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HARMONY OF COLORS— Contrasted Harmony. 
Before beginning the study of the harmony of colors, the various 
terms used in teaching color should be reviewed, and the pupils be 
made familiar with the work already gone over. This has consisted 
chiefly of an effort to teach the names of the various colors, their tints, 
shades and hues, and to cultivate habits of observing colors as found 
in nature and art, and to develope a love for color. 
With this fundamental training the pupil is supposed to be ready 
to undertake the study of the harmonious application of color ; to do 
this thoroughly, however, is a life work of itself, and too much must 
not be expected of pupils who receive only a few brief lessons, 
neither must the pupil be led to think that this subject can be taught 
in its entirety by fixed rules and good examples alone. These are 
useful helps, but are limited in their application. 
Contrasted Harmony. 
Definition. Contrasted harmony is an agreeable combination of 
any color or tone, that contrasts with white, black, gray, gold or 
silver. 
The effect of these upon the colors with which they are combined, 
is almost neutral, as they do not disturb them in hue or tone but 
slightly, and are not themselves disturbed by associatiou with any of 
the colors. They may therefore be safely used in dress or decoration 
with any colors without fear of producing a discord. 
Borrowed Effects. Although they have so slight a disturbing 
effect when used in this way, they still exert an influence over the 
colors with which they are combined ; if, for instance, a white pat- 
tern is distributed over a colored ground, the ground color will bor- 
row from the white and appear lighter in tone ; if it is associated 
with black it will be influenced by the black and appear darker. By 
a little experimenting it will be seen that these so-called neutral colors 
may add to the brilliancy, but may also diminish the intensity of a 
color. 
Size Of Tablets. In this work the teacher will find circles or 
squares, or both combined, the most simple forms to use in the study 
of the harmony of colors. If these are cut about an inch in diame 
ter, when not more than four are to be used in a row, or about five- 
eights or one-half an inch in diameter for designs requiring more 
than four in a row, the desired effect can be secured most easily. When 
these circles are mounted they should be separated by intervals of 
not less than one-haif their diameter. 
Simplicity in Designs. The tendency of beginners to cut their 
designs in too many small parts, and to use too many colors, must 
be overcome by insisting upon simplicity in all of their color combi- 
nations. 
Suggestions from Chevreul, Owen Jones and others. 
White — i. When two colors do not look well together, separate 
them with white. 
2. White heightens the tone of the colors with which it is placed 
in contrast. 
3. The binary association in the order of the greatest beauty is as 
follows : Light blue and white, rose and white, deep yellow and 
white, bright green and white, violet and white, orange and white. 
4. Colors on a white ground appear darker. 
5. Ornaments in any color or in gold may be used on white or 
black grounds without an edging. 
Black — 1. Black never produces a bad effect when placed be- 
tween two harmonious colors. 
2. Black does not associate so well with a luminous and a sombre 
color as it does with two luminous colors. 
3. The lowering of the tone of a color in contact with black is 
always perceptible. 
4. Black grounds suffer when opposed to colors which give a 
luminous complementary. 
5. Colors on a black ground appear lighter. 
6. Black draperies, lowering the tone of colors with which they 
are in juxtaposition, whiten the skin. 
Gray — 1. All the primary colors gain in purity and brilliancy by 
the proximity of gray. 
2. Gray separates colors that do not assort well together. 
3. Gray associates more favorably than black, with orange and 
violet, green and blue, green and violet. 
4. Although gray does not produce a bad effect with two lumi- 
nous colors, yet it is generally inferior to black and to white. 
Gold — 1. When ornaments in color are on a gold ground, the 
ornaments should be separated from the ground by an edging of a 
darker color. 
2. Gold ornaments on any colored ground should be outlined 
with black. 
Silver — Silver is cool in effect when used with colors, and does 
not form so pleasing a combination as gold. 
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