GENERAL CONSIDERATIONS.—ID this brief sketch of the art of calico-printing, one vital point must not be overlooked—the influence exerted upon colours by their juxtaposition to others. It is nothing uncommon to find, both in printed tissues and in goods where many-eoloured patterns are produced by means of the Jacquard loom, shades which, if viewed singly, would to a practical eye appear very ordinary in character ; but, by being arranged in accordance with the optico-pbysiolo gical laws, which have been so ably expounded by Chevreul and Von Bezold, these indifferent colours enhance and support each other, and the general effect is admirable. Conversely, too often are found designs where each individual colour is splendid, but where the arrangement is so deplorable that each is impaired by being wrongly associated with others.
Among the happy associations of colours where each is beautified by the association, may be mentioned the pairs formerly known as "complementary "—an assumption only approximately true—such as magenta and green, carmine and bluish-green, vermilion and turquoise-blue, orange and ultramarine, yellow and bluish-violet, yellowish-green and crimson-violet.
Among triple combinations, the following groups produce good effects :—Magenta, yellow, and turquoise-blue ; carmine, yellowish-green, and ultramarine ; vermilion, green, and blue-violet ; orange, bluish-green, and reddish-violet. Each of these groups may be further enriched by the addition of black and white.
Combinations of four colours each—black and white being, strictly speaking, not regarded as colours—are very difficult to arrange. Beautiful effects have indeed been produced with magenta, or a red verging towards violet, green, scarlet bordering upon carmine, and turquoise-blue. But in such combinations, care has been taken that the magenta and the scarlet, and respectively the green and turquoise-blue, should not lie side by side, but should be separated by black or white.
As examples of inharmonious pairs, mention may be made of vermilion and yellow, yellow and green, green and turquoise-blue, turquoise-blue and blue-violet, magenta and vermilion. Such colours should never be placed alongside each other in a design, especially if in broad masses. If they are both introduced, they should be separated, for instance, by black.
Professor Von Bczold very justly remarks that such combinations are rendered much worse if the brighter of the two is applied in the heavier shade. Light blue stripes or spots on a dark green ground are much worse than dark blue on a light green ; and, in the same manner, light magenta on a dark vermilion is more intolerable than the converse arrangement. The brighter are any ill-matched colours, the worse is the effect produced--a law from which may be drawn the practical conclusion that the bright and pure colours now at the disposal of the printer and the dyer require much more judgment .and skill to make them harmonize than did the comparatively dull colours
which were known a century ago. It may even be said that the general ignorance of, and indifference to, the laws of colour have greatly, restricted the use of the coal-tar dyes.
It will thus appear that the utmost skill on the part of the colour maker and the colour mixer is rendered of little avail if the designer is not equal to the resources placed in his bands.
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(See Albumen ; Alum ; Alumina ; Coal-tar Products ; Dye-stuffs ; Mordants.)