Jones, Owen, 1809-1874. / The grammar of ornament
General principles in the arrangement of form and colour, in architecture and the decorative arts, which are advocated throughout this work, pp. 5-8
PROPOSITIONS. PROPOSITION 19. The above supposes the colours to be used in their prismatic intensities, but each colour has a variety of tones when mixed with white, or of shades when mixed with grey or black. When a full colour is contrasted with another of a lower tone, the volume of the latter must be proportionally in- creased. PROPOSITION 20. Each colour has a variety of hues, obtained by admixture with other colours, in addition to white, grey, or black: thus we have of yellow, -orange-yellow on the one side, and lemon- yellow on the other; so of red,-scarlet-red, and crimson-red; and of each every variety of tone and shade. When a primary tinged with another primary is contrasted with a secondary, the secondary must have a hue of the third primary. PROPOSITION 21. In using the primary colours on moulded surfaces, we should place blue, which retires, on the concave surfaces; yellow, which advances, on the convex; and red, the intermediate colour, on the undersides; separating the colours by white on the vertical planes. When the proportions required by Proposition 18 cannot be obtained, we may procure the balance by a change in the colours themselves: thus, if the surfaces to be coloured should give too much yellow, we should make the red more crimson and the blue more purple,-i.e. we should take the yellow out of them; so if the surfaces should give too much blue, we should make the yellow more orange and the red more scarlet. PROPOSITION 22. The various colours should be so blended that the objects coloured, when viewed at a distance, should present a neutralised bloom. PROPOSMowN 23. No composition can ever be perfect in which any one of the three primary colours is wanting, either in its natural state or in combination. PROPOSIToNo 24. When two tones of the same colour On the law of simultaneous are juxtaposed, the light colour will contrasts of olours, de- appear lighter, and the dark colour rived from 1 ~~~~~~~~~~~~~Mons. Chev- darrer. ruil. PROPOSITION 25. When two different colours are juxta- posed, they receive a double modification; first, as to their tone (the light colour appearing lighter, and the dark colour appearing darker); secondly, as to their hue, each will become tinged with the complementary colour of the other. PROPOSIT ION 26. Colours on white grounds appear darker; on black grounds lighter. PROPOSITION 27. Black grounds suffer when opposed to colours which give a luminous com- pletnentary. PROPOSITION 28. Colours should never be allowed to impinge upon each other. PROPOSITION 29. When ornaments in a colour are on a ground of a contrasting colour, the orna- ment should be separatedfrom the ground by an edging of lighter colour; as a red flower on a green ground should have an edging of lighter red. 7 On the means of increasing the harmo- nious effects of juxtaposed colours. Observations derived from a considera- tion of Oriental practice. On the con- trasts and harmonious equivalents of tones, shades, and hues. On the posi- tions the se- veral colours should oc- cupy.
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