The Principles of Design and Colour  

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The principles of design and colour : comprising the arrangement and disposition of forms with facility and success in the various patterns for silk, cotton, woollen, paper, and other manufactures : together with the matching of colors : so as to produce elegance and richness of effect : illustrated with plates containing diagrams of the principles of color (1847)is a book by Rudolph Ackermann.

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PRINCIPLES OF DESIGN, ON THE PUBLISHED -BY ACKERMANN &CO 96, STRAND, LONDON. AND ARRANGEMENT The ALSO OF THE MATCHING, OF COLOURS &c. 9

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Br Green Brown Cool Red GreyRed 1.Green Yellow Deep Y.Brown PURPLE . Blue Black YELLOW. Red Brown Yellow VIOLET. Diagrams showingthe Principles of MatchingGelours. Brown L. PurpleWarm Green Orange Green CoolPurple Orange Violet Neutral Brown Orange Red Blue RED. Black Red Yellow Red Brown GREEN. Cool Red Red Brown WHITE. PLATE WarmGreen Blue Pale Cool Pale Green Red Purple Brown Tell Brown Orange Warm Published Jan 1847, by Ackermann & C° 96, Strand , London . Yell Brown Cool Red Yellow Purple Deep Blue ORANGE. Orange D. Red Brown BLUEOrange Red Brown BLACK. Deep Cool Green Black P.Yellow Yell Brown Red Purple Red

THE PRINCIPLES OF DESIGN AND COLOUR COMPRISING THE ARRANGEMENT AND DISPOSITION OF FORMS WITH FACILITY AND SUCCESS IN THE VARIOUS PATTERNS FOR SILK, COTTON, WOOLLEN, PAPER, AND OTHER MANUFACTURES ; TOGETHER WITH THE MATCHING OF COLOURS SO AS TO PRODUCE ELEGANCE AND RICHNESS OF EFFECT . ILLUSTRATED WITH PLATES CONTAINING DIAGRAMS OF THE PRINCIPLES OF COLOUR. LONDON : ACKERMANN AND CO. , 96, STRAND, By Appointment, to Her Majesty the Queen, H. R. H. Prince Albert, H. R. H. the Buchess of Kent, and the Royal Family. 1847. PRITISH MUS USER LONDON. c. WOOD & CO. , PRINTERS, POPPIN'S COURT, FLEET STREET. PREFACE. It is but recently that any opportunity has been afforded, through the medium of a public institution, for the improvement of our artisans in works of design ; and little has hitherto been done in the way of publication to facilitate such improvement ; but a school having been established by authority for such purpose, it is to be hoped that such other aids will be supplied as will render them able to vie with our neighbours on the Continent, if not to surpass them in those branches of manufacture, in which, as regards embellishment, they have hitherto been considered as by no means able to stand forward as competitors. Many valuable hints, no doubt, are to be found interspersed in various works, useful to the artisan ; but not being concentrated and brought together in connection with each other, have not been generally available. It is the object of the present work to give such hints in a methodised form, showing the principles of arrangement and the selection of forms necessary to be observed, and to point out the results consequent on the various arrangements as to the boldness, the delicacy, or the elegance of the effect produced . As the arrangement and the matching of colours is generally admitted to be the least understood of any of their operations, and as most patterns depend essentially for their excellence of effect on a judicious arrangement, it will be found that this division of the work has not only received particular conside- iv PREFACE. ration, but that it is rendered of more importance by the introduction of diagrams illustrative of the principles necessary to be kept in view. That the work may be generally within the reach of the artisan, it has been the object of the publishers to give it to the world in a form enabling them to furnish it at a price considerably below that at which works of this nature are generally offered, depending on the extensive circulation for the recovery of their outlay and their after remuneration. The very general and anxious inquiry for works of this nature in a concise, cheap, and methodised form, suggested the idea of the present arrangement; and as it is a work for the artisan, whose time and pecuniary means will not allow of his purchasing or toiling through voluminous publications, the principles have been so arranged as to render them available in all cases where such information is desirable or necessary for the advancement of the artisan in the pursuit in which he may be more immediately engaged ; at the same time, the hints thrown out for the altering, the improvement, and changing the effect of a pattern by a comparatively trifling addition, and small expense of time or labour, renders it a work of the first importance for the heads of manufacturing establishments ; those hints applying not only to the altering of new patterns, but also to the changing of the character of such as have been already used in previous seasons, and been thrown aside as entirely out of date, and consequently considered as useless. CONTENTS. Page ON DESIGN As respects Form ...

Of the Size of Objects made use of for Patterns ... Of the Ground, Lines, and Arrangement of a Pattern Ofthe Composition of Light and Dark Objects ON THE ARRANGING AND MATCHING OF COLOURS ... ... ...

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Of Warm and Cool Colours ... ... ...

Of Prismatic Colours ... ... ... Of Harmony of Colours ... ... ...

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... 8 ... 8 ... 9 ... 10 OF THE PROPORTION OF WARM AND COOL Colours, and THEIR EFFECTS ... ... 13 Of Grounds, their Strength and Colour ... ... ... ...

... 13 .: Of White Grounds ... ... ... ... ... 13 Of Pale Grounds, or those next in Strength to White Of Grounds of a Middle Tint, or Depth midway between the extremes of Light ... 13 and Dark Of Dark Grounds Of Gradated Grounds ... ... ... ... ... ... 14 ... ... ... ... ... 14 ... ... .: ... ... ... ... 14 Of Summer and Winter Patterns Of correcting, altering, and improving of Patterns ... ... ... ... ... 14 ... ... ... 15 GENERAL REMARKS ON THE ARRANGEMENT OF COLOUR IN PLATE IV ... 17

ON DESIGN. NOTWITHSTANDING the advancement of the arts in this country within the last fifty years has surpassed that of any other, it has been owing rather to an increase of wealth and luxury, than to a due appreciation of the art of drawing as a pursuit eminently useful and intimately connected with other branches of useful knowledge ; hence the little attention that has been given to the diffusion of principles as a foundation. It can therefore be little matter of surprise that in our designs of an ornamental character we have not progressed in an equal ratio ; the truth of which has been a subject of regret with the more reflecting and more enterprising of our manufacturing establishments. As an accomplishment the art of drawing and painting is a delightful study ; as a branch of knowledge it stands in the first class of those that are useful ; and our neighbours the French have availed themselves of its utility by giving every facilty for improvement through the medium of their picture galleries, which are always open for the use of students. They are well aware that it improves the taste of the whole circle of artists, those whose avocations are connected with manufactures, useful or ornamental, as well as those engaged in the higher branches of painting, history, landscape, or portraiture. Hence the tasteful superiority of most of their designs, and the happy arrangement of colour, where colour is necessary, even in their various manufactures. To this and to this only is to be ascribed their general superiority in articles of a tasteful character, and not, as has been ignorantly 2 ON DESIGN. supposed, to the difference of climate, to a gaiety of disposition, or to an innate or constitutional aptitude for invention ; in proof of which the artists of our comparatively cold, dull, humid atmosphere have carried the art of painting in water- colours to an enviable, and at present, an unrivalled pitch of superiority. Let it not, then, be supposed that in works of a minor character, our climate or our habits will be found to stand as opposing barriers to our future improvements, such improvements being always the result of well- directed study. It must at the same time be acknowledged that little has been put forth in this country, connected with the production of articles of taste, beyond the mere publication of prints in the way of designs or patterns, unconnected or unaided by principles as a basis of general improvement or unerring and successful study. The eye may be matured by the constant habit of seeing things of a superior or highly tasteful character ; and being so matured, will have a disrelish for works of an inferior order ; but it is the mind educated and formed on sound principles only that can readily suggest the cause of such inferiority, and the means of improvement. It must, therefore be inferred, that simple and unerring principles form the basis of certain and successful study by giving the mind a proper direction. It is the object in the present work to furnish those principles which in the higher walks of art have been acted upon, and found to produce the desired results ; and but for which, our efforts would be frequently unsuccessful, and sometimes wholly abortive. It requires but little reasoning to prove that the mind receives a very considerable portion of its gratification from variety ; and especially so in those cases where that gratification is derived through the medium of our senses. Sight, for instance, is the medium of an endless source of pleasure, as through that medium is constantly conveyed to the mind a succession of objects to amuse, to instruct, and to enliven from the ever-varying scenes by which we are surrounded. But here it will be observed, that the variety must be suited to amuse and to interest it must be a well-ordered variety. It is the same with respect to works of art, or articles of tasteful manufacture, the eye must be amused by variety ; not a variety to distress and distract, but a well-ordered variety. ON DESIGN. 3 AS RESPECTS FORM.- Patterns should be designed on some certain principle : that is, the designer should have established principles in his mind to ensure a successful result. For example : objects that are composed of straight lines or that are of an angular form should be opposed by such as are circular or curvilinear, large objects should be placed near to smaller ones, straight lines to serpentine or wavy lines, ovals to squares, convex forms to straight or concave, straight lines to an easy zizzag, objects continuous or connected to unconnected ones ; no two objects of the same form and size should come in immediate contact. It should at the same time be borne in mind, that the opposition should not be too violent ; a large object should not succeed close to a very small one, and vice versa ; nor should the objects be so multifarious, or be placed so closely together, as to produce confusion or distraction when placed at the distance at which they will be most generally seen ; as in such case the effect would be destroyed, and the eye feel disgust rather than satisfaction. In considering the design of patterns, attention should be paid to the size of the objects separately or in connection ; and should be proportioned to the distance at which it will most generally be seen and the space it is intended to cover ; for instance, the pattern of a paper, however elegant and suitable for a room twelve feet square, would appear little and trifling if placed on the walls of a room thirty feet by twenty-four, and of a suitable height ; so the elegant pattern of a dress intended to cover a form five feet high, would appear little on a furniture intended for a splendid and spacious apartment. Hence it will be seen, that an attention to proportion is essential in the design of patterns, as in the designs of buildings and their various ornamental embellishments. OF THE SIZE OF OBJECTS MADE USE OF FOR PATTERNS. ― It may be required to know what standard or rule can be given for the size of a pattern, where the purposes to which they may be applied are so various, and their uses and situations so different. In reference to this point it must be noticed, that we must consider whether it be for a dress, the hangings of a room, the hangings of a bed, or whether it be to ornament a table. We cannot command the perfect view of any object under an angle larger than that of sixty degrees ; we must, therefore, necessarily retire so far from the object as to be able at B 4 ON DESIGN. one view to command the whole, to be enabled to judge fairly of the effect ; if a pattern be so proportioned as to appear of sufficient size at the relative distance, there will be little doubt felt of the propriety of the proportions. It has already been remarked that a large object should not be succeeded by a very small one ; and the reason is obvious ; the transition would be too abrupt to convey that pleasurable sensation which is felt from a transition less. violent in its character ; as the easy undulating line is preferable to the violent serpentine line or to the angular. Objects, therefore, that are unconnected, should be so proportioned that the eye may pass from one to the other free from sudden check or interruption, and the introduction of angular objects or forms, when necessary, should be as foils to the others, and for the sake of variety ; and when so used are of considerable value. Straight lines should be used for the same purpose, though not too profusely, perhaps one only in an arrangement of forms composing a pattern, unless the pattern be on an extensive scale and the forms numerous, when a second may be sometimes introduced with considerable advantage. From this occasional variation of lines monotony is avoided, which is one of the defects in composition or arrangement to be scrupulously guarded against, but which is not unfrequently fallen into by a desire to produce a harmony of lines in constructing an arrangement, whereas true harmony consists not in a constant succession of lines of the same character, but in a due proportion of the varieties. In the orders of architecture the varieties of form are contrasted to each other to avoid monotony, at the same time keeping in view the intention and the character of the building, whether it be a church or a theatre, a structure for business or pleasure. And in considering the cornice of the doric order, we find the flat reglet succeeded by the cavetto, the cavetto by the fillet, the fillet by the talon, the talon by the flat corona, the corona by the denticles, the denticles by the talon of larger dimensions than the upper one ; thus, though repeating the form, effecting variety by increasing the size ; and this again succeeded by the bandelette, the whole of which presenting a varied succession either in form or size, yet simple and without confusion. Numerous other examples might be adduced in support of this necessary and well- ordered variety, but the one already mentioned may suffice to show that in the higher works of art it is considered of the first importance. It may be here observed, ON DESIGN. 5 that in the several orders of architecture every thing is submitted to actual measurement, which is not the case with designs of a generally ornamental character, and which depend for their effect rather on the broad and simple principles on which they are constructed than on actual measurement, which would too much cramp the ingenuity of persons engaged in such articles of design. It becomes, therefore, of more advantage to suggest rules of a general kind to be practically acted on as occasion may require, or the talents of the designer may feel suitable to his purpose. OF THE GROUND, LINES, AND ARRANGMENT OF A PATTERN. First. The forms of a pattern should not be equally divided : if composed of lines of either connected or unconnected objects, some should be broader than others, and the unconnected objects should be varied in size and shape. Secondly. The ground of a pattern, of whatever tone or colour should never be so covered as to divide equally the ground with the pattern : the one or the other should be preeminent, and such preeminence must depend on the supposed uses to which the article will be applied, and the intention to produce a light and elegant pattern, or a deep, rich, and full coloured one. If the ground be light, and a free elegant pattern be required, the ground should predominate ; if a rich and full-coloured pattern be desired, the pattern should predominate both in quantity and in depth of colour, and the forms should be moderately bold, for though a ground may be considerably covered with small forms, they will tell on the eye at a moderate distance as so many specks, and will never appear rich and imposing. Thirdly. A pattern should never be overcharged with forms ; such patterns have a confused appearance. A few objects, well chosen and well contrasted to each other, have a richer and more powerful effect. i Fourthly. The forms of objects introduced in patterns should not be composed of a multiplicity of small parts ; the points or parts surrounding the body of the object should not be less than one-twelfth of the area they are intended to occupy, except in stars where there is a gradation from the centre to the points. may, Fifthly. If a pattern, after it be designed, appear weak or confused, it if not already overcharged with deep colour, be relieved or invigorated 6 ON DESIGN. by a line fuller and darker than any thing it already contains, should the pattern be in stripes ; and, if not in stripes, it may be relieved by the introduction of a larger or more powerful object in depth of colour than the rest of the pattern. Sixthly. All patterns should have a principal or leading character or feature ; something should be preeminent to prevent insipidity or confusion ; for it must be evident, on the slightest reflection, that where every thing is of the same size and of the same strength, though the forms be varied, the variety will not be evident when placed at a distance. Seventhly. All principal or leading objects in a pattern, should be of an agreeable form, as it is this part of the pattern which marks its character, and first takes the attention of the observer. Eighthly. The leading lines or objects in a pattern should not take an horizontal direction ; lines rising or towering upwards generally affect the mind more powerfully and more agreeably. If lines be used horizontally, they should be of a tender character, not imposing themselves upon us as principals, but kept as subordinates. Ninthly. The distances between the objects of which a pattern is composed, should be either larger or smaller than the objects they separate ; this contributes to variety : whether they be larger or smaller will chiefly depend on the intention of the designer to have a full-covered pattern or otherwise. Tenthly. In patterns composed of lines crossing each other, as in plaids, much variety may be produced by thick and thin lines, and by placing such lines at different distances from each other, and by varying the colours composing the pattern, producing a considerable difference in the effect. But where lines are crossed, so as to produce the figure of the diamond, or what is termed the lozenge, a more tasteful and elegant pattern is obtained, in consequence of the angles of the figure being varied by the obtuse and the acute ; whereas by crossing the lines at right angles the corners are all alike. OF THE COMPOSITION OF LIGHT AND DARK OBJECTS. -In all arrangements of forms it should be borne in mind that dark objects compose with dark objects, and light objects with light ones ; that is, the deeply-coloured parts of the pattern, if they predominate, carry the eye with them in the ON DESIGN. 7 direction they are placed ; and the powerfully light forms in a pattern operate on the eye in the same manner. Hence the general effect of a pattern may be frequently readily altered by the introduction of another dark object to give the darks a decided preponderance in a pattern. By giving a decided preponderance to the light objects the pattern will be equally affected . It must be evident, therefore, that as the general effect is so readily altered, too much care cannot be given to the arrangement of the prominent dark and to the prominent light objects of which a pattern is composed. Many patterns are carefully and curiously drawn, and the forms themselves, individually considered, free from objection, yet wanting something in the general arrangement to give them a decided character, claim little attention. It may be observed, that sometimes even such patterns become favourites with a portion of the public, either from their unobtrusive quality, from a love of novelty, or from a desire in the wearers to stand apart from the rest of society, by wearing that which will not be worn generally ; and it is not unfrequently that the greatest absurdities in dress have not only been tolerated, but have become for a time fashionable from such aristocratic feeling of eccentricity. But the object of a designer is to give that which will be generally admired, rather than that which may only possibly become fashionable from some adventitious circumstance. The previous observations have been given as general principles that the tyro in designing may, in the selecting of objects, not introduce too frequently those of the same or of a too similar character ; but that he may adopt such as may relieve his design from insipidity or monotony. An abundant variety is to be found in the forms of flowers, in their stems, and in their leaves, and in various other objects-as vases, shells, architectural ornaments, and the like ; but the selection and the arrangement must depend on the judicious feeling of the designer. In furnishing diagrams illustrative of the remarks contained in this work, it will be borne in mind that they are intended to elucidate principles, and not given as patterns to draw or to select from. It being a generally acknowledged fact, that most of our patterns designed for the various manufactures of silk, woollen, linen, and the like, depend more for their attractive qualities on the arranging and matching of the colours than 8 ON THE ARRANGING AND on the forms or objects of which the pattern is composed, the diagrams and examples relative to colour are given more particularly as illustrative of principles, especially as in all our manufactories the great want of such information is apparent, and is generally acknowledged by all those of eminence engaged in such manufacturing establishments. It will be, therefore, necessary to consider this portion of the subject of design separately and under the following head. ON THE ARRANGING AND MATCHING OF COLOURS. In the arranging of colours to produce a good effect there should be harmony without monotony, vigour without crudeness, and simplicity without flatness or paucity in the appearance-a combination of which qualities should be the object of the designer, and which can be obtained only by a judiciously disposing of colours opposed to each other ; by a due proportion of the weak and the powerful ; and by an arrangement that will come upon the eye distinctly and without confusion. And it should be ever remembered, that gaudiness is incompatible with richness ; it is incompatible with elegance ; it is incompatible with harmony ; it may associate itself with vigour, but it is the vigour of crudeness . OF WARM AND COOL COLOURS. -Colours are divided into two classesthe warm and the cool, for the better understanding of their qualities when opposed to each other ; and likewise to show what contributes to a powerful and rich effect, and what to the tender, delicate, and more elegant. And it be here observed, that what are termed broken colours, that is, such colours as are compounded of two or more colours, by which means the flaring quality of either, or both of them, is subdued, are more adapted to rich patterns than those of a pure and more brilliant character. may For the more ready comprehension of the terms warm and cool ( exhibited in Plate I), those colours in which the red or the yellow preponderate are MATCHING OF COLOURS. 9 placed in the class of warm colours ; and those in which the blue predominate are placed in the class of cool colours ; as follow :- WARM COLOURS. 3 Red. Yellow. Purple. Brown. Yellow Green. Orange. COOL COLOURS. Blue. Green. Violet. Black. White. Bluish Grey. In thus classing the colours, though not limiting them to those generally denominated prismatic, it will be seen that, as far as respects their qualities, the same principle is derived from them: the prismatic colours standing thusWARM COLOURS. Purple. Red. Orange. Yellow. COOL COLOUrs. Green. Blue. Violet. The four first comprehending the warm, the three last the cool colours, as seen in Plate I. But as the artist has to use them in their various combinations, and as white and black, though not holding the rank of colours, are powerful auxiliaries in his works, he will better appreciate the qualities of the various tints by the warm and cool classification previously given, and by considering them as warm or cool according to the preponderance of either of the three primary colours, red, yellow, or blue, as already explained. It will be likewise necessary to observe, that both white and black possess a neutralizing quality, so that yellow reduced by white, that is, a pale yellow, is much cooler than a yellow worked to its full strength : the same remark applies to the red. It becomes, therefore, evident, that the qualities of colours are somewhat altered, even in their classified character of warm and cool, by 10 ON THE ARRANGING AND a reduction of their strength ; as the red, worked to its full strength, would be considered hot, yet when reduced to paleness could be denominated only as warm, as will be seen in the coloured examples marked A, Plate II. Vigour of colour is obtained by opposition, that is, by opposing warm colours to cool ones, or hot colours to cold. But as the opposing hot colours to cold ones would sometimes produce crudeness, it becomes admissible only in such cases where its crudeness or excessively powerful character would be subdued by the greater distance at which it would be seen. Thus red, yellow, and blue, worked to their full strength, and coming in immediate contact, would be too crude in patterns close to the eye, though the same colours, reduced in strength, might come in contact with each other with a good effect, and duly proportioned, even with elegance. The following list furnishes those colours that come in opposition to each other, generally with the best effect : Light Blue and Buff, or Light Yellow. Red and Green. Blue and Reddish Brown. White and Black. White and most dark colours, Blue and Cold Green excepted. Yellow, Purple, and Violet. Pale Yellow and Blue. Yellow and Cool Green. Pale warm Green and Purple. Violet and White. Blue and Rose colour. Blue and Yellowish White. Blue and Orange. The preceding list shows those colours that may be opposed successfully to each other, possessing the qualities of agreeable opposition without violence of contrast . as in those instances wherein violence would exist, if used in their full strength, it is avoided by reducing them to pale colours ; as the light blue and light yellow, or buff, and in the pale warm green and purple. OF HARMONY OF COLOUR. -Harmony of colour arises either from a due proportion and distribution of the several colours made use of, or by the introduction of such intermediate ones as will unite or bring them together as it were by gradation, and break down or destroy the too violent opposition. The following list contains such colours as are more immediately in har- MATCHING OF COLOURS. 11 mony with each other, and consequently do not require an intermediate colour. See A, Plate II. Red and Black. Red and Warm Green. Brown and Black. Yellow and Violet. Yellow and Purple. Blue and Orange. Light Blue and Yellow. Red and Light Blue. Light Blue and Warm Green. It will be observed, that in neither of the preceding lists the primary colours, red, blue, and yellow, are, in their full strength, brought in immediate contact ; but should they be so brought together, for the sake of powerful opposition, their order should, for the better effect, be rather than Yellow, Red, and Blue, Red, Yellow, and Blue ; as the latter would be too flaring and rank to be tolerated , except by those of a vitiated taste. But should a powerful display of colour be required, the orange or the buff should be used in contact with the blue in preference ; and the red, when brought in contact with the yellow, should be the cooler kind of red, that of a laky hue, or inclining to the rose colour. The most powerfully harmonising opposition of colour is to be found in the primaries and secondaries :- PRIMARIES. SECONDARIES. Yellow opposed to Purple. Red opposed to Green. Blue opposed to Orange. Each secondary in its compound (as seen in the diagram marked C, Plate II) being formed of two of the primaries to which it is not opposed : thus the opposing secondary to the yellow is compounded of the red and the blue ; the opposing secondary to the red is compounded of the yellow and the blue ; and the opposing secondary to the blue is compounded of the red and с 12 ON THE ARRANGING AND MATCHING OF COLOURS. the yellow ; the secondaries being compound or broken colours, that is, their full strength being broken down or reduced by admixture, form a powerful but harmonising opposition to such primaries of which they are not compounded. In the example marked B, in Plate II , the broken colours are used throughout, except the small portion of yellow and pale blue in the centre of the upper flower. There is no violence of opposition. Even the ground partakes of the warm character of the objects, being of a pale russet, which, from its subdued or pale quality, allows the whole of the flowers and leaves to be brought forward with their full force, yet without any portion of them approximating to crudeness. " The diagram marked D, Plate II, exhibits the tertiaries -russet, olive, and citrine ; the russet being compounded of the purple and orange, the olive of the purple and green, and the citrine of the green and the orange. It will be seen, by carrying the eye from any one of the colours to its immediate opposite, the effect which will be produced by bringing those two colours in juxta-position. Ifthe orange and the olive be brought together, an agreeable contrast will be the result ; if the purple and the citrine be brought together the contrast will be equally tasteful and agreeable ; and if the green and the russet be placed next to each other, the result will be still an harmonious opposition. Though the secondaries and the tertiaries, of which this diagram is composed, are all of them broken colours, and consequently not possessing the force of the primaries, yet in patterns of a rich character they afford a quality suitable to their weight and importance, and which can scarcely be obtained without their introduction. 鼎 bodrum mergeib adt at 998

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silt bas bor edi o bebunoquos zi gift bus wolley sit to Lohramoqutog bits how off to babmuommon si on 13 i ส OF THE PROPORTION OF WARM AND COOL COLOURS AND THEIR EFFECTS. IF cool colours predominate in a pattern, that is, if they occupy the greater space, they should be light, as pale blue, pale violet, and pale fresh green, to allow the warm colours in the same pattern, being powerful (though covering a smaller space), to act as dark objects on the eye, to invigorate and to counteract the effect arising from the greater proportion of cool colours ; the warm colours effecting more by their strength than the cooler ones by their extent. If this arrangement be reversed, and the cool colours covering the greater space be dark, the warmer ones, for the sake of opposition, must be light ; and thus being deprived of a great part of their essential quality by reduction, their paleness would render them too cool, and the general effect would be weak and chilling. It is, therefore, evident, that in all dark and full-covered patterns the warm colours should predominate. OF GROUNDS, THEIR STRENGTH AND COLOUR : WHITE. -On White grounds the patterns should be composed chiefly of warm dark colours, as red, reddish brown, warm green, rose colour, yellow, or buff; blue, black, or violet should be sparingly used, as the white ground being cool, a large proportion of blue, black, violet, or of cool green, would too much increase the quantity of cool colour. OF PALE GROUNDS, OR THOSE NEXT IN STRENGTH TO WHITE. -All pale grounds require dark colours to invigorate and give them force, and the quantity of dark colours introduced will depend on the desire to produce, as to its general effect, a light or dark pattern, and which should ever be kept in the mind of the designer. If the ground be pale blue, buff forms an agreeable and elegant contrast, but will require warm dark colour to give it force, as dark brown, rose colour, or deep laky red. If the ground be buff, blue of a fresh, but not a deep colour, is a good opposition supported or invigorated by deep warm colours. If the ground be yellow, the violet comes well as an L 14 OF THE PROPORTION OF opposing colour, but will, as before, require in the pattern deep warm colour to give it vigour. - OF GROUNDS OF A MIDDLE TINT, OR DEPTH MIDWAY BETWEEN THE EXtremes of Light and Dark. —All grounds of the depth of middle tint and deeper require warmth of colour to be agreeable in their effect, if it be intended that the ground should predominate, as with a great quantity of dark cool colour is invariably connected heaviness and a chilling sensation. Browns of a reddish or yellowish quality, warm or reddish purple, crimson, or the like, should be adopted, and though blue grounds of considerable depth are sometimes made use of, it is not to be inferred that it is the most agreeable or palatable to the eye, which it is rather the object of the present work to point out. -- OF DARK GROUNDS The remarks concerning grounds of a middle tint apply generally to dark grounds ; that is, they should be warm, especially if they predominate as to quantity. The principal exception is when the ground is black, which ranks as cool, and may be enlivened and invigorated by red or other warm colours, or by a sufficient quantity of white to relieve it ; in which case it will have a sparkling and cheerful appearance arising from the decided and vigorous opposition. Of Gradated GROUNDS. -Nothing contributes more to produce an elegance of effect than gradation of colour ; that is, a gradation from light to dark ; and as gradation of colour requires more space to render it evident and effective, it becomes more easily available in grounds than in the forms distributed over them. And it is necessary to observe that the colours best suited to the purpose are those which in their full strength become deep, as blue, crimson, purple, and red, the lighter colours being generally too weak to show the effect of the gradation, without in the lighter parts falling into whiteness, and which could only be employed in very light and delicate patterns, the yellow in a gradated state might then be used with advantage. OF SUMMER AND WINTER PATTERNS. - A wrong notion seems to have WARM AND COOL COLOURS. 15 prevailed with regard to patterns suitable for winter, a great portion of which being of a dark, sombre appearance, as if it were desirable to add to the gloom of the season with which we are surrounded ; the reverse of this should be the object of the designer. It is only necessary that patterns for this season of the year should be well and richly covered, and with colours of a warm and deep quality, as the reds, reddish brown, yellowish brown, deep buff, reddish purple, and warm or yellowish green, with a sparing quantity of white to relieve the pattern from heaviness. With this weight or depth of colour, the forms introduced should be rather ofa bold and massy character, thus harmonizing in general effect with the colours suitable for the occasion. Having shewn what is appropriate for winter patterns, the idea of what is appropriate for summer will suggest itself from considering the effect produced by an opposite treatment, that is, by making the forms of a slight and more delicate character, by the colours being lighter, and by the ground, if it be white, being less covered ; especially observing that the strong dark parts of the pattern, whether black, brown, purple, blue, or red, form but a small portion of it, but be introduced merely to invigorate and give force by the opposition. OF CORRECTING, ALTERING Altering,, and IMPROVING OF PATTERNS. -The leading or general effect of a pattern may sometimes be essentially changed by a trifling alteration. Patterns possessing a good general arrangement of forms or colour may require something to invigorate them if too weak ; or if of too little and insignificant a character, may require some of the parts to be bolder and more powerful ; or in some instances there may be too great a show of colour, or too great a number of forms or repetition of forms similar in appearance. It will require a little consideration to discover the want, and to supply a judicious alteration ; but it will be evident that the time so spent is of the highest service to a designer, as it is by such exercise of his mind that he obtains new ideas, and ultimately a readiness of invention combined with a certainty of result. By bearing in mind the leading qualities of a good arrangement of colour, namely, that there should be harmony without monotony, vigour without crudeness, and simplicity without flatness or paucity of appearance ; and considering how those qualities are obtained by the matching of colours, by the 16 OF THE PROPORTION OF WARM AND COOL COLOURS. relative proportions of the warm and the cool, and the degrees of strength to be observed in their various combinations, as previously explained and exhibited in the illustrative examples, he will readily decide on the alteration necessary as an improvement or correction, and a change that may be successfully made to alter the general effect. 1.30 To illustrate the facility with which the effect of a pattern may be altered it is only necessary to take a pattern where the objects composing it are equidistant from each other, and supply a smaller object between them upwards and downwards ; the objects in this direction being now closer to each other than those in a horizontal direction, the eye will be carried upwards and downwards in preference to being led in an horizontal direction, and the pattern will at a certain distance have the effect of a stripe, though in reality no stripe exists ; and by taking an object alternately away in one direction, the eye will be led in another direction, by the greater proximity of the objects to each other in that direction, and thus the general effect will be considerably altered. By enlarging the objects in one direction only, the same effect nearly will be produced, from their greater proximity to each other in such direction. A well arranged pattern, though weak, may be invigorated by a´ small portion of it being rendered much darker than the rest, or by the introduction of strong colour, as deep red, or deep brown or black ; and if the pattern be full of colour, the introduction of pure white will produce vigour, and give a considerable relief. If a pattern be composed of a multiplicity of small forms, and possess a trifling appearance, the introduction of an object larger and more powerful than the others in depth of colour, will change its whole character, giving it a more general importance. 17 GENERAL REMARKS ON THE ARRANGEMENT OF COLOUR IN PLATE IV. It will be seen that in Plate III , the first seven central colours are the colours of the iris as produced by the prism, and sometimes called prismatic colours, the two last are white and black-the colours surrounding each centre, all, or either of them, forming an agreeable contrast, and which contrasting colours will be observed to be of different strengths or depths, furnishing an opportunity of selecting either of the surrounding colours to match the central colour, according to the depth required. The first central prismatic colour, the purple, is surrounded by yellow, orange, yellowish brown, deep yellowish brown, brownish green, and yellowish or warm green. The second central colour, the red, is surrounded by pale blue, warm green, deep cool green, black, cool purple, and cool pale green. The third central colour, the orange, is surrounded by pale blue, purple, deep cool green, black, deep blue, and pale cool green. The fourth central colour, the yellow, is surrounded by pale blue, purple, violet, black, grey, and reddish brown. The fifth central colour, the green, is surrounded by red, reddish purple, yellowish brown, reddish brown, neutral brown, and orange. The sixth central colour, the blue, is surrounded by the orange, pale yellow, reddish purple, deep reddish brown, yellowish brown, and light reddish brown. The seventh central colour, the violet, is surrounded by yellow, orange, warm green, deep reddish brown, cool red, and deep red. The eighth centre, the white, is surrounded by yellow, orange, warm green, reddish brown, cool red, and deep red. The ninth centre, the black, is surrounded by yellow, orange, red, yellowish brown, reddish brown, and cool red. The cool reds are those of the laky quality. LONDON : C. WOOD AND CO. , PRINTERS, POPPIN'S COURT, FLEET STREET. BRITISH ML

Purple Red Yellow Purple Brown Yellow Green Orange WARM COLOURS . Blue Green Violet Black White Bluish Grey Red WARM. COOL COLOURS . COOL. Orange Yellow Green Blue Violet Prismatic Arrangement. PLATE I. Published Jan 1847, by Ackermann&Co 96.Strand London .

Α Red Black Brown Black Yellow Violet Yellow Purple Blue Orange Red Green L Blue Yellow Red LBlue L'Blue Warm Green C PLATE II. Published Jan 191847, by Ackermann&Ce 96 Strand , London . Purple Russet Olive Orange D Green Citrine B

THE MOST ESSENTIAL REQUISITES FOR ARTISTS AND AMATEURS, SELECTED FROM THE GENERAL LIST OF ACKERMANN AND CO. , STRAND, LONDON. BY SPECIAL H. R. H. PRINCE ALBERT, APPOINTMENT TO H. R. H. THE DUCHESS OF KENT, HER MAJESTY THE QUEEN AND THE ROYAL FAMILY. , DIRUSTAMONDROIT ACKERMANN'S SUPERFINE WATER COLOURS. £. 8. d. In French Polished Mahogany Boxes 45 Cakes, Palettes, Slab, Pencils, Ultramarine Saucer, Chalks, &c. &c. .......... 3 Ditto ..... Ditto ......... Ditto ..... Ditto Ditto Ditto Ditto Ditto ... ....... 36 Cakes, ditto ...... 32 ditto, ditto ditto ..... ditto ..... ditto ......... ditto ... 3 ... 24 ditto, ditto ditto 24 Small ditto ditto 18 Cakes, ditto 18 Small ditto 12 Cakes, ditto ............ 12 Small ditto .........ditto ......... ............... ditto ......... ditto 2 3022 6 0 2 12 6 0 ditto 1 17 6 ... 1 11 6 ditto ditto 1 4 0 ditto ......... ditto 1 ....... ditto *****..... .... ditto ... 0 17 0 Ditto, 18 Cakes, Lock and Drawer 1 1 0 Ditto 18 Small ditto ditto Ditto 12 Cakes ditto ........ 0 15 0 0 15 0 Ditto 12 Small ditto, ditto Neat Mahogany Box, with Sliding Top Ditto ........... 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Ditto ............ ditto 6 Cakes, 12 ditto 18 ditto 0 10 0 ..... 0 14 0 0 19 24 ditto 1 4 0 3 0 24 ditto, ditto 3 10 0 Ditto ......... Ditto ditto ..ditto Ditto ............ ditto ............ ........ 32 ditto, ditto 36 ditto, ditto .. 45 ditto, ditto 4 4 0 4 10 0 ........ ********............ 5 0 0 2 SELECT LIST OF DRAWING MATERIALS. Colour Boxes, fitted complete, handsomely French polished :- 12 Large Cakes, Plain Rosewood 18 ditto ditto 24 ditto ditto 32 ditto ditto 36 ditto ... ditto £.1 7 s. od. ........ 1 18 0 Mahogany ........ ditto 2 10 0 ditto 3 0 0 ditto 3 13 6 ditto £.411220 d. 111220 296060 Polished thin Mahogany Boxes, round Corners, Lock and Key, 12 Cakes, Brushes, &c. ........ ditto Ditto ............ ditto ............. ditto ..... Ditto ..... ditto Handsome Rosewood, Inlaid Brass or Pearl, Ditto ditto ......... ..... ditto Ditto ........... ditto ditto Ditto ........... ditto ditto Ditto ............ ditto 18 Cakes, ditto ....... 24 ditto ditto fitted up complete, 12 Cakes ........ ......... 18 Cakes, ditto 24 ditto, ditto 32 ditto, ditto 30 Cakes, larger Box and Extras ........ .. 0 18 1 1 6 6 2402345501 000000 23406 2 ... 5 5 12 1 1 0 26 12 628 60 each 3210010 ORORII 0 2 16 2 1 6 11 6 12 OOOO990 Ditto ............ ditto 40 ditto ... ditto ....... Ackermann's Bijou flat Mahogany Colour Box ............ ...... ditto Ladies' Morocco Colour Box and Writing Case combined, containing, besides Artists' Materials, a selection of Note Paper, Envelopes, &c. Rosewood Desk Colour Box, 30 Cakes, complete · Chromographic Colour Box for illuminating in the Missal style, with Materials, &c . ........ Boxes of Velvet Colours, complete, with directions Ditto of Colours for Painting on Glass Colours separate, Bottles for Back- Ground Ditto for Tinting Boxes of Body Colours Ditto of Chalks, complete Sketching- Box, containing a Sketch Book, Ivory Palette, Brushes, Pencils, Colours, &c. ..... SUPERFINE WATER COLOURS, PER CAKE. 1 7 0 £. 8. d. Ultramarine 1 1 0 Pink Madder Artificial ditto 0 2 0 Rose Madder 0 Scarlet .... 0 5 0 Cobalt Blue ..... .... 0 Burnt Carmine 0 5 0 Victoria Blue 0 13322 40 S. d. 0000 0 Carmine 0 5 0 Burnt Lac Lake 0 0 Dahlia Carmine 0 5 0 Royal Purple .... 0 1 6 Smalt 0 5 0 Indian Black 0 1 6 Dumont's Blue 0 5 0 Prout's Black 0 6 Imperial Permanent Blue 0 5 0 Ackermann's Prepared Black 0 1 6 Ultramarine Ashes 0 5 0 Crimson Lake ... 0 1 6 Orange Vermilion 0 5 0 Scarlet Lake 0 1 6 Permanent Crimson 0 5 0 Purple Lake .... 0 1 6 Purple Madder 0 5 0 Brown Madder 0 1 6 Gallstone ...... Extra Madder Lake French Blue, Light and Dark ... Intense Blue 0 5 0 0 5 0 Indian Yellow Sepia 0 1 6 0 1 6 0 3 0 Ditto, Roman 1 6 0 3 0 Ditto, Warm 0 1 6 Intense Brown Lemon Yellow 0 3 0 3အာ 0 Permanent White 0 1 6 0 Chinese Ink (refined ) ............... 0 2 6 SELECT LIST OF DRAWING MATERIALS. AT ONE SHILLING PER CAKE ; HALF CAKES, SIXPENCE. Ackermann's Vermilion French Green Yellow Full Red Green Gamboge White Green Bice Antwerp Blue Verditer Azure Blue Bistre Blue Black Verditer British Ink Brown Ochre Pink Bronze Burnt Italian Earth Burnt Roman Ochre Sienna Umber Chrome Yellow 1 , 2, 3 Cologne Earth Crimson Vermilion Dragon's Blood Dutch Pink Egyptian Brown Emerald Green 1 & 2 Hooker's Green 1 & 2 Indigo Indian Red Italian Pink Italian Earth Ivory Black King's Yellow Lac Lake Lamp Black Light Red Mineral Blue Naples Yellow Neutral Tint Olive Green Orange Chrome Payne's Neutral Tint Grey Prussian Blue Blue, Deep Prussian Green Purple Red Ochre Orpiment Raw Sienna Umber Roman Ochre Sap Green Saturnine Red Transparent Yellow Ochre Vandyke Brown Varley's Grey Warm Gry Purple Grey Warm Green Dark Green Orange Neutral Tint Venetian Red Yellow Lake Ochre Orpiment York Brown 3 All these Colours may be had in Half Cakes at Half Price. SOFT COLOURS IN JAPANNED BOXES. £. S. 8 Cakes for Sketching ..... 0 14 12 Ditto, ditto ...... 18 Ditto, ditto ...... 0 18 1 199 d. 0 5 0 To be had separately in Saucers. ACKERMANN'S PREPARED DRAWING PENCILS, OF DIFFERENT DEGREES OF HARDNESS AND DEPTH OF SHADE. HA degree harder than genuine Cumberland Lead, and used generally by Artists for Outlines, 6d. each. HH Two degrees harder, and used by Architects, 6d. each. HHH Three degrees harder, and used by Architects, Engineers, Surveyors, &c . , 6d. each. HHHH Four degrees harder, ditto, ditto, 6d. each. HHHHH Five degrees harder, ditto, ditto, 6d. each. F Fine Pencils for Drawing, used by Artists, Drawing-Masters, and Pupils, 6d. each. FF Fine Pencils for Drawing, used by Artists, Drawing- Masters, and Pupils (double thick in Lead), serve for the Deep Shades and Finishing Touches, 9d. each. B Black, used by ditto, and serve for the deep Shades and Finishing Touches, 6d. each. BB A deeper Black for Shading and Finishing than B, 6d. each. BBB Still Blacker for ditto, 1s. each. BBBB Ditto, extra thick, 18. 6d. each. HB Hard and Black for Shading, 6d. each. HB Ditto (double thickness of Lead) , 1s. each. EHB Extra hard and Black for ditto, 9d. each. 4 SELECT LIST OF DRAWING MATERIALS. POLISHED PREPARED PENCILS. Threepence each, or Two Shillings and Sixpence per dozen, for the same purposes as the above, of the following letters, viz. -H, HH, HHH, F, B, BB, and HB. ACKERMANN'S Fine Genuine Cumberland Black- lead Pencils (not prepared) have been known for many years as the best Pencils for Sketching and general use. They are particularly adapted for Young Students to copy from LITHOGRAPHIC STUDIES, 6d. each. WHATMAN'S VELLUM DRAWING PAPER. Hotpressed. Per Sht. S. d. 0 2 Demy 20 inches by 15 0 3 Medium 224 ditto 17 0 4 Royal 24 ditto 191 0 5 Ditto, rough grained 0 8 0 5 Super Royal 0 6 Imperial 30 Ditto, extra thick, smooth or rough 274 inches by 194 ditto 22 0 8 Ditto, rough grained ............... 1 0 Ditto, extra thick, smooth or rough 0 6 Elephant 28 inches by 23 0 9 Colombier 35 ditto 23 0 9 Atlas 34 ditto 26 1 4 4 906 Double Elephant 40 ditto 27 Antiquarian 53 ditto 31 EMPEROR, 5 ft. 6 in. by 3 ft. 11 in. DRAWING CARTRIDGE. d. Imperial 1100 1697 smooth Double Elephant......... ditto Imperial rough- grained HARDING'S PURE DRAWING PAPERS. PAPER. S. d. per quire 21 Q "" 10 6 "" 5 6 99 2 2 Small Antiquarian, . Imperial ... Half Imperial Quarto Imperial COLOURED CRAYON PAPERS. Per Quire. £. 8. d. 0 3 0 0 4 0 0 5 6 0 8 0 0 12 0 0 7 0 0 10 0 0 14 0 0 19 0 0 10 0 0 14 6 0 14 6 1 a 0 ..... 4 8 0 BOARDS. S.400 d. 146 0 6 Royal Imperial LONDON DRAWING BOARDS. £. 8. d. 410 0 10 0 18 0 10 0000 per quire 42 8. d. 49006 21 99 39 10 "" 4 S. d. 5 8 430 2 sht. thick. 3 sht. 4 sht. 6 sht. 8. d. 8. d. S. d. 8. d. ...... Foolscap Demy .. Medium Royal Super Royal ...... Imperial ... per sheet 0 4 0 6 0 8 1 0 0 6 0 9 1 "" ....... 0 9 1 0 " 1 0 1 "" "" 1 3 1 6 12 0696 1222310 0 112∞ 496 6 2. 0 6 0 ..... 3 0 5 0