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COLOUR-SCHEMES AS AFFECTED BY CONDITIONS OF LIGHTING VERY few people, except: those who are called upon to face the actual facts, ever realize the extent to which colour-schemes are affected by the conditions of lighting. Dazzling sunshine, pale sunlight, cold, clear greyness, heavy murkiness, reflections from blue sky, reflections from sunlit cloud—all affect colour differently. The intensity of sunshine at its brightest is so tremendous that it seems to take the heart out of all colour which has no depth. For example, half-strengths of red under a blazing sun look utterly washed out, while a red of the fullest possible hue appears no more than reasonable. Similarly, full greens and blues will become quite quiet and satisfactory. Of course, direct, strong sunlight adds a certain amount: of yellow to all colours upon which it falls, and this helps to bring together tints which would otherwise appear to be too far apart. Strong orange and purple, brilliant rose and yellow-green are all made more manageable under the influence of the yellow light. The intensity of certain colours which occur side by side on some of the parrot tribe is easily understood if one thinks of them under the influence of brilliant, warm light. Under the same conditions black loses its sombre character and seems to glow. The choice of colours for dress is no doubt partly influenced by the conditions of light under which they are to be seen. Deep colours, as well as brilliant, are popular in Central Africa. Tints like those in a border of summer flowers are common enough in the hotter parts of India; but however strange some of the mixtures may appear to us when seen under English skies, there can be no doubt that they look perfectly right and quite beautiful when harmonized by the sun. Those engaged in the preparation of coloured fabrics for export to tropical countries should give this matter their closest attention, for colour is certainly the attractive force, and unless the reasons for the choice be understood, it will always be difficult and risky work to arrange patterns, especially new ones, for these markets. As an instance, it has been found that although certain African tribes will buy some types of English prints, they will not use them until they have treated them with a deep blue dye of their own. Again, English firms are constantly called upon to supply, for India, patterns in which a particularly gaudy red and green predominate. Seen in a warehouse, laid out flat amid dingy surroundings, these cottons often look atrocious, but thrown into folds, and seen under strong sunlight, they are entirely transformed and become quite beautiful. To test colour effects of such a vivid type the student should obtain pieces of dyed material and put them together in the strongest possible sunshine and in the open air. He will be surprised to find how crude greens, reds, and violets will blend, provided that the colour patches are not too large. The grey light of this country is more: favourable to medium strength of colour and broken tints, and this is true in other countries under similar climatic conditions. The most beautiful Japanese colour-schemes are remarkable for their restraint, and thougL some of the Chinese schemes are very clear anc brilliant they do not exhibit the tremendou force of those used under a fiercer sun. A remarkable example of variation in the strength of colour, as used under different climatic conditions, may be seen in the North of Italy. In the high country around the lake broken colours and half-tints are most in. evidence. The natural surroundings are mountains and hills full of lovely greys and soft blues, which form a perfect setting for woods and gardens. Everything suggests beautiful but comparatively quiet, colour. An hour or two by rail and one passes into a land of make fields, open and flat, under a blazing sun. With the changed conditions the dress of the country folk changes colour, and one sees vivid crimson and green, violet, orange and purple; but the eye does not shrink from them—the sun brings them together and harmonizes all. Under northern skies strong colours appear again, not because of the sun, but for want of it. Darkness and cold and snow call for something to give brightness and warmth to the eyes, and the peasant dress of Scandinavia and Northern Russia shows a great partiality for bright colour. Continued on this page |