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09-using-natural-colors

Graphs color charts tips for using natural colorschemes, colors of nature.

It gave me a headache, because how to find the right color in your knitting yarn or beads.
Which colors are good, complimentary or in the same color range ?
Does this color match to this color, questions and doubts. I have the solution, there is no problem.

If you want to be inspired go back to nature, the diversity of the natural colors are overwhelming,
and for some reason it is always in harmony. Lively, attractive and never dull.

There seams to be no rules in natural colors, everything goes, well that is what I thing too.
As long as it is vibrant and pleasant for your eyes, it is oke. Don't you agree ?

Take a good look at my pictures and color picks. I hope you will enjoy the beauty of mother nature.

Sunny colors; warm shades of colors, copper, golden, beige, dark peach, brown.
You are a sunny type if you look better with cream-colors than with pure white.

Ocean colors; cool lavender, soft blue, pink, lilac.
You are an ocean type if white clothes look better on you than cream clothes.

Earth colors; sage green, brownish, mauve, apricot, warm peach, rosy beige.
You are an earth type if white and cream clothes look better on you than bright colors like orange and yellow.

For instance; yellow and blue makes green, blue and red makes purple and red and yellow makes orange.
In other words; the secondary colors are the colors green, purple and orange
and are between the primary colors on the color wheel.

  Complementary colors are colors opposite to each other,
on the color wheel, they usually work well together as a color scheme.

Orange and red having yellow in common, the orange appears redder and the green bluer;
Orange and violet having red in common, the orange appears yellower and the violet is tinged with green.
Green and indigo having blue in common, the green is yellower and the violet bluer.

The method of bringing out a color by contrast is to use either light tones, complementary or more or less opposed in broken tones, more or less gray and tints of complementary to each other.
To put a dark color near a different or lighter color is to heighten the tone of the first and to lower that of the second, independently of the modification resulting from the mixture of the complementaries.

For example; a light blue placed beside yellow and blue are so dissimilar, that their contrast is always sufficient.
Blue may be improved by yellow, may lose some of its beauty by being placed beside a violet, by becoming greenish.
Two non-complementary colors, as violet and blue, may injure one another.
As in the case of violet and blue, when the first greens the second, and the violet assumes a faded appearance. Next also contrasts, indigo blue with brown, gives to the brown a violet tinge.
Whenever contiguous tints in a pattern are to be mutually strengthened without going out of their respective scales, the ground should be of a complementary color.

Complementary colors heighten one another, producing an agreeable, harmonious effect, as orange and blue, violet and greenish-yellow, if arranged with proper regard to proportion, is the secret of the attractiveness of many patterns.
For example;
Orange beside scarlet-red, pure red and crimson-red acquires a yellow tint, and the red a purple tint,
violet appears livelier when placed beside red, and the red yellower.
Pure red and blue give a mixture not so dull, because the color contains no yellow.
Orange and blue-violet make a very dull mixture, orange-red and violet are more lively.
The combination of two tones of the same color are seldom successful.

SELECTING COLORS TO SUIT INDIVIDUAL NEEDS

Light and True Blonds
This is applied to those whose complexion ranges from very fair to golden tones, hair light, to golden blond, and eyes may be light blue to brown. This person may wear colors that are clear and fresh looking, blues, purples, greens, and any pastels. Black too may be very stunning. However, if the coloring is very delicate be sure it isn't overpowered with vivid colors. Emphasize this delicacy ; it is an asset.

Medium Blonds
Usually a medium blond has a medium complexion, hair between blond and light brown, and eyes that run the gamut from blue to brown the same categories as the light blonds, but not as vivid since they would detract from the neutral, natural coloring of the hair and skin.

Auburn
The person with true red or auburn may have a very fair skin or it may be as dark as a brunette's, with blue, gray, hazel or dark brown eyes. Blues, greens and attractive browns are good. Reds, pinks, deep purples are taboo. But whether white or yellow predominates in the skin tones, the auburn-haired has distinctive coloring that should be made the most of.
Similarly, a brunette of the "Irish type," white skin, blue or blue-gray eyes and dark hair is extremely attractive because of the striking contrast.

Medium Brunette
A medium brunette may have hair which is chestnut or brown, eyes blue to brown, and skin fair to olive. As this is the most predominant "type" in America, one needs to pay special attention to details that raise her out of the general run. She should use very distinctive colors definitely not drab, adding a touch of exotic to her appearance.

Dark Brunette
Her skin may be very fair to olive, hair brown to black, and eyes varying from blue-gray to black. She may wear true colors in most instances, but if she has a sallow complexion, too yellow- greens or orange will emphasize her sallow skin.

Gray-haired
Sometimes when natural pigmentation leaves the skin, it may develop a clear almost cameo quality.
Soft and subtle colors and white emphasize this ethereal look. If your hair is steel-gray or pure white, with few exceptions, you may follow the dictates of your eyes and skin colors. But if your hair is streaked with  yellowish or brownish wisps, be careful not to emphasize these.
Avoid yellow, brown and tan. And above all, one should dress according to one's age.

In a study of old Oriental rug, showed the following results.
The question which started the investigation was the brilliancy of the hues used in some of the Oriental work.
This led to a comparison of the most glowing of these colors with those produced by our modern dyestuffs, and the first surprise came with the discovery that ; the Oriental colors where dull beyond belief.

A yellow that seemed fairly to blaze when associated with the other colors around it, turned out,
when isolated, to be a dull soft straw color.
The blue which appeared so brilliant was no brighter than the shade of an old-fashioned blue stocking and
the reds and greens were equally soft and dull.
So what was the secret of the combination of the colors together ?
The blue was found to contain both red and yellow, the yellow, although apparently pure, contained red and blue in no small quantities, and the red had a considerable proportion of blue and yellow.
The purple, although the brightest color used, had in it an appreciable quantity of yellow.
As the different colors came together they accommodated themselves to one another with visible changes in tint, not one color clashing with any other, nor was it possible, by any combination, to produce a discordant note.
The fact that each color contained all three primaries gave to them all the effect of mutually reacting on one another in the direction of harmonious combinations.

As each primary color contained the other two, the dyes were not pure color like our modern dyes, and as a consequence they had in them something in the harmony seen in nature and natural things.
When we learn to prepare low-toned colors in this way, rich and brilliant color combinations will be possible as well as the duller, softer harmonies which we find so restful.
Clearly the primitive peoples had a much keener and purer perception of color and natural colors.