Our first consideration is the background. White is too harsh for general work, but is good when the window is so dark that it makes much glare and reflection. In this case it will heighten the light, render the display more distinct, and assist in avoiding reflections. Black (flat or gloss) painting of the interior, or a black cloth background, is objectionable because it makes the window a veritable “camera obscura” and reflects everything. It also renders the colors of the goods dull or broken. Something between white and black will therefore be found better, such as a warm French gray (if painted, flat of course), not light enough to appear nearly white, but as nearly “neutral” as possible. A background like this will brighten up most colors to some extent, and will not interfere with any adjacent color. It also assists in avoiding reflections and glare.
In the arrangement of your window there are two points to keep in mind, the “near view,” which takes in only one window, or part of it, and the “further view,” which will embrace the entire trim, making all the windows as one. In the front part of the window take care of the harmony, or contrast, and only use such colors as are not a light shade of compound color, such as lavender, etc., which are easily faded. For the second row arrange it so that when viewed over or between it and the first row, you get a proper contrast, harmony or broken tone, that will act as a “neutral” and avoid “killing” the three colors at once. The arrangement by contrast is usually the best and easiest.
The “further view” should not have any startling color effect at one end, and nothing to balance it at the other, but should have a similar effect of harmony or color. When the center is of lower or broken tones, usually esteemed neutral, or if there be three color effects, make them one of harmony and two of contrast, or vice versa. Relieve them with neutral colors, and add a touch of ribbon, flowers, etc., of the complementary neutral, to arrest the eye a moment.
To decide the color of a fabric, study what colors it is composed of. Then it becomes easy to find the complementary. For instance, a fabric of dull green (broken tone) with an allover pattern of black, covering 25 per cent of the surface will amount to very dull green; but if the black covers 75 per cent of the surface, it will be a greenish black, although the green will appear more prominent than it really is, the black being non-luminous, or a poor reflector.
In light shades care must be taken to define the color, as pink, yellow or rose cast, light blue, green or purple cast. Inattention to this will mar the color effect, as the complementary selected will most likely be incorrect.
It is well always to remember that there are but three primary or elementary colors (red, yellow and blue-green), and that there cannot be harmony of color arrangement if either one is wanting. Also that the distinction of harmony depends on the predominance of one, and the subordination of the other two.
A COLOR CHART.
In order to be sure that your color combinations are harmonious, the accompanying diagram of a “color scheme” will be a safe guide. Color combinations are governed by set laws, and, as is the case with all other natural laws, it is both foolish and disastrous to ignore them. The center of the chart is white, for white harmonizes with any color. The most distinct combinations are found by consulting the extremities of each straight line, whether dotted or plain. But every dotted line will harmonize with every other dotted line as well, and these are the combinations of strong colors. The triangle connects the three basic colors, blue, red and yellow, which are distinct contrasts. The other plain lines show the tints which harmonize together, but not with strong colors. If ever in doubt as to a suitable combination, consult the chart. By following the directions of its lines you cannot fail to be right.
