Soft Blue: Soft blue is an easy-to-live-with shade that gives this plain and simple kitchen heaps of style. A slightly paler blue than the units has been painted on the walls to create a little depth and glass splashbacks have been fixed in place, allowing the colour to be seen while adding a little sparkle. White, chrome and plum accessories lift the look and a wooden worktop adds warmth, which is important as some shades of blue can be cold.
There's plenty of white in this room but, rather originally, not on the walls. The table, chairs and shelving unit are all in clean white, as is the Mirror frame. Floorboards are pale and subtle and the walls are where the soft lilac colours are introduced. Cool tones make walls appear further away and here, the soft grey and misty lilac enhance the feeling of space. A lilac tablecloth and napkins, plus the odd splash of blue and purple on glassware and china, add more soft colour.See Also Piece Of Blue Pigment:By April 1968 more than 1,100 items had been cataloged, including a piece of blue pigment large enough to undergo analysis. Archaeologists have determined the origin of all Maya pigments except blue, which is apparently a vegetable substance. The pigment is important because it was the sacri¬ficial color; victims who were sacrificed in the cenote were undoubtedly painted with this rich blue color. Until excavations at the well, not enough of it had been discovered to make analysis feasible.
Yellow pigment must be neutralized cautiously as it turns green immediately when black or gray is used. The addition of red will turn it brown. Violet, which turns yellow into tones of mustard, is the best color to use. Browns are fundamentally a mixture of orange and black, but either yellow or red usually dominates in the mixture. These tinges may be counteracted by adding the missing one. If blue is added to a brown, the color neutralizes rapidly toward dark gray and appears cold. The addition of black pigment to any hue causes the hue to neutralize or disappear very rapidly so that only small quantities of black should be added slowly to any mixture.
As the most intense yellow has the lightest tonal value of any brilliant hue, the addition of any other hue darkens the tonal value of the mixture. Conversely strong pigment colors of the red or blue families lighten their tonal value when yellow is added.
On The Other Hand See Darkens A Blue Sky:To get back to equipment needs for exteriors—you should have several filters. The Wratten K2 (medium yellow) is standard, of course, for correct monochromatic rendering of colors on the panchromatic film which you will use ex¬clusively. The Wratten G (yellow-orange) darkens a blue sky more dramatically and will be highly useful. The X-l (light green) darkens a blue sky and also lightens and brings out texture in foliage. On rare occasions, too, you might use a Wratten A (light red) for extreme over-correction, or rather distortion, as to show a blue sky as al¬most black.
As the most intense yellow has the lightest tonal value of any brilliant hue, the addition of any other hue darkens the tonal value of the mixture. Conversely strong pigment colors of the red or blue families lighten their tonal value when yellow is added.
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