. Colour in woven design . THEORIES OF COLOURIKG. 21 technical and practical, the subject must be studied in sucha manner as to assist in the improvement of the artisticmerit of woven design. For technical purposes it is there-fore only feasible to deal with colour as it changes, accordingto the pigments combined ; hence red, yellow, and blue willbe regarded as primaries, because, when mixed with eachother and with black and white, every possible shade ofcolour may be obtained. 12. Compound Colours.—These are of two classes—secon-daries and tertiaries. The secondaries—green, orange, andpurple
. Colour in woven design . THEORIES OF COLOURIKG. 21 technical and practical, the subject must be studied in sucha manner as to assist in the improvement of the artisticmerit of woven design. For technical purposes it is there-fore only feasible to deal with colour as it changes, accordingto the pigments combined ; hence red, yellow, and blue willbe regarded as primaries, because, when mixed with eachother and with black and white, every possible shade ofcolour may be obtained. 12. Compound Colours.—These are of two classes—secon-daries and tertiaries. The secondaries—green, orange, andpurple (Plate II., Nos. 4, 5, and 6), are composed of twoprimaries, while the tertiaries—russet, citrine, and olive(Plate II., Nos. 7, 8, and 9), are composed of two secon-daries. Orange and purple produce russet or reddishbrown ; orange and green produce citrine or greenish olive;and green and purple, olive. On reducing these shades totheir simple elements it is found that they are each com-posed of three primaries, with
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectcolorin, bookyear1890
