Following are some suggestions for the use of colors of fabrics with various colorings of skin tone and hair. Do not feel bound by these, just remember the color of the wearer's dress should not overshadow her natural hair and skin coloring.
Pale Blondes With Pale Skin: Light green, blue green, light and dark blue, blue violet, lavender, pink, dark brown, light orange, neutral red or red orange, blue gray, light gray, cream or flesh white, shiny black. Avoid intense colors or dead black.
Vivid Golden Blonde - Rosy or Cream Complexion: Colors slightly grayed or softened, blue, blue violet, violet blue, soft green, blue green, black, off-white, gray, pink, beige-tan, soft red, red orange, yellow. Avoid colors that are neutral or very intense.
Neutral Semi-Blonde - Dark Ash Blonde - Fair Skin:Soft colors but not too low in value, medium greens and blues, soft blue, blue green, blue violet, soft reds and red orange, soft pink, dark brown, creamy white, shiny black. Avoid very pale pastel tints and warm intense colors.
Medium Brown - Medium Fair Complexion: Black when trimmed with white, brown, dark gray, warm white, blue green, low intensity blue or green, dark red, soft orange or yellow, ecru, natural beige. Avoid purple, somber colors, or very intense colors.
Brunette - Dark Brown or Black Hair - Pale, Fair, or Ivory Skin: Various shades and hues of red or orange, medium - dark - or warm green, light or dark tan, cream white, medium blue green, neutral dark blue, warm gray, dark red purple. Avoid light blue, bright green, pale violet, blue purple, bright pink.
Dark Brunette - Dark Brown or Black hair - Skin Golden Brown, Olive, or Copper Colored:
Low value (dark) clear red - blue - or green, dark neutral orange, maroon, dark tan or gray, cream white, black velvet. Avoid the same colors mentioned for previous type.
Pale Red Hair - Pale Transparent Skin: Blue, blue gray, gray, blue green, brown, light or dark tan, light or dark gray, green, purple, ivory white, black. Avoid bright very intense red, orange brighter than hair, red violet, rose pink.
Bright Red Hair - Vivid Complexion: Soft medium green or blue green, dark blue, blue gray, ivory white, light tan, dark gray. Avoid bright red or orange, purple or rose pink, yellow green.
Mixed Gray Hair - Pale Skin: All soft colors, dark blue, black only when accented with color near face. Avoid: bright yellow, natural beige, light greens or blues, and all intense high value colors.
Gray Hair - Pale Skin: All soft shades of most warm or cool colors, shiny black, dark gray. Avoid: Brown, tan, dull black, white, light gray.
White Hair - Pale Skin: Pastel tints, all shades and tints of low intensity red from flesh to maroon, soft blues or greens, creamy white, black. Avoid: Tan, brown, dead white, yellow green.
Complexion Variation:
Sallow skin - avoid bright blue and unrelieved black. Sallow skin but coloring is cool - soft cool colors, blues and greens, creamy white accents near face. Sallow skin but coloring is warm - soft warm colors, yellow orange to red.
Florid Complexion: can be subdued by dark values. Avoid complementary colors near face. Color of complexion and cheeks can be EMPHASIZED BY ACCENTING OR CONTRASTING with color; also by cream white near the face.
To accent the color of eyes avoid a large expanse of a similar color near the face unless it is substantially subdued and darker or duller than the eye color - with contrast the eyes seem brighter. Exception: A small accent of bright or very intense color near the face of the same hue as the eyes will make the observer conscious of that color which will make the eye color seem brighter by reflection.
Use these colors as a guide and you will choose the right color for yourself or your client every time.
There should be some contrast to prevailing colour as it is a benefit, and the universal value of carpets in a plan of beautification is exactly that they provide contrast in small spaces, it should be blended in with other tints and tones so that it manages to make its effect without negatively hampering the general plan.
Therefore, if there is a room where the walls are closely resembling a pale shade of copper, the carpets should bring in a diversity of reds that would become usual parts of the same scale, e.g. secondary notes in the octave; but still should add splashes of comparative blues and balancing greens; even, deep gold, and black and white could be included; the latter in small forms and lines which only signify or augment the general effect.
It is truly a fascinating problem, as to why the strong colours usually found in Oriental rugs should look so much better with weaker shades of colours on the walls and furniture than even the most shrewdly selected carpets can possibly do. It is a fact that bad Oriental rugs exist, extremely bad ones, just as there may be a villain within a collection of the pious, but it is surely hampered by the long centuries of Eastern manufacture, reaching back to the dawn of civilization. This has provided Eastern nations with secrets not to be easily mastered by the populace of nowadays.
However if it would be difficult to tell with confidence as to what is the reason behind good rugs fitting all places and conditions, whilst any additional object of human assembly must have its location carefully organized for it, we might perhaps take for granted to understand why the most striking of modern carpets are not as easily manageable and hence successful.
Firstly, having made clear that there should be some amount of contrast, some boost of contrasting colour, anything that the artist calls snap, is necessarily required in every flourishing colour plan, we shall see that if we are able to arrive at this by straight forward means of placing a carpet, it is important to choose one which holds more than a single colour in its composition, and colour shown as design must be included in the laws of automatic assembly; that is, it should come in as a repetitive design, and here in lies the real problem.
The similar forms and matching colours have to come in the similar way in each yard, or each half or three-quarter yard of the carpet. It follows, then, that it must be consistently sprinkled or regularly amble over each yard or half yard of the exterior; and this regularity results in spots, and spots are unbearable in the whole scheme of colour. So, if the space is very broad then the space as the floor of a room would be covered by sections of continually recurring design with no production of a spotty effect, even though it can be rather modified by the hard work of the good designer. Nonetheless, in spite of his best information and purpose, the difficulty remains.
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