DOI Page / Citation link:
https://doi.org/10.11588/diglit.1211#0023
19
, COMPOSITION OF SCARLET.
The contrast to bright scarlet is green in its deepest degree, with the
addition of black aforesaid. The harmonising tint is full red, or deep scarlet.
Care must be taken not to let the scarlet and pure green join, as they are too
much of extremes to associate in any degree without the interference of red,
and even then the two colours must be broken one into the other, if orange is
introduced, and if it can it will increase the harmony; you may then have a
tint of blue that will assist very much, and if you can introduce a small
portion of yellow also, it will be an advantage, as you can then have a
purple tint that will give an agreeable effect to the whole; which, with
merely the scarlet and green, you hardly can.
Pale scarlet is managed nearly in the same manner, only weakening, as
aforesaid, the balancing, harmonising, and reflected tints, which are by this
means reduced to pale orange, pale red or pink, with pale lilac, observing to
break and subdue them as the occasion requires.
COMPOSITION OF BLUE.
This colour, from its cold nature, is so unfit for a principle in composi-
tion, that I only give its management with a reference to its place in a full
group; and even there, it is only by a mixture of white that you can bring
it out of the shade, which is its proper place, and where.it serves as an
harmonising tint to green. Orange is the contrasting tint, but it must be
subdued by black, or it would not answer the purpose; and indigo is the .only.
D 2
, COMPOSITION OF SCARLET.
The contrast to bright scarlet is green in its deepest degree, with the
addition of black aforesaid. The harmonising tint is full red, or deep scarlet.
Care must be taken not to let the scarlet and pure green join, as they are too
much of extremes to associate in any degree without the interference of red,
and even then the two colours must be broken one into the other, if orange is
introduced, and if it can it will increase the harmony; you may then have a
tint of blue that will assist very much, and if you can introduce a small
portion of yellow also, it will be an advantage, as you can then have a
purple tint that will give an agreeable effect to the whole; which, with
merely the scarlet and green, you hardly can.
Pale scarlet is managed nearly in the same manner, only weakening, as
aforesaid, the balancing, harmonising, and reflected tints, which are by this
means reduced to pale orange, pale red or pink, with pale lilac, observing to
break and subdue them as the occasion requires.
COMPOSITION OF BLUE.
This colour, from its cold nature, is so unfit for a principle in composi-
tion, that I only give its management with a reference to its place in a full
group; and even there, it is only by a mixture of white that you can bring
it out of the shade, which is its proper place, and where.it serves as an
harmonising tint to green. Orange is the contrasting tint, but it must be
subdued by black, or it would not answer the purpose; and indigo is the .only.
D 2