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The laws of contrast of colour cover

The laws of contrast of colour

Chapter 9: CHAPTER IV.
By M. E. Chevreul
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ArtScience - Physics

About This Book

A scientific and practical examination of colour contrast begins by defining simultaneous contrast and demonstrating it through systematic experiments and a representative formula, distinguishing simultaneous, successive, and mixed effects. It analyzes how colours alter one another when set beside white, black, grey, or related hues, presents chromatic diagrams, tones, scales, and rules of harmony, and offers detailed applications across painting, tapestry, dyeing, printing, dress, military clothing, illumination, and gardening. Practical rules for mixture and weaving — binary primary mixing, complementary mixtures, and three-colour combinations — accompany illustrative plates and guidance for achieving consistent colour relationships in decorative and pictorial work.

CHAPTER IV.

On the Juxtaposition of Coloured Surfaces with White.

44. When white bodies are viewed simultaneously with coloured bodies contiguous to them, they are sensibly modified. I confess that the modification is too feeble to be determined with absolute certainty while we are ignorant of the law of contrast; but, understanding that, and knowing the modifications that white undergoes in connexion with certain colours, we shall not fail to recognise this modification in special cases, provided the colours opposed to the white be not too deep.

Red and White.

45. Green, complementary to Red, being added to White, the Red appears more brilliant and deeper.

Orange and White.

46. Blue, complementary to Orange, being added to White, the Orange appears more brilliant and deeper.

Greenish-Yellow and White.

47. Violet, complementary to Greenish-yellow, being added to White, the Yellow appears more brilliant and deeper.

Green and White.

48. Red, complementary to Green, being added to White, the Green appears more brilliant and deeper.

Blue and White.

49. Orange, complementary to Blue, being added to White, the Blue appears more brilliant and deeper.

PLATE IV.

Indigo and White.

50. Yellowish-orange, complementary to Indigo, being added to White, the Indigo appears more brilliant and deeper.

Violet and White.

51. Yellowish-green, complementary to Violet, being added to White, the Violet appears more brilliant and deeper.

Black and White.

52. Black and white, which may be considered in some respects complementary to each other, become, conformably to the law of contrast of tone, more different than when seen separately. This results from the effect of the white light, which is reflected by the black ( 4), being more or less destroyed by the light of the white stripe. By an analogous action, the white heightens the tone of the colours to which it is contiguous.