color "3First published in the United States 1986 by Chronicle Books, San Francisco. English text copyright © 1986 by Chronicle Books, Copyright © 1986 by Kawade Shobo Shinsha Publishers. All rights reserved. No part of this book may bé reproduced in any form without written permission from the publisher. Printed in Japan. Haishoku Jiten by Ikuyoshi Shibukawa and ‘Yumi Takahashi was first published in Japan by Kawade Shobo Shinsha Publishers. Library of Congress Cataloging in Publication Data Allen, Jeanne, 1945- Designer's guide to color 3. Based on; Haishoku jiten/by Ikuyoshi Shibu- Kawa and Yumi Takahashi, 1986. 1. Color in art. 2 Color, 3. Color—Psycho- logical aspects. 1. Shibukawa, Ikuyoshi. Haishoku jiten. II Title. IIL Title: Designer's guide to color three. ND1488.A44 1986 7018 86-17558 ISBN 0-87701-415-9 ISBN 0-87701-408-6 (pbk.) Edited by Terry Ryan Distributed in Canada by Raincoast Books 12 East 3rd Avenue Vancouver, BC. Vat 108 098765 Chronicle Books 275 Fifth Street San Francisco, CA 94103juction to Use This Book —____ ‘Gingham Checks (1) Gingham Checks (2) —____ Argyle Checks Harlequin Checks ‘Simple Prints (1) ‘Simple Prints (2) ________33 ‘Simple Prints (3) _______34 ‘Simple Prints (4) _________35 Simple Prints (5) 36 Simple Prints (6) _______37 ‘Simple Prints (7) 38 ‘Simple Prints (8) _______39 ‘Simple Prints (9) _______40 ‘Simple Prints (10) ______4 Contents Simple Prints (11) _______42 Quilt Patterns (1) —______44 Quilt Patterns (2) ________45 Quilt Patterns (3) ________46 Quilt Patterns (4) _____47 Abstract Print Patterns (1) __48 Abstract Print Patterns (2) _—49 Abstract Print Patterns (3) 50 Abstract Print Patterns (4) —_51 Abstract Print Patterns ($) 52 Abstract Print Patterns (6) __83 Painting Pattern ________54 Paper-Cut Pattern _______85 Ethnic Patterns (1) _______56 Ethnic Patterns (2) —______57 Camouflage Pattern _______58 Animal Pattern _________60 Numbers and Letters _____62 Landscape Prints: Mountains _64 Landscape Prints: Hills 65 Landscape Prints: Pyramids _66 Children's Prints: Ribbons ___68 Children's Prints: Soap Bubbles 10 Children’s Prints: Candies 7 Children's Prints: Cartoon Animals 12Children’s Prints: Dolphins __73 Children’s Prints: Constellations ___74 Interior Pattern 275: Tropical Prints (1) ______76 Tropical Prints (2) _______77 Tropical Prints (3) ____78 Tropical Prints (4) ___79 Bouquet Floral Print ____80 Sik Floral! Print = 8) Liberty Floral Print _____82 Wallpaper Floral Print 84 Rococo Floral Print _____85 Art Nouveau Lilies ___86 Art Nouveau Thistles__87 Art Deco Waves ____88 Art Deco Stripes ___89 Art Deco Sunburst ____90 Art Deco Peacocks ___91 Mosaic Patterns (1) ____92 Mosaic Patterns (2) ____93 Mosaic Patterns (3) ____94 Mosaic Patterns (4) ____95 Mosaic Patterns (5) ____96 Mosaic Patterns (6) ______97 Islamic Patterns (1) ____98 Islamic Patterns (2) _____99 Islamic Patterns (3) ______100 Islamic Patterns (4) ______101 Islamic Patterns (5) _____102 Islamic Patterns (6) ____103 Indian Sarasa Patterns (1) __104 Indian Sarasa Patterns (2) ___105 Paisley Patterns (1) _____106 Paisley Patterns (2) __107 Latin American Patterns (1) —108 Latin American Patterns (2) _109 African Patterns (1) _______110 African Patterns (2) —_____11] Japanese Seigaiha (Blue Sea Wave) Pattern ___112 Japanese Sayagata (Diamond) Pattem 13 Japanese Yagasuri (Arrow) igeuien Japanese Asa No Ha (Leaves of Hemp) Pattern 118 Japanese Uroko (Scale) Patterns es 16) Japanese Kikkoh (Turtle Shell) Patterns )17 Japanese Hanabishi (Diamond- Shaped Flower) Pattern __118 Japanese Kuchiki Kumo (Cloud- Shaped) Pattern _____119working in any aspect of design —from architecture and graphics to fashion— combining color is an agonizing of trial and error. Certainly some designers are gifted with color pitch, but for the rest of us, the mind's eye is an illusive, place. We all know it when we see it’ but creating "it" from is a problematic process. lent books on color theory and use have been written by such as Johannes Itten and Luigina De Grandis. These complex, so- ted works, although they are important source books for any- Seriously involved with color, show why color works as it does, Rot how to use it. Designer's Guide to Color 3, on the other hand, teaches its visually sented audience through illustrated examples— the language de- ts understand best. This colorful and compact handbook, never ‘ending to compete with the scientific approach of Itten and De , shows how colors work together and uses just enough of the ‘Written word to satisfy the intellect. My own experience with this book probably best describes its Yelue. When I began to write the text that accompanies the illustra- Sons, I was also designing prints for a new dress collection. The de- Sign work involved developing new color directions— as well as coloring the same pattern differently to achieve radically different color moods— and I quite naturally began to use the book's illustra- fions to test my ideas. Because it is organized in the same way that designers work—with anywhere from six to sixty different colora- tions of the same pattern — the book can be called user-friendly in the truest sense. Midway through both the designing and the writing, I introduced Designer's Guide to Color 3 to my assistant and the Japanese textile artists who prepare our work for printing. We all discovered that we used the book to inspire new ideas and to visualize the ways specific colors would appear in any pattern, from a simple dot to a compli- cated floral. Quite apart from the book (but because of it), we wereable to develop new color combinations by duplicating tonalities, us- ing an entirely different color range. Also, the book's creative use of accent color contributes invaluable visual suggestions that can bring otherwise dull compositions to life. By the time our print collection was finished, we had neatly inte- grated the book into our everyday work. Designer's Guide to Color 3 encourages all designers to try something new and to see the familiar ina new way. The appealing patterns and colorations are as delight- ful as they are informative, making this book a pleasure in every sense of the word.w to Use This Book best way to use this book is to begin at the beginning. Designer's ‘Color 3 is a progressive study of the way colors combine to ‘emns, starting with simple two-color dots and systematically g to baroque multicolored floral combinations and beyond. d ptions accompany the patterns and highlight the important of each design. ‘book is loosely organized by type of pattern. After the simple ics come stripes, checks, plaids, a variety of print subjects g abstracts, florals, landscapes), art deco, paisley, and tradi- Japanese patterns, among others. The patterns are presented ‘manner meant to graphically illustrate the power of color and gn in conveying a profound visual message. As you move from pattern to pattern, read the descriptions to train d test your eye, and you will begin to recognize why certain color mbinations have a particular impact and how different colors can the same pattern look strikingly different. Color chips are shown at the right of each example for anyone in- ested in reproducing the colors illustrated. The chips represent = colors used in each design (not including white). As in the first © books in this series, tint values for each color are also shown. The prs are produced by combining the tint values of the four basic colors: Y stands for yellow, M for magenta, C for cyan, and BL for Color percentages are also given, but remember that inks, ers, presses, and printing techniques vary from country to coun- py and the recipes are not infallible. designer can use this book to study the subjects of comple- ary color, tonal values, and the effects of contrast and perspec- e in a variety of patterns and designs. But this book can also be a ‘source of enjoyment and visual pleasure for anyone who appreciates utiful combinations of pattern and color.A 2) ee o)}g> ee e ® 3 e o}g? 4 e epg” 5 oe ope" ee eee ee eee Dots Always modern and fresh, dots can be styled in numerous ways: By altering the size from small (pin) dots to large (bal- loon) dots; by scattering them randomly, rather than arranging them in evenly 4 spaced, horizontal rows; by using more than one color. On these pages, small (pin) dots are presented in their most basic form: two-colored, evenly spaced patterns. A simple change to this pattern, however, can generate remarkablea 21 ee "s -. > ee 22 “| > 8 ss ae = EE diversity. Pale, clear colors on a white back- ground (examples 1-5) are clean and cool with a fresh, transparent quality. In examples 6-10, black dots on bright, clear colors create a slick, stylish mood ~~ Of @ 26 @.8 ar + on ag ye 0 e ee °@ 27 e@@ @." eae from the licorice All Sorts image. Although white dots on vivid brights (examples 16-20) broadcast a clean, vit sporty message, black dots (examples 21-28) project an aggressive, urban feel: ing; these dark brights are almost predawo 3 g tory. Complementary combinations of bright dots on brilliant backgrounds (ex- eate a carnival mood y, good humor, and 6 autumn moo dark color tones pre" 60. Black dots on dusty ton 41-45 have ail in examples es of umber in exai46-50 have a subdued, masculine image. when dusty pink or yellow dots replace Gray dots (examples 51-58) are in soft the neutral grays. contrast to the darker base colors, creat- ing a comfortable harmony between the dots and the background. In examples -60, the mood changes dramaticallyPe ee Stars This alternating star pattern is more whimsical and more complex than the two-color dot design. The bright pastel tones with medium brights (examples 61, 65) create a young, soft image— perfect 8 =: for children’s clothing and toys. Exam- ples 66-70 show unusual, sophisticated, feminine tones typical of teenage fash- ion, Primary and secondary colors (ex- amples 71-75) create a "popping" effect reminiscent of pop art from the sixties.Triangles iiagonal stripe pattern that emerges ternating the triangle colors gives s design a modem but stable feeling. Triangles colored randomly or horizon- would create an entirely different effect. The "popping' color in examples 76-80 creates a tension with the more subdued colors and emphasizes the di- agonal stripe. Chalky pastels on gray (examples 86-90) create patterns remi- niscent of Early American quilts.1 , 6 ,, 101 7v "| 0 Sew vv "7 ewe!’ *| 0 © 7v vv 7 vy vy 7” ” vv vvyv 7v 92 = ,, 02 vv 7v 9 7v v9 21 0 @ c| 9 & 7vV vu Vv Vv 79 Vy 7” vw 7v 9 Vv vey 93 : 98 7 103 vv VEY v 7v vv -| 0 © ” 7,v Vv "uv 7 7 7” 7vy vve¢ v7ve¢ 94 _ 99 . 104 Vv V9 7v 7v v7” 71 —0 © | 2 VA ® 7v 7v 7vV 79 \ od 7” vv vvy vvy 95 _ 100 105 vv Vv VY vv vv V9 "79 vv” v VV 7v "79 "vy 79” vv v7v 9% Vv wy Card Suits sonality in these examples is minor; the In examples 91-108, hearts are shown in _ white background is so dominant that all alternating horizontal stripes of color on _the combinations seem graphic, clean, @ white background. Even though var- and bright. A change in the base color ious color combinations are used in would dramatically alter the effect. these examples, any difference in per- In examples 106-120, clubs, diamonds, 10SS eee eee ee - Alternate Stripes (1) Depending on color and juxtaposition, two diagonal stripes of different sizes can create entirely different effects. At first, the examples on these pages seem to show a variety of stripe sizes and pat- 12 terns — in fact, except for the colors, the examples are identical. As with the card suits, the white back- ground is the dominant force in exam- ples 121-125. In examples 126-130, the yellow base color softens the design andencourages the wide stripe to prevail. The pink background (examples 131-135) gives the design a distinctively feminine character and a graphic strength that is settled, disciplined, and appealing. Un- like examples 121-148, which demand at- tention by using contrasting colors, examples 146-160 use a neutral gray background for a cool, calm effect151 161 152 162 153 a Wr A a | B Cc c 154 159 164 > o ° Alternate Stripes (2) These two stripes hat relationship as the stripes vious pages. These e: a completel contrasting ntained bold- wning stripe" de- 3 from lawn166 171 176 | | 3 |B | ey Be | | | ) am’ quality cre! h the neutral b 167 168 > 175 paper. n bright, vivid back- 70) suggest bold dued ntrast of hue \d) soph185 81 , is ome ioe co om me 2 186 183 — 184 es 188 — | i uence ee o Triple Stripes Careful selection and placement of color __ples hi Jesign gives each color a com- regularity of the design spacing and the > much in common —the pletely different character from example _consistent use of bright color —the at- to example. Blue, for instance, appears tention to juxtaposition gives each a dis: n every example here, but only exam tinct character. blue. Although the exam-193 mE > 790 194 ome 191 195 192 196 a? A is = me” ofS a: ° o Irregular Stripes amples 189-192) jump forward in a free This pattern uses randomly placed and easy rhythm. By comparison, the tripes and consistent color rotation (the same vivid stripes on a deep, saturated acement of A, B, C, and D) to create color base (examples 193-196) seem con- ‘ amples of the same design tained and controlled. Bright stripes on a gray background (ex.197 202 ahs 198 mo 4 204 a aa) 199 in a oe 200 205 SB bo : al Gingham Checks (1) warp yarn of one color and the weft yarn The gingham check—according to the _ of another color cross ina regular pat- movies, a popular design for pioneer tern to create a third, pure color. (The women of the Old West —is one of the color created by the crossing of the simplest of the yam-dyed designs, The warp and weft yarn colors is said to be 18217 4") In example 203, for in- jue and yellow cross to create The green is very intense be- ike the blue and yellow, it is with the base color, white. 222 yao Mr The provocative combinations in exam- ples 212-226 expand the traditional defi- nition of gingham check and seem more modem art than gingham.227 229 Gingham Checks (2) as these are difficult to execute. When These examples, more complicated than _ designing yarn-dyed textiles, the de- examples 197-226, use three colors for signer paints a representation of the in- each of the vertical and horizontal tended result, which often differs greatly stripes. Because colors combine in an from the actual result because paper and unpredictable way, plaid designs such cloth are such different mediums 20created, ght of each example, Dep239 242 240 243 241 Block Checks This pattern, although ident: gingham check pat page: colors are pure, with n in Japan as imple and modern combina-K ant ity of ¢Madras Plaids This plaid originated in India, where it was woven into cotton and used for clothing and for textiles used in interior decoration. Now popular everywhere, the madras plaid design has become a 24 wardrobe cliché for the university set. Vertical and horizontal threads create mixed color blocks of varied sizes in this design. Examples 251-256 are rather atypical colorings for this plaid —beige is a more common base color than white—but the limited use of color on white has a clean, refreshing look Examples 287-261 are more typical of madras pat- terns, Example 267 is tonal and harmoni- ous, due in part to the gold background; example 259, because of the bright yel- low background, is far more intense.263 264 265 Stuart and Gordon are designs. Like madr. terns are a main hee n of S of the cam- e specific these p: tay itterns hav pus fashion perpetuated by Ralph Lau- s in everything withome to incorporate mo% th nv0 Argyle Checks A traditional check pattern shapes oy th shown in examples 275-277. The pastel The original argyle patterns were col- and neutral color bases with medium- 28ht motifs and dark gray accent lines mples 278-280), although less con- ventional, are an interesting color depar- ture that is modern and sophisticated. By introducing an unconventional coloration —the black background in examples 285 281-283— the argyle pattern becomes almost unrecognizable and assumes mosaic quality,Harlequin Checks This check design originated in French i ime character) w angled tight rshirt printed in a bright, multicolored diamond de- 30 sign. A variation design, th np a is a great attention-getter and very effec tive on stage. The traditional harlequin bri shown in examplesate circus-like color combinations, and variations of complementary color are used to effect a visual shock. Examples 290-292 use softer base colors and grayed motif colors to quiet the design composition. Examples 293-298 use neu tral background colors, and bright motif colors (examples 293-298) are striking against the soft base. 319 0 2 3 “a 301 302 303 Simple Prints (1) A successful marriage of composition and color is imperative in creating a de- m that works. The exam this striking des 32316 321 317 318 B Simple Prints (2) Bright chromatic colors, combined with a simple ziggurat (or stair-step) design, eate a composition with the same graphic strength as the previous exam- ples. Again, color placement can signifi- cantly affect the way the design is 328 a 8 | i of c perceived. The v 318, for instance the orange zigzag in e are, in fact, identical in 325— they 33329 330 a w a a x _ 336 341 4 BE ee ca : oa Ie Fr Er 337 W BE ee : of I’ i : ti 338 4 NE om oa ag b EE IN cll aio Simple Prints (3) This design, a variation of the zigzag, is similar in composition to the previous two patterns but uses colors with more subtlety and sophistication. Replacing a chromatic bright with a dusty lilac (ex- 34 ample 332), for instance, softens the overall effect considerably. Also, where examples 299-328 produced an unbri- dled color splurge, examples 339-343 in- troduce a wide silver-gray stripe to create a controlled, authoritative imageSimple Prints (4) Examples 344-358 show again how color and composition can complement one another. Sober, subdued colors frame the stable T-shaped design, emphasizing the ‘T-shape and projecting a solid, serious me image. Most of these colors contain a percentage of gray, which can subdue or reconcile violently contrasting colors. For this reason, a quietly intense satu- rated color is often referred to as grayed359 363 Amps Rn ba oe ur D 360 ei ce 4 om Ms 361 A ko ae | i 362 Simple Prints (5) the design, unites the two parts of the This pattern, created by intersecting composition, while the diagonal line pro- lines of color, is the first of these prints to duces a visual tension that breaks the use four colors. The use of those colors monotony of the top two stripe makes the design simple and powerful at the same time. The B color, the key to 36371 v0 374 Simple Prints (6) The triangle is the key to this sharply patterned design, The free use of in ing lines gives each example a metric personality that is energized by the precarious placement of the triangle on the diagonal. The br gle colors in examples plementary (or nearly so) colors. Unusual darks and (examples 379-382) intr¢ pected color jSimple Prints (7) This sleek, modern design seems to use many more colors than the previous de- sign—in fact, each example uses just four colors (and black). The visual de- ception occurs because one color ap- 38 pears twice — the center of the square and the center of the circle —and be- cause a thin black line is used to make the circle color appear stronger and more vivid than the square color.305 39! 400 2 4 4 ‘01 02 Simple Prints (8) This two-dimensional block pattern re- peats the A and B colors in each exam- ple, but the absence of a black accent s the design and makes it less in- eresting than the last. Again, color con- 19 Ae ae Py a trols the personality of the composition —the primary and charcoal mix in ex- i ample 395 is Mondrian-like, while exam- 4 ples 400-402 are reminiscent of combinations popular in the fifties. 39407 409 Simple Prints (9) The rose pattern, an example of geomet- ric abstraction, is formed by a series of squares. From the perimeter, the square is repeated — first on the straight, then on the diagonal —unti the last square 40 412 creates the center of the rose. This de- sign uses six colors, repeating the colors of the outer triangles in the center trian- gles, and can be used effectively to test color relationships.Simple Prints (10) of the Olympic logo (symbol), id graphic derives it: ength simplicity and is most effective in +hromatics that visually balance of the design, Examples 413 and 418 are particularly dramatic be- cause of the yellow and bi grounds. Since maximum darkness, th forward with even more usual419 é 420 421 A 8 | D E Simple Prints (11) A color is repeated to c The 2s the tone. Although ay stripes and the blac!425 426 ji 427 - il ie rf r an interesting design, The black stripes in examples 423-424 show how a small dose of contrasting color can enliven a tonal (same-family) color composition. The medium-to-soft brights in examples 428-428, although unusual, combine eas- ily. The soft, chalky tones in examples 429-430 also mix well and create pleas- ant, neutral stripings. 43vivo Pe ll og= E a cm 436 Quilt Patterns (1) Early American p. made from fabric metric shapes tional patterns, Som years to comp! 44 so spectacular that some of these now hang in museums as works of Color placement and repetitioi very important in the design —as in example 433, where brights and neutrals contrast to create distinct vertical lines.Quilt Patterns (2) This traditional design uses alternating horizontal and vertical blocks of the same size to create a basketweave ap- pearance. The soft, neutral tones in ex- ples 437-442 result in graphic, aesthetically pleasing combinations. In each example, the careful placemen color —the light central rectangle the dark base rectangle in block—strengthens the de: phasizes the basketweave tsin 447 Quilt Patterns (3) ‘The triangle-made squares in examples 443-448 stimulate the eye so that the de- sign acquires a kinetic (moving) quality. gives this traditional quilting design a 46 contemporary look that rivals op art. Each square has a light and a dark trian- gle and is divided by a diagonal line, thereby producing optimum contrast and maximum movement.Quilt Patterns (4) As with the previous pattern, a diagonal line separates the squares in this design. These examples, however, alternate lights and darks to create a playful sym- metry that softens the image and pro- duces a lyrical, feminine composition. The medium brights and neutrals used here offer contrast without harshness. The A color is the dominant force in each example, with a ratio of 4:2:1:1, 47Abstract Print Patterns (1) In the early 20th century, Matisse’s paper cutouts were considered scandalously avant-garde. Now, of course, this simple but energetic type of imagery appears in everything from fine art to lunch boxes 48 The appeal of these scattered designs — which have a whimsical, almost childlike character —is the freshness and sense of freedom that they project. The colors used strengthen the messageAbstract Print Patterns (2) The free-form crosses floating across this design have an unfinished quality, as if they were still in the process of being painted. The bright, acrid color combi- nations —such as the startling and un- conventional mixes in examples 463-467 —support the graffiti-like feeling and contribute to the impulsive, punk look. The colors in examples 468-470 are just as strong but far more conventional 49Abstract Print Patterns (3) EB r priority,Abstract Print Patterns (4) ‘The diagona 479-486 stripe design in examples ‘ows ideas from previous Ts yet projects a unique char. acter. The freely drawn motifs and the regularity of this almost traditional de- sign unexpectedly produce a provoca- tive pattern, The open e: ound again emphasizes the D (background) color; the overall color feeling, controlled by the A color, is ex. citingly innovativeAbstract Print Patterns (5) This abstract floral pattern has a dreamy quality enhanced by selection From example 487 to 494, the background co i to charcoal. T 52 to create a sof brights and chall B color, lor, the design ntrasts cu armony. When medium iky lights are used for the ‘ith the base dimension.Abstract Print Patterns (6) Alt hi503 ito Painting Pattern This carefree, splatter-cloth print is a popular version of what began as ab- stract expressionist art. The random splotches of color seem accidental and, therefore, exuberant and free in spirit. 54 ‘The stark white background supports the simple, modern personality of the design and dominates the composition, creating similar color impressions in the examples even though various color mo- tifs are used.A o A a | c ° ‘ll i Paper-Cut Pattern This fresh, appealing pattern looks as if i were made from the haphazard cutting of brightly colored paper. The charm of the design is in the spontaneity of the motif colors and shapes. The seeminc 512 random flurry of intersecting primary color is kept in check by the back ground color. The simplicity of the de- sign lends itself to any color range, but the brights convey a strong visual mes sage very well itsign is similar to the art of Keith Haring. The iconoclastic color combinations used in examples 515-820 are the perfect vehi- cles for the evocative imagery.a v0 co De Ethnic Patterns (2) Although related to batik, this kinetic color composition is considered abstract because of the flat image of the design and colors. The examples have no distin- guishable background color, but the white outline keeps the pattern clear and the colors bright. The brights mixed with earth colors produce a tropical feeling typical of an ethnic color palette. This pattern could be overwhelming in large doses. STCamouflage Pattern Camouflage is a pattern traditionally used to make military uniforms that blend with the environment and are un- detectable by the enemy. Earth tones (example $27), the original colors used 58 v0 Mao for this pattern, are still the most popular. Lately, however, the design has become fashionable and makes use of various color combinations (examples 829-830) A variation of the pattern is shown in ex- amples 531-834, where all the naturally538 occurring colors are related. Examples semble abstract stained glass. The de- 35-838 show another camouflage varia- sign in examples 539-542 is small but tion that resembles cracked mud be- reflective, like light off of water. cause of the natural colors used. If the outlines were black and the motifs brightly colored, the design would re-547 IN 549 A g o > = m a al ile oie A a si eh NE Gi ait oo onside ei 60554 ¢ & E eee) | ples, colorwise, are pure fashion fantasy __pealing and universally accepted that —the chartreuse-and-black zebra (ex- they are as popular in unnatural as natu- ample 545), the blue-and-mauve leopard _ral colors, (example 588). These and other, less common animal prints—snake, dalma- tion, pig, alligator, and pony —are so ap- A 61Numbers and Letters In the four letter and number patterns shown here, a variety of type styles are used to create interesting design motifs. In examples 859-562, freely formed let- ters float on a soft pastel background to 62 i B Cc off" AY eid a 566 a produce a bright and easy feminine im- age. The design in examples 563-866 is a puzzle of postmodem letters —a highly stylized alphabet that is barely recogniz~ able within the gridlock, although con- trasting colors help define the shapes.The chromium « ics in examples Jors in the supergraph- 67-570 are made even f a white outline. support the bold design. The Bauhaus type style in examples 571 874 has a contemporary feel, probably throughout Europe.aq. Landscape Prints: Mountains ‘This shary tern resemble om brightly is the B position: ‘ith a neutral—gray or hange neLandscape Prints: Hills This soft, undulating pattern brings to mind a simple landscape of hills, path- way, and sky. The colors used here, al- though gentler than those used in the previous mountain pattern, contrast suffi- ciently to define the different parts of the scene easily. Depending on how the brights (especially yellow) and darks are used, the motifs project or recede, thereby altering the perspective.591 595 a cs 7 592 _, 596 = 593 __ 597 es, ge” a <>" D ID Landscape Prints: Pyramids Only four colors are used in each of these examples to create a simple but iking design. Examples 591-594 each achieve ultimate contrast by mixing four y softer in examples nen the bright lemon yellow is with gold orange. In examples 3, where earth colors are mixed 66Mea qe ok A og” with brights, the brights dominate the est hue is used to color a different motif. composition and distort the perspective, In examples 603-606, where neutrals are as they did in the previous pattern. The combined with medium pastels, the union feeling of the design changes completely is harmonious and visually appealing. in these four examples when the bright- 67Children’s Prints: Ribbons This trompe !’oeil print changes person- alities as it changes colors. Examples 607-609 are young and feminine, while examples 616-618 — despite the sweet brown motif—are older and masculine 68 In all of these examples, the A (back- ground) color is dominant but never overwhelms the motif colors. The B (bow) color sets the color mood of the design, which is lightened by the white accent. In most instances, complemen-arly complementary colors n used in the bow to create a , graphic color statement. 69Children’s Prints: Soap Bubbles This childlike design is reminiscent of shiny soap bubbles floating languidly on a pastel background. The strategic placement of dark/light color contrasts and the addition of white create the illu- 70 sion of transparency. The medium-pastel and bright tones used in each example give the design a bright, airy quality; the consistent use of gray settles and calms the composition625 628 ato As = @ we EG ce a io oo Qe pill Children's Prints: Candies to the similarity of the motif and back- These whimsical shapes, colored in ground colors. Example 630 is especially bright pastels and white accents, resem- _ right and clean because of the black ble shiny hard candies, White keeps the background, which provides a highly design light and bright by modifying the Contrasting base for the shining motifs, otherwise heavy saturation of color due 1Children’s Prints: Cartoon Animals Ina design appropriate for use in chil- dren's books and accessories, cartoon- like animals float in an ichimatsu check pattern. The check helps to organize an otherwise chaotic design, and the neu- R tral colors used calm the composition. The thin black outline surrounding the simply drawn animals contributes to the cartoon feel of the pattern and supports the neutral color moodChildren’s Prints: Dolphins Somewhat similar to the soap bubble pattern on page 70, this spirited dolphin pattern uses bright neutrals to soften the design and a white outline to keep the color mood light and bright. The light colors used support the gaiety of the de- sign, and the family color groups used in each of the examples keep the agitated imagery under control 73643 ed motifs are a neutral or bi: round mples 647 and 648). Again, a > brightens ant the Children’s Prints: Constellations ‘These fantasy fs create a de for young star narted jazers like a sweatet Nh ll TT eR eee ag649 Interior Pattern This interior print is taken from a paint- ing by Matisse. Like the or work, bright tropical colors are mixed with brown, black, and white to create an at- mosphere of sultry summer heat. Black the rated. eep the design controlled in without them, the ould be over which arevy. — 2 _ en Tropical Prints (1) Tropical prints are perennial favorites ind, like floral and animal prints, have a egory all their own. Examples ith their brilliance and jungle- like intensity, are typical of the bold 6 pression of being slig ter — this intentional arrangement ite background intense.Tropical Prints (2) ‘These tropical prints show the different effects of using a white or a colored background. Examples 6 use a white base, g summertime feeling. The dark-bright colors, project a dark smothering of color. The: very oppressiveTropical Prints (3) tense background colors. The design Styled to resemble a handmade woodcut _has a definite top and bottom. Such a di- print, this tropical print uses a close rectional design is best used in wallpa- color range in each example that intensi-. _per and upholstery, fies the abstract quality of the design. The white lightens the effect of the in- 78675 = Oe Seen Tropical Prints (4) This print uses a little color trickery to create an exotic character. Although the pattern is crowded and tight, the design is not overwhelming because only two major colors (A and B) are used. The ac- cent colors (C and D) contrast with the main motifs and give them dimension and definition while brightening the composition as a whole. 79Bouquet Floral Print Floral patterns are the most popular print subjects. The variations and in pretations are endless, and entire in tries were created to support the popu- larity of some of these styles. Liberty 80Silk Floral Print This simple abstract floral has a clean, contemporary look. The graphic quality of the design is due to the contrasting bright and dark colors. Black and white effectively create depth and dimension. In examples 685-687, k contrasts with brilliant chromium backgrounds, and a neutral is added to soften the design. In examples 68 white petals contrast with the dark. it background. 81Liberty Floral Print Resembling a stenciled or woodcut pat- tern, this florid, intricate print is popular for interior use as upholstery or wall cov- ering and is not usually found in clothing. 82 oh r ats EDs Led Sass This pattern is often referred to asa chintz print because of the shiny finish the design can have on cloth. Examples 691-696 use pastels and soft brights; the neutrals and earth tones keep the imagefrom being too sweet or feminine. The different shades of gray (C color) used in examples 691-694 refine the color com- position and expand its versatility. The rich, sophisticated prints in examples 697-702 are evocative of Liberty florals. Examples 700-702 have a dusky beauty that is sharpened by the contrast of the dark background colors 83Wallpaper Floral Print This pedestrian wallpaper floral is a classic print who: y is totally con- trolled by the background color. White, or bright backgrounds make the ern suitable for children's clothing. A neutral base (examples 703-705) per- fectly suits bedroom wall c< ‘ing and upholstery. The dark background in ex amples 706-708 keeps the design from being to prissy and makes it acceptable for adult clothing.Rococo Floral Print This rococo rose, an elegant design per- fectly suited for use in upholstery and wall coverings, acquires depth through the juxtaposition of weak and strong colors, Each example uses tonal con- trasts in the rose motif to make the rose look almost three-dimensional — in ex- ample 714, the B color is light rose, the C color is dark rose. This multidimens impression deepens with a neutral gray background 85em aN ai IG Ky WF 7\* 14 seRrt Deco Waves modern design is based on this style Art deco became popular in the twenties which had a tremendous influence on and thirties, partly as a reaction to art fashion, music, art, and interior and in nouveau—considere jn. Art deco, in contrast to mantic —and partly in s cool, bold colors and angular design. d European 88Art Deco Stripes Examples 723-738 clearly show art deco's emphasis on combining rhythmic curves and straight lines in one design. These amples are typical of textile designs created in the thirties. Tonal darks (rather than color to dominate the bright pastel mo: tifs. The gray and beige neutrals used throughout the pattern graceful impression the is also striking. 89Art Deco Sunburst A popular design theme in art deco, the sunburst permeates the textile and industrial art of the period. Because of its powerful simplicity, the design would succeed as a two-color print. These 90 examples, however, use four colors and repeat the A (sun) color in the beam motif, The light outline brightens the image and contrasts with the darker tones to emphasize the radiant feeling of this design.Art Deco Peacocks Peacocks, an important theme in art interpreted here in an art {t hints at the op art come. In these exam- athers are suggested 748 DA AE r by the black it the top of each diamond. The r tition of the diamond organizes the pattern. The use of black and white accentuates the sharp angles and light c s to make this a very powerful design. 91l€ repetition of color ion.758 Os O07 xe: *® Cov 4 4, Sasesae! B ° <$32 1633" 1X6 ae Mosaic Patterns (2) The feeling of any mosaic design de- In example 761, for example, where the pends greatly on color choice and juxta- D color is dark, the star is not easy to find. In examples 787 and 759, on the other hand, the star jumps out because the D color is light. 93Mosaic Patterns (3) Th -d mosai attern, is € the striping in the unusual 5 Us 764, 766, and 767. Examp! are more subdue the eye.Mosaic Patterns (4) In each of these subdued mosaics, slightly different values of the same color are used to produce a monotone effect. A complex mosaic design is easy to ac- cept and appreciate when it is pre- | >< a >. he sented in such a simple and accessible way. The design moves, but the visual shifts are minimal. A pattern in these un- demanding colors has wide appeal and would be perfect for flooring. 95DOO (OO Mosaic Patterns (5) shadows. As usual, the bright colors In an optical design that plays tricks on come forward and the dark colors sink. the eye, this powerful pattern seems to The complexity of the design is more combine triangles and rectangles. In palatable with closely related colors (ex: these examples, warm colors add a amples 778-780) than with bright, garish bright clarity and cool colors create combinations (examples 775-777). 96Mosaic Patterns (6) This is another mosaic pattern in which the illusion of depth is created through the repetition of extreme color contrasts ‘The strong 3-D effect makes the cubes appear to be sitting alone, and not ona flat plane. The use of brights and me- dium brights as the A and E colors makes the pattern appear to move downward on the diagonal—except in example 785, where the F (pink) color creates a floating effect 97“uy Raa Swe S C7 ——) Z——lon |] ; IX ZI a sf ~e wos J Pies Or L x TNE ae TE oy a i “s eS; i‘ x

5a 5 gE oa oe aa ues SiS 38 23 og Bo ag ao Aa &g 2 gE 7a 9 oa 2 ay Be a8 a5 a8 Xe ators) VON IOY, COS, MOP OG OY, COMM OM, Taletattatee Sateen & kimntemporary. This particular inter- on has a simple, hand-drawn qual- flows easily, making base and ficult to tell apart. Closely or to- related colors contribute to the ing character of the design. 119