DOI Page / Citation link:
https://doi.org/10.11588/diglit.1211#0021
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COMPOSITION OF YELLOW.
The contrasting or balancing tint to full yellow, is purple in its deepest
degree ; to which such a degree of black must be added as will not destroy
the purple: for though purple is the most opposite to yellow, yet place purple
in the shade, and it will there appear of a deeper hue than in the light; and as
the balancing tints are always placed in that part of a composition that is
most in shade, it is therefore necessary to add black to express the effect that
shade has upon this, and all other colours in that situation. Its harmonising
tints are orange, and pale yellow green; the first, being nearly equal to
yellow in lightness, harmonises remarkably well: care must be taken, as in
the foregoing composition, not to let the orange be too predominant; and to
observe the same rule in regard to the reflected tints. If orange is admitted,
a tint of blue should likewise be visible in the shade tints: but it may so
happen that orange cannot be introduced; in that case, green, in its different
gradations, forms the harmonising tint.
A pale yellow composition is managed exactly in the same manner, only
weakening the contrasting, harmonising, and reflected tints, in proportion to
the paleness of the yellow.
COMPOSITION OF ORANGE.
The contrasting or balancing tint to full orange is a blue of the deepest
tint, with the aforesaid addition of black. Its harmonising tint is red ; but
here, as in the foregoing composition, the pure red must be in the smallest
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COMPOSITION OF YELLOW.
The contrasting or balancing tint to full yellow, is purple in its deepest
degree ; to which such a degree of black must be added as will not destroy
the purple: for though purple is the most opposite to yellow, yet place purple
in the shade, and it will there appear of a deeper hue than in the light; and as
the balancing tints are always placed in that part of a composition that is
most in shade, it is therefore necessary to add black to express the effect that
shade has upon this, and all other colours in that situation. Its harmonising
tints are orange, and pale yellow green; the first, being nearly equal to
yellow in lightness, harmonises remarkably well: care must be taken, as in
the foregoing composition, not to let the orange be too predominant; and to
observe the same rule in regard to the reflected tints. If orange is admitted,
a tint of blue should likewise be visible in the shade tints: but it may so
happen that orange cannot be introduced; in that case, green, in its different
gradations, forms the harmonising tint.
A pale yellow composition is managed exactly in the same manner, only
weakening the contrasting, harmonising, and reflected tints, in proportion to
the paleness of the yellow.
COMPOSITION OF ORANGE.
The contrasting or balancing tint to full orange is a blue of the deepest
tint, with the aforesaid addition of black. Its harmonising tint is red ; but
here, as in the foregoing composition, the pure red must be in the smallest
D