obviate, or partially neutralize, this sequence of colour association, some ingenious methods and technical devices are adopted. As already explained, colours change the most in hue by juxtaposition, so that the object to be attained is to separate them without bringing the divisional lines into prominence. It is not always feasible, in figured and fancy fabrics, to have the colours detached; they frequently intermingle, and it is at the points of actual contact where the skill of the colourist in obviating a defective contrast, due to the proximity of two or more brilliant hues, is exercised. No. 1, Plate XI., illustrates this feature of colouring. This pattern is composed of red and blue, and contains small quantities of a third hue which are of value to the harmony and contrast of the design. If the red had been allowed to actually touch the blue ground, the figuring would have lacked precision, and the colouring congruity of toning. Moreover, as green is the contrasting colour of scarlet, it has developed the figuring, and mellowed the effect of red on this deep blue ground. Minus this intermediate colour, the contrast would have been harsh, if not defective; but by its employment richness has been given to the red and softness of tone to the blue. Let it be supposed that red and blue were substituted in succession by green and tan (Shades 6, Plate VI., and 3, Plate IV.); by olive and rose (Shade 15, and Tint 5, Plate IV.); and by lilac and primrose (Tint 16, Plate VI., and Tint 16, Plate IV.). Tan, rose, and primrose to compose the figuring, and green, olive, and lilac the ground in the new colourings. Now, in order to prevent impingement of hues, divisional colours to take the place of the green in the illustration should be selected, which, while contrasting with the several hues employed for the figuring, should also harmonize with the ground colours. For the first couplet, the pale blue (Tint 10, Plate IV.) may be used; for the olive and rose combination, pea-green (Tint 4, Plate VI.); while for the lilac and rose blend, the salmon in Tint 11, Plate VI., will be found useful. In each of these instances there is harmony and contrast of colours, which would prominently develop the figured sections of the design. To show these results, paint two pieces of paper similar in hue to Shades 6, Plate VI., and 3, Plate IV. Having done this, place the tan sample--which should be smaller than its companion--on the green slip, and then surround it with a narrow slip of rose, Tint 4 of Plate IV. On adding this last colour, a tasteful contrast will be formed by the green spot and the rose edging; and also soft, mellow harmony produced by this tint and the tan groundwork. Should each of the colourings alluded to be similarly experimented with, they would constitute equally pleasing combinations. As important principles underlie this kind of colour arrangement, it is advisable that numerous experiments o£ this class should be made by the reader; for, in order to educate the eye for colour contrast and harmony, practice in the combination of hues is essential.

47. _Harmony._--Some colourists have propounded theories of harmony which are quite untenable in practice. For example, one scheme is based on the supposition that if the primaries are blended in the proportions of 3 parts of red, 5 parts of yellow, and 8 parts of blue, harmony of composition ensues. There can be no doubt that the ratio of quantities materially affects the congruity of tone of all shade assortments; but in designing it is not feasible to work to any set of proportions. Colour harmonies are not to be acquired by rigid adherence to a mathematical system of arrangement. Theories of this kind cannot be said to be of much technical value. Acute and cultured discriminative power for colour is of more consequence in this art than theoretical directions; the acquirement of what Rood calls “a delicate colour emphasis” is difficult even when there is natural aptitude for colouring. Systematic study of the works of designers of acknowledged capacity, and of all accessible rare and well-coloured woven specimens in harmony of tinting, should be made. Adopting this course, the student will acquire a ready capacity for blending hues by such methods, as to compose choice and harmonious results.

[Illustration: Plate X

SPECIMEN OF BRIGHT COLOURING IN PLAIDS]

48. _Principles of Harmony._--Though Colour Harmony is intricate, and more or less incapable of being reduced to rigid principles, yet its general qualities may be clearly defined. For instance, certain colours when amalgamated fail to produce congruous patterns; whereas other colours invariably constitute harmonious compositions.

Harmony, moreover, is only attainable when the several colours are combined in such proportionate quantities, and on such principles of shade-association, that each hue employed will conduce to the mellowness of the whole pattern. Should any colour be conspicuous, it is sufficient to detract from the harmony of the entire colouring. Balance of hues is an important essential; and it is generally a feature dependent on the proportions in which the several colours are combined. Examine, for example, the blue-green and scarlet check on Plate XI., No. 2. Red is so much more potent than green, that when these two hues are associated in the same pattern, the former requires to be used less extensively than the latter. The common rule is that those colours which are the intensest and strongest in hue should be sparingly employed. When the various shades are of equal depth, the quantities may be more uniform, being only varied to such an extent as to impart precision to the leading features of the design.

Apart from hints that may be given in harmonious colouring, and knowledge that may be acquired by study and experiment in blending hues, in order to excel in this art the designer must possess natural aptitude for the work.

FOOTNOTES:

[8] Chevreul: _The Laws of Contrast of Colour_, p. 120.

[9] _Analogous Colours._