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| 001 | 76939 | ||
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| 005 | 20260610134800.0 | ||
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_aen _2iso639-1 |
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| 050 | 4 | _aND | |
| 100 | 1 |
_aChevreul, M. E. _q(Michel Eugène), _d1786-1889 |
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| 240 | 1 | 0 | _aDe la loi du contraste simultané des couleurs. English |
| 245 | 1 | 4 | _aThe laws of contrast of colour |
| 246 | 1 | _aChevreul on colours | |
| 250 | _aNew [third?] edition | ||
| 264 | 1 |
_aSalt Lake City, UT : _bProject Gutenberg, _c2025 |
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_a1 online resource : _bmultiple file formats |
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| 336 |
_atext _btxt _2rdacontent |
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_acomputer _bc _2rdamedia |
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_aonline resource _bcr _2rdacarrier |
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| 500 | _aRelease date is 2025-09-27 | ||
| 508 | _aCharlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) | ||
| 520 | _a"The laws of contrast of colour : and their application to the arts of…." by M. E. Chevreul is a scientific treatise written in the mid-19th century. It sets out a rigorous theory of how adjacent colours alter one another in hue and tone, and applies these principles to painting, textiles, printing, architecture, dress, horticulture, and even military uniforms. Expect experiments, diagrams, and practical rules intended to replace vague “taste” with clear methods for creating harmonious and effective colour arrangements. The opening of the treatise moves from prefatory material into a clear statement of purpose: to explain and prove the law of simultaneous contrast and show its uses. After noting complaints about dyes at the Gobelins that led to his discovery, the author introduces the composition of white light and the idea of complementary colours, then defines simultaneous contrast (changes in both hue and tone when colours are seen side by side) and demonstrates it with simple paper-strip experiments. He formulates the general law—that adjacent colours appear as different as possible—derives its consequences with many colour pairs, and examines effects against white, black, and grey, stressing that chemical makeup of pigments doesn’t alter the optical result. He distinguishes simultaneous, successive, and mixed contrast and shows practical pitfalls (e.g., how viewing one colour biases judgment of the next), then begins the applications by defining tones, scales, and hues, proposing a chromatic diagram, outlining harmonies of analogy and contrast, and offering early guidance on assortments—especially colours with white and complementary pairings. (This is an automatically generated summary.) | ||
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_pOriginally published: _cLondon: Routledge, Warne and Routledge, 1861 |
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| 653 | _aColor | ||
| 700 | 1 | _aSpanton, John | |
| 856 | 4 | _uhttps://archive.org/details/lawsofcontrastof00chev/page/n5/mode/2up | |
| 856 | 4 | 0 | _uhttps://www.gutenberg.org/ebooks/76939 |
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_c117664 _d117664 |
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