. Colour in woven design . PLATE CONTRAST AND HARMONY. 73 of the three lilac tints similar to those given in Nos. 16,17, and 19, on Plate VI. Again the plan of the weave ofthe fabric is cassimere twill, but the system of colouring hasbeen diversified; thus, it consists of 16 threads of the deeptint, 8 threads of the medium tint, 16 threads of the lighttint, and 8 threads of the medium tint. While this arrange-ment forms a somewhat more varied style than the pre-ceding method of combination, the tints of which it iscomposed are distributed in equal quantities, producing auniform colouring.
. Colour in woven design . PLATE CONTRAST AND HARMONY. 73 of the three lilac tints similar to those given in Nos. 16,17, and 19, on Plate VI. Again the plan of the weave ofthe fabric is cassimere twill, but the system of colouring hasbeen diversified; thus, it consists of 16 threads of the deeptint, 8 threads of the medium tint, 16 threads of the lighttint, and 8 threads of the medium tint. While this arrange-ment forms a somewhat more varied style than the pre-ceding method of combination, the tints of which it iscomposed are distributed in equal quantities, producing auniform colouring. Its qualities of mellowness and smooth-ness are even more pronounced than those of No. 1 on thisPlate. Being a light pattern, it possesses a unique delicacyof toning. This applies to all compositions of tints, which,when properly gradated, constitute the most mellow typeof colouring producible. These illustrations in Toned and Tinted Contrasts aretypical of the general effects obtainable by combiningcolours of the same hue but of di
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectcolorin, bookyear1890
