Photoless Friday (21): More Owen Jones (this one's a mouthful...hang in there!)

Workin' so hard, would so love to chat and "digest" together with you these great design hints from Owen Jones, but that will have to wait 'til the work load lightens up. For now, here's a whalloping big snatch of his complicated color advice...More......

The other indications about color are easier to understand. These snippets are hard on the brain, but we'd might as well get them out of the way, so we can continue our tour through his advice.

At the end, we'll try to make some sense of what he's told us, and try using it, ourselves, together.

Are your seatbelts fastened? Here goes...!

PROPOSITION 18: (Field’s Chromatic equivalents) The primaries of equal intensities will harmonise or neutralize each other, in the proportions of 3 yellow, 5 red, and 8 blue – integrally as 16. The secondaries in the proportions of 8 orange, 13 purple, 11 green – integrally as 32. The tertiaries, citrine (compound of orange and green), 19; russet (orange and purple), 21; olive (green and purple), 24; -- integrally as 64. It follows that, -- each secondary being a compound of two primaries is neutralized by the remaining primary in the same proportions: thus, 8 of orange by 8 of blue, 11 green by 5 of red, 13 of purple by 3 of yellow. Each tertiary being a binary compound of two secondaries, is neutralized by the remaining secondary: as, 24 of olive by 8 of orange, 21 of russet by 11 of green, 19 of citrine by 13 of purple.

PROPOSITION 19: [color, cont.] The above supposes the colours to be used in their prismatic intensities, but each colour has a variety of tones when mixed with white, or of shades when mixed with grey or black. When a full colour is contrasted with another of a lower tone, the volume of the latter must be proportionally increased.

PROPOSITION 20: [color, cont.] Each colour has a variety of hues, obtained by admixture with other colors, in addition to white, gray, or black: thus we have of yellow, -- orange-yellow on the one side, and lemon yellow on the other; so of red, -- scarlet-red, and crimson-red; and of each varity of tone and shade. When a primary tinged with another primary is contrasted with a secondary, the secondary must have a hue of the third primary.

PROPOSITION 21: [color, cont.] In using the primary colours on moulded surfaces, we should place blue, which retires, on the concave surfaces; yellow, which advances, on the convex; and red, the intermediate colour, on the undersides; separating the colors by white on the vertical planes. When the proportions required by Proposition 18 cannot be obtained, we may procure the balance by a change in the colours themselves: thus, if the surfaces to be coloured should give too much yellow, we should make the red more crimson and the blue more purple, -- i.e., we should take the yellow out of them; so if the surfaces should give too much blue, we should make the yellow more orange and the red more scarlet.

Ouch! (The rest of his hints are more straight forward, like the first ones we have seen, so don't worry!)

Back atcha' later, enjoy!