. Colour in woven design . t of shades can beobtained by combining pure lights of these hues. Helm-holtzs theory comprises five primaries or simples, namely,red, yellow, green, and violet. When the subject of colouris considered with a view to its practical application to thearts, it is needful to base all combinations on Newtonsscheme—elucidated by Chevreul, Hay, Field and others—that red, blue, and yellow (Plate II., Nbs. 1, 2, and 3) aresimple colours, and all others the resultants of mixing themin variable quantities. According to the phenomenon of light,red and bluish-green, as stated abo
. Colour in woven design . t of shades can beobtained by combining pure lights of these hues. Helm-holtzs theory comprises five primaries or simples, namely,red, yellow, green, and violet. When the subject of colouris considered with a view to its practical application to thearts, it is needful to base all combinations on Newtonsscheme—elucidated by Chevreul, Hay, Field and others—that red, blue, and yellow (Plate II., Nbs. 1, 2, and 3) aresimple colours, and all others the resultants of mixing themin variable quantities. According to the phenomenon of light,red and bluish-green, as stated above, give yellow ; but inpigments they form a purplish citron, while yellow here isa simple colour, and green a compound one. In actualmanipulation with pigments the older theory thus affordsmore immediate and exact results. Many of the mixturesobtained by this system are diametrically opposed to thelaws of physics ; but as the object of a treatment of coloursin their relation to art and industrial productions is purely.
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectcolorin, bookyear1890
