MAKING THE MOST OF SPACE

Dominion, Volume 26, Issue 47, 18 November 1932, Page 6

MAKING THE MOST OF SPACE

Colour Schemes and Their Subtle Effects IMPORTANT FACTOR IN DECORATION The problem of decorating and furnishing the small livingroom is not an easy one, there being no kindly distance to lend enchantment. The task, therefore, must be approached carefully for, in a home of average size, the appearance of this room is allimportant, striking the keynote of interior effect. Colour is the most important factor, since a bad colour scheme will rum the effect of even costliest and most intrinsically beautiful furnishings; and illumination is so closely related to colour, and the two combine so intimately, that they can hardly be considered apart.

TRONG colours, deep tones, and bold patterns which contribute stability and richness to the large room, are overwhelming in the small one; Here the prevailing tone should be light rather than dark, because light colours —

especially greys, blues and greens—have the effect of pushing back the walls, and thus making the room appear larger. The horizontal division of the walls by means of a dado is another aid in producing an illusion of spaciousness, and if the surfaces are not too much broken up by doors and windows, panelling may be Introduced with equally happy results. Smooth-textured walls recede, whereas very rough ones advance; Hence flat paint makes a desirable finish for the small living-room, especially since the wall area is so limited as to prevent monotony. Newer and more-decorative, however, are the blended effects produced by dotting small irregular patches of different coloured paints over a neutral ground, and wiping or patting the surface until all definite outlines are" merged into the background. Similar effects arc obtainable in wallpapers, but, o£ course, it is not al-

ways possible to secure precisely the desired combination of colours in this medium. Plain papers, especially in the various fabric finishes, are well suited to the small living-room, as one fabric such as grass cloth and damask, but the problem of a patterned paper is a little difficult. Effect of Small Figures. Small figures have the effect of contracting the walls, and very largo ones are mutilated and rendered meaningless and absurd when hung in a room whose wall surfaces are divided into small areas by doors and windows. The safest choice, perhaps is an allover pattern, free from violent contrasts of tone or colour, having figures of medium size whose outlines are softly blurred. Very narrow, closelyspaced stripes are also effective, though broad stripes, especially ill strong colourings, pull the walls in., With medium light wails as a foundation, it is not difficult to build up a colour scheme which will emphasise the good points of a room. Thus a cheerless, poorly lighted room can bo made habitable and inviting by filtering the light through hangings of gold gauzO and painting the walls a light, warm, luminous grey. Grey-brown woodwork, a plain dull green rug laid Ort the floor, will create an atmosphere of summer in such a room. Production of an Illusion. < The principle of scale may be applied to the small living-room in two ways. The.first lias for its object Obe production of an illusion of harmonious proportions in a room that in reality is badly proportioned or out of scale. This may be accomplished by means of artfully chosen colour schemes, a dif-

ferent distribution of lighting fixtures, or such expedients as a change of floor level in part of the room. The second method of application consists in the selection of furnishing, correctly proportioned to the room as a whole, and to the wall spaces which form backgrounds for individual objects. When considering the external painting of a house, we should be guidetl by the rules which govern the correct application of paint and colour. For example, the rule for a low house calls for light, cheerful, colouring, for the simple reason that light colours increase the apparent height of the structure; on the other hand, dark colours will emphasise the absence of height. When more than one colour is used the darkest should be the lowest, as by having a dark colour on the ground floor and a lighter colour on the upper. This rule is based on the well-known principle that darkness represents weight or solidity, /while lightness stands for the opposite quality. Hints for Extreme Colours. A light, airy structure will appear more substantial when painted in darkcolours, but if the background be dark, then a light-coloured paint affords a

pleasing relief. Where a small house is situated in a deep or dark landscape, attention should be paid to the matter of contrast. The suburban house, standing back only a short distance from the roadway, should be painted in quiet or subdued tints, with a dark trimming. A low. flat, cottage building looks attractive with a white body and trimmings of green. A small house may be painted with the lower storey in chocolate and the upper part in a lighter shade of the same colour. Some Suggested Schemes. The following list, prepared by a writer in “The Illustrated Carpenter and Builder,” gives several colour combinations from which, a scheme may be chosen to suit a particular style of house, the colours being arranged for body, trimmings, and sashes as given. The house should be coloured to fit into the place it occupies, so that house, shrubbery, and all shall form a perfectly appointed picture. In deciding on a scheme, the style of architecture should also be considered, the presence or absence of trees and shrubbery, the distance between it and neighbouring Houses, and the colouring of the latter.

1. I’earl grey, pure white, maroon. 2.. Cream, light brown, dark green. 3. Ivory white, pure white, maroon. 4. Pure white, dark green, black. 5. Medium drab, Ivory, White, maroon. 6. Chocolate brown and pure white. 7. French grey, pure white, maroon. 8. Bronze grey, pure white, maroon. 0. Fawn, pure white, maroon. 10. Stone colour, ivory white, chocolate brown. 11. Slake colour, pure white maroon.