Figure 463 is typical of still another form of positive hue grouping. By consulting the yellow hue rectangle of Figure 457 it is noted that the wood work, side walls, and ceiling of Figure 463 _are all contained in one rectangle_. This cla.s.ses this color scheme as an example of _dominant_ arrangement which may be simply defined as the _tints and shades of one hue_. The arrangement does not have the variety supplied by a.n.a.logous grouping, introducing as it does, two hues from different rectangles, but for large surfaces dominant grouping is a conservative and safe arrangement. Its tendency toward monotony should be guarded against by the introduction of some object high in chroma in the room decorative scheme. A bright colored vase will accomplish this successfully. Rule 12o, Chapter XVII.

Rule 12f. _Color schemes for wood work and side walls should preferably be selected from one of the following groupings: a.n.a.logous, contrasted, or dominant arrangements of hues. a.n.a.logous grouping is preferable where variety of hue is desirable._

[Sidenote: Special Arrangements]

The above rule is not to be taken as arbitrary. In the hands of competent designers attractive color schemes are developed that differ materially from the above suggestions. But, for the usual home setting, the above arrangement may be regarded as satisfactory, and is given with the idea of bringing the school shop work and the home environment into closer color harmony. A specimen of special arrangement is given by the Circle 3A. This is delft blue, which harmonizes with dark mahogany in a satisfactory manner.

[Sidenote: Hue Range for Side Walls and Ceilings]

In adjusting the hues for side walls and ceilings, the relations should be of the closest. The plotting of ceiling hues in Figure 457 shows a strong tendency for the ceiling to be colored with a tint of the side walls (dominant arrangement), or by a tint selected from the next rectangle (a.n.a.logous arrangement). Yellow or yellow-green, very light and much reduced in chroma, seems to be the almost universal custom.

This is due to the strongly _light reflecting_ qualities of yellow.

Rule 12g. _Ceilings should be colored by a lighter tint of the side walls or by a lighter tint of an a.n.a.logous hue._

[Sidenote: Range of Chroma for Stains]

Stains, as they occupy a comparatively limited area in the room color scheme, are of their full chroma value or reduced to three-fourths chroma. In only one instance (18), Figure 463, do we find a reduction to one-fourth chroma, demanded by the nearly gray color scheme of the walls. We find it to be an established fact that small areas are capable of enrichment by colors of greater purity and higher chroma than larger surfaces. A silver pin may be designed to contain a stone of high brilliancy, but a wall surface has to be materially reduced in chroma to possess color harmony.

[Ill.u.s.tration: PLATE 65]

[Sidenote: Range of Chroma for Stain]

Rule 12h. _Stains are usually not reduced to below three-fourths chromatic intensity. Nearly gray side walls, however, call for a reduction to one-fourth intensity._

[Sidenote: Range of Chroma for Walls]

As the walls occupy a large proportionate area of the color scheme of the room we find it necessary to reduce them in chroma in order to soften the glare of too brilliant colors. Figure 457 shows only one instance (14) of a hue unreduced in chroma. It is retained at the full chroma for that value on account of the brightness of the sage green wood stain. The other hues represented in the diagram are grayed or reduced in chroma from three-fourths to less than one-fourth, or to nearly neutral gray.

Rule 12i. _Wall colors are usually reduced to three-fourths chroma to a minimum reduction of slightly less than one-fourth chroma._

[Sidenote: Range of Chroma for Ceilings]

The same tendency toward chromatic reduction is to be seen in ceilings, although we have two examples in Figure 457 (10 and 13) of nearly white and high light ceilings that have not been reduced. To avoid crudity a reduction in chroma by the addition of gray is to be desired.

Rule 12j. _Ceilings should usually be reduced in chroma to three-fourths intensity with slightly less than one-fourth chroma as a minimum reduction._

[Sidenote: Summary]

With a single exception (3A), the stains and wall tints have been selected between and including the red and green rectangles. This is customary and gives safe hue range as it insures the retention of wall and ceiling hues in unified conformity with the warm tints of the natural wood and its equally dark hued stains.

[Sidenote: Wall and Ceiling Pigments]

The following is a list of dry colors which may be purchased at a paint or hardware store for a few cents a pound. It is suggested for the designer or craftsman who desires to tint his own wall or ceiling. While oil paint is to be preferred, these colors are readily and quickly applied and form serviceable backgrounds.

[Sidenote: Calcimine]

The pigments are white, yellow ochre, chrome yellow light, chrome yellow medium, and chrome yellow dark, burnt and raw sienna, turkey and raw umber, ultramarine and ivory black. The greens are preferably mixed by adding ultramarine to one of the chromes. Shades are formed by the addition of the siennas, umbers, or black. Black and white, mixed to a gray, are useful in reducing the chroma of a hue. The stains should be mixed with hot water and a small amount of glue for a binder. White occasionally comes prepared with glue in its composition.

[Sidenote: Opaque Wood Finishes]

While this chapter has emphasized the transparent finish for wood treatment, as a method best fitted for woods with a distinct grain, it is realized that oil painting of wood surfaces has a distinct and important part to play in the interior decorative scheme of a room. This latter method is adapted to soft woods without a strongly marked grained surface. The warm hued rectangle of the spectrum: red, orange, and yellow with their a.s.sociated hues, which are so intimately connected with the natural wood colors and their stains, no longer stand as a limiting factor in controlling the color of the wood or the side walls.

The opaque nature of oil paints allows us to disregard the color of the wood, and thus select any hue of oil paint which harmonizes with the walls and decorative scheme of the room. The rules stated herein are equally applicable to opaque colors. It may be necessary to reduce oil paints in chroma beyond the point indicated in Rule 12h.

While it is not within the scope of this chapter to enter into a complete discussion of the subject of interior decoration, the following suggestions are considered as applying to our subject: viz., the surface enrichment of large areas. Complete color harmony in interior decoration generally demands the presence of the three so-called primary hues: red, yellow, and blue, in some form in the wall color scheme. While this is not always possible, two may be introduced as follows.

[Sidenote: Northern Exposure]

The light from the north, northeast, or northwest is cold blue, supplying blue in the decorative scheme of three primary colors: blue, red, and yellow. The wall tints should then be composed of combinations of red and yellow, the remaining primaries. These may be applied to the walls by means of tints of yellow and orange reduced in chroma, or shades of orange and orange-red. No greens or blues should be used.

[Sidenote: Southern Exposure]

The light from the south, southeast, and southwest supplies plenty of yellow. It is, then, necessary to add the remaining primaries or at least one of them in the form of gray-blue, orange, or orange-yellow, reduced to one-fourth chroma and practically to neutrality or grayish-reds and greens, well reduced in chroma. Any hue strongly yellow should be avoided.

[Sidenote: Effects of Hue upon Apparent Size]

Certain hues materially affect the apparent size of a room. If the room is small certain values and hues will make it appear much smaller. Dark values, as a rule, make the room look smaller by seemingly drawing the walls closer together. Red contracts the apparent size of a room, while yellow and blue expand it. Green and shades of yellow and red-orange, if not too dark, have little effect upon the apparent size of a room.

SUMMARY OF DESIGN STEPS

(_a_) Determine, by its exposure, the kind of light the room receives.

(_b_) Choose a hue for the walls embodying one or both of the primary hues not represented by this daylight.

(_c_) Select a value and chroma for this hue in accordance with Rules 12b and 12i.

(_d_) Select a hue, value, and chroma for the ceiling in accordance with Rules 12g, 12e, and 12j.

(_e_) Select the correct hue, value, and chroma for paint or stain for the wood work in accordance with Rules 12f, 12a, and 12h.

SUGGESTED PROBLEMS

Develop the color scheme for the walls, ceiling, and wood work of a room with a northern exposure; southern exposure. Mix the stain for a piece of oak to harmonize with the wood work and walls of the living room of your home.

Determine the wall tints to harmonize with dark weathered oak.

Mix them from dry colors.

SUMMARY OF RULES

Rule 12a. _An average wood stain is to be retained between the values middle and low dark._

Rule 12b. _An average wall hue is to be retained between the values light and middle._

Rule 12c. _An average ceiling hue is to be retained between the values white (minus) and light._

Rule 12d. _The relation between the side walls and furniture, trim, etc., should be retained within the range of four values or less, as low light and dark._