In practice the tranquillity of the floor zone will be disturbed by the use of a carpet or rug having a dark ground with light ornamental motives or a light ground with dark motives; by a dark rug on a light floor or a light rug on a dark floor, with the effect strikingly intensified, of course, when several small rugs are used; and by the use of light furniture and upholstery fabrics on a dark floor covering or the converse. Similarly the tranquillity of the wall zone will be disturbed by the use of very light walls with dark surbase or dado, trim, or fireplace, or the converse; or by dark hangings, pictures, cabinets or heavy chairs, or even small decorative accessories against markedly light walls, or the converse; while dark beams against a very light ceiling will have the same unesthetic result. This does not mean that tone contrasts within a given zone must be reduced to the extreme minimum; but it does mean that such contrasts must be reduced, both in number and in intensity, to the point where effects of spottiness are eliminated, and the essential tone unity of the zone is instantly apparent.

It is to be noted that contrast can give interest, zest and animation through the opposition of unlike elements either irregularly and as it were capriciously, in which case it serves merely to accent or give snap, or regularly and rhythmically, in which case the contrast itself becomes an element of unity in the composition of the room. A simple illustration is afforded by the case of blue and gold draperies. These colors contrast sharply, both in hue and tone, and when used together they are certain to give an effect of snap and animation, the intensity of the effect depending on the purity of the hues and the area of the contrasting surfaces. In a blue and gold damask or velvet these colors are combined in a repeating design, and the regular and rhythmic recurrence of the same combinations of the two hues constitutes not only a contrast, but a powerful unifying factor in the room. If on the other hand plain blue hangings are trimmed with a gold galloon, or if plain gold hangings are outlined with a gimp or fringe of blue, the contrast serves merely as an accent. Of course this plain blue fringe would in practice be made to repeat a blue in the rug, or in some other important element on or near the floor, thus serving to unify the general scheme; but so far as the hangings alone are concerned its whole function is to set off and emphasize by contrast the peculiar quality of the plain gold.

FIGURE 21 - contrast

FIGURE 21.- (a) Sharp contrast, serving merely to accent and define; (b) same contrast rhythmically repeated, and therefore unifying.

In the design of rugs and furniture, as in the composition of the room as a whole, straight and curved lines are similarly combined in regular or rhythmic relationships, so that while the alternation of these lines is esthetically pleasing and stimulating, the total effect is nevertheless restful because unifying. But when these combinations of unlike outlines are not repeated or echoed-as when a round or elliptical mirror is placed between the straight supports of a straight- lined dresser or hung above a rectangular wall table or cabinet, or when a circular pillow is used on a big straight-lined davenport-no element of likeness is present and the contrast stands out in sharp relief.

Individual Feeling>>>>

Interior Decorating Course Interior Decorating Course
1. The Nature and Method of the Art | The Nature of Interior Decoration | The Method of Interior Decoration | 2. Fitness to Purpose | Interior Decoration Factors | Interior Decorator | Decorative Materials | 3. The Grammar of Decoration | Grammar of Decoration | Form and Color | 4. Line and Form | Line and Form | Curved Lines | Broken Vertical Lines | Diagonal Lines | Three Dimensions | 5. Color | The Nature of Color | The Study of Color | Complementary Colors | Color Constants | Color and Emotion | Color Binaries | 6. The Significance of Texture | The Significance of Texture | Harmonious Textures | 7. The Elements of Beauty | Elements of Beauty | The Human Mind | The Human Mind II | The Dominant Element | The Dominant Element 2nd Method | Reccuring Lines, Shapes and Echoed Colors | Repetition of Color | Perception of Beauty | Variety in Decoration | 8. The Law of Contrast | The Law of Contrast | Contrast and Comparison | Tone Contrast | Tranquility | Individual Feeling | 9. Proportion | Proportion | The Laws of Proportion | Proportions-Creation of a room | Proportions-Creation of a room II | Increasing & Diminishing The Apparent Size of a Room | The Arrangement of Furniture | Proportion-Individual Decorative Units | Instinctive Insistance of a Dominant Element | Basic Importance of Structure | Walls of a Room - Decoration and Proportion | 10. Balance | Balance | Decorative Weight or Power of Attraction | Fixed Decorations, Furniture & Small Unimportant Pieces | Bisymmetric and Formal Balance | Balanced Distribution of Pictures and Rugs | Structural Emphasis and Repose of Background Surfaces 11. Light and Shade | Light and Shade | Quantity and Intensity of Illumination | The Nature and Distribution of Light | Secondary Contracts between Background and Ornamental Objects | 12. The Dominant Hue | The Dominant Hue | Temperament in Decoration | Color to Supplement or Correct Nature | Choice of the Dominant Hue | Background Color | 13. Color Harmony | Color Harmony I | Color Harmony II | Diversity and Animation of Harmonies | Complementary of a Room | Triads in Decoration | Distribution and Intensity of Colors | Contrast - A Principle of Composition | Connecting Rooms Using Harmonious Color | 14. Ornament | Ornament | Naturalistic Ornament | Knowledge of Historic Ornament | 15. Excellence in Design | Excellence in Design - 1st Test of Excellence | Proper Use of Decorative Materials - 2nd & 3rd Tests of Excellence | Beauty in Design - 4th Test of Excellence | Designs with Walls and Wall Paper | Designs with Floor Coverings | Designs with Hangings | 16. Period Decoration Period Decoration | Different Styles in Different Periods | Decorating Traditions Handed Down from the Kings | Peculiar Styles and Decorations of Different Periods | 17. Conclusion | Conclusion

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