The art of decorating dry goods windows and interiors

by L. Frank Baum

The following color chart is used by some trimmers for matching colors. As already explained, the modern window calls for a variety of colorings, and it is in the matching of these colors, such as the compound shades, drabs, buffs, sages, with their different hues, that considerable work and patience is called for. With such colors as these a number of points are to be considered before a definite conclusion can be obtained. Some of the shades, for example, are very sensitive to the various qualities of daylight. A dark, cloudy day, a sunny, bright day, a hazy day, etc., all have their effect upon the colorings in the window design. There are other conditions which come in to interfere with the proposed color adjustment of the window trimmer.

Colors may appear so and so to the eye when placed in the design with certain other colors. A blue setting, for instance, may match each other if the combination includes several shades of blue. When the design is placed in its place in the window, alongside of a yellow, for example, the yellow offsets certain of the blue shades, producing tints of a yellowish green of some of the blues, while blueish greens are developed in others. This, of course, disorders the proposed color plan and the result is discouraging unless it is known how to overcome or avoid such troubles. Furthermore, certain colors which match by daylight are made quite the reverse as soon as the electric light or the gas light is turned on in the window. All this is perplexing to the window artist, but there are remedies. Use charts 1, 2 and 3. In the first are the standard color chart line, A, B, C, D, E, F, G and H. These represent the color lines of the solar spectrum. Along the side of the chart are figures 1, 2 and 3. The first indicates the absorption spectrum of yellow color. By following the chart lines it will be seen that this yellow absorbs violet and blue, while it transmits red, green and yellow. In 2 we can see that the blue which this division represents absorbs orange red, yellow green and yellow, and transmits blue, violet and part of the green. Division 3 represents green, which results as a combination of the two former divisions.

In Fig. 2 is a chart for representing the absorption of ruby glass and a single green shade. In this it can be seen that division 1 involves transmission of the red in A to the orange red in C, and the remaining colors are absorbed. In 2 is an absorption of all the colors except green, yellow green, blue and blue violet. In 3 is the result of combining the colors, in which case this setting permits no rays to pass, resulting in full black or darkness. In chart 3 is another plan for color setting in which 1 indicates the absorption spectrum of yellow, 2 in which violet shows the absorption in yellow and yellow green, 3 the compound of green rays with the absorption of the remainder of the spectrum.

AN EYE FOR COLORS.

A window trimmer who has an eye for color is usually able to group colors quite satisfactorily without the assistance of charts and regulations, but there are very few who possess the qualification, although perhaps many think they do. The reason that many suppose this is because the color plan of their window is pleasing to their own eyes, though it may be distasteful to others. Hence the necessity of applying to color charts, etc., to avoid discords to the eye of the practiced colorist. If you seek to produce white light from any of the color rays, add thereto the complementary ray. If yellow be absorbed the resultant color will be violet. If blue and yellow rays are absorbed the reflected ray will be red. If red is absorbed then we get green. If yellow and red be absorbed the result will be a blue. In window trimming two colors of striped goods placed in juxtaposition will always heighten each other’s color effect. Suppose that two stripes of a certain color fabric are arranged parallel with two stripes of another color it will be seen that the color of the four stripes differ if we look at them from a certain distance. This is because the coloring of the two inside stripes serve as terms of comparison to judge the modifications of these two interior stripes in their juxtaposition. For example, it will be found that red will be modified, inclining to violet, and orange is modified inclining to yellow, when the stripes are made up of red and orange. If we use a combination of blue and violet in a window design we will find that the blue will be modified to a greenish blue, and the violet to a reddish color. It is a good idea to cut out some four-inch wide strips of fabric and experiment, before going ahead with your color scheme.

CHAPTER VI.
MATERIAL FOR BACKGROUNDS.

Not less important than the framework is the background and the decoration of your framework. Indeed, many trimmers regard the subject of backgrounds as the most important in window trimming. There is a distinction between framework and background, although the frame often constitutes the backing of a portion of your window. Thus, a step, a table, or anything that supports the goods, is a part of the framework. An arch, puffed and pleated to make up your picture, is part of your background.

A background may be upholstered in any fabric from cheesecloth to velvet, or it may be a painted scene, or an imitation of nature, or simply covered with wall paper, or panelled to represent a room. It is the frame to your picture, and all pictures cannot be framed alike.

Of fabrics, cheesecloth is most in vogue. It is pretty, easily worked, and cheap. Whatever color or combination is selected, you must use to cover your floor, your framework, and the backing wherever it is visible from the front. It may be simply spread over your woodwork, or pleated, or puffed; and the same material may be used for draperies where they are required. The best effect is obtained by using light color or even plain white, and edging with a darker color that is harmonious, or a darker shade of the same color. White goods require a dark backing as a foil; dark goods of all kinds require a light backing. Of course there are exceptions. Pure white goods are effectively shown on a backing of cream or any other delicate tint.