The window being studied here is an arch window which is one of the same windows consisted of the façade of the building on the corner of Harris Street and Broadway in Sydney. The most eye-catching part of the window is the arch on the middle top. That arch is comprised of four segments which are outer arch, inner arch both of which are two same width arches, outer middle arch which is a little thinner and the inner middle arch which is the widest one. The top surface which is covered in carving work appears beautiful shadows above the arch while the lower surface which is the lowest part of the window is relatively simple and plain. There are three columns capitals (up, middle, lower) between the arch and two square columns which are on either side of the window. Also, these capitals play the role as joints to connect the upper circular column and lower circular column. Last part of the window is the sills which are over the lower surface.
In this study, I will use the arch (one of the parts of the window) to develop three different colour schemes that demonstrate partitive mixing and also the effect of how the façade would look from a distance as well as how each of the sections would look close up will be established here.
Design Scheme 1
In design 1, the partitive mixing is reflected in the arches. Also, the whole effect of the window will be shown as accenting the chromatic arch against chromatic background likes the
picture on the right.
Firstly, as for the arches, I choose red for the wider inner middle arch (Hue 0), yellow (Hue 50) for the outer arch and purple (Hue 310) as outer middle and inner arch.
Because of the greater width of red area it should be seen as separate from the other two colours which are yellow and puple at distances where the two narrower bands of colour mix together. The purple and the yellow should mix to red which located between each on the colour circle (Lecture note,1.3e4). So when the arch looks close up, the different three colours will be discovered while from the distance, the overall colour of arch appears red, which the partitive mixing is demonstrated here.
Hue (H) Hue (o) Saturation (%) Brightness (%)
Wider Inner Middle Arch Red--0 30 100
Outer Arch Yellow---50 10 87
Outer Middle and Inner Purple--310 23 75
Arch Red Mix Red—0 25 97
As I want the arch to be the most eye-catching part in the window, I choose cyan which is complementary colour of red as the background (Other elements in the window) to advance arch because whether a coloured surface will appear to advance or recede depends on contrast relationships (Lecture note, 4.4b). In this case, the appearance of the red arch is enhanced through the
addition of the contrast colour created by the complementary cyan background. (Lecture note, 4.4 b). In order to make the arches further stand out, I give the arches the highest brightness (100%, 87% and 75%) in the whole window as red will appear to advance particularly under the lightness contrast (Lecture note, 4.2).
As I want the background (Other elements except the arch) to be cyan, I give other elements the colour near the hue of cyan. Firstly, I colour the upper surface, lower surface, capitals and sills a light blue (220) with saturation of 30% and low brightness of 60% to give a definitive prominence to the high brightness red arch. Secondly, I put a light cyan (180) to the circular and square columns, with low light of 60% and low saturation of 1%. As a final touch, I gave the sill a vastly different colour to horizontal dividers promoting contrast with all the other façade elements, adding a skirting feature.
Hue (H) Hue (o) Saturation (%) Brightness (%)
Horizontal Blue/ 52 24
dividers (façade) Purple--270
Design Scheme 2
In design 2, the partitive mixing is also demonstrated in the
arches and the whole effect will be appeared as advancing the
chromatic arch against achromatic background, which is
different to the design 1 (the effect is advancing the chromatic arch on chromatic background) and the effect will like the
picture on the right.
The outer and inner arches are coloured by cyan/ green (Hue 151), the outer middle arch is coloured by cyan/ blue 1 (Hue 203) and the wider inner middle arch is cyan/ blue 2 (Hue 202).
Unlike design scheme 1, the wildest inner middle shift the overall colour of the mixture of the other colours, in this design, however, the wildest inner middle uses its highest brightness and lowest saturation to make itself be the colour of intent for this arch. The window looks pale when look up close as the colours are all low saturation and high brightness. When the window looks far away, the spatial arrangement of the brighter colours in the center of the arch give a 3-dimensional apperarnce to the arches although the colour mix of the arch being a similar hue to its components.
Hue (H) Hue( o) Saturation (%) Brightness (%)
Out and Inner Arches Cyan/ Green-- 151 15 73
Outer Middle Arch Cyan/Blue 1--203 13 88
Wilder Inner Middle Cyan/Blue 2-- 202 4 100
Arch Green / Cyan 152 15 72
Here, I bravely use very dark colour as the background because I am impressed by one of the Dutch still life paintings in the seventeenth and eighteenth. The flowers look more beautiful and vivid with very dark background. In order to have the effect like the painting, I give the arch very
bright colours ( B: 73%, 88% and 100%) as the lighter the colour the more it stands out against the darker background ( Lecture note, 4.4a). In addition, I give other elements the darkest colour (Saturation of 0% and brightness of 0%). Another reason for giving all the elements the darkest colour is I want the arch to be the most eye-catching part of the window and the larger dark background can help to make this effect as the larger the surround relative to the centre the stronger the contrast effect (3.3j).
Design Scheme 3
In design 3, the partitive mixing will be demonstrated in the arches too. This time, I want the arch to be mixed as a dark grey and the whole effect of the window will be shown as the achromatic arch on the chromatic background, which likes the picture on the right.
As for the arch, I choose two hues of bule (240) and yellow (60) which opposite to each other on the hue circle to mix a colour of grey. As I want to mix grey equally, I choose the effect of yellow after blue and blue after yellow (i.e. yellow, blue, yellow, blue). Furthermore, I choose same saturation and brightness to mix grey equally. I give a low saturation (40%) and low brightness (30%) to the arch because I want to compare the low brightness of arch to the high brightness of other elements later to accent the arch. When the window looks close up, the blue and yellow can be clearly seen, however, when the window looks further away, the grey become the colour of the arch instead of blue and yellow, which demonstrate the partitive mixing.
Hue (H) Hue( o) Saturation ( %) Brightness ( %)
Some Arches Blue(240) 40 30
Other Arches Yellow(60) 40 30
Arch Grey Mix 0 0 30
Top Surface, Capitals and Sills Blue(240) 30 100
Lower Surface, Square Blue (240) 1 95
Column and Circular Column
In this design, as I want the arch become the most eye-catching part of the window, I give the arch the light background as the apparent blackness the centre (here is arch) will increase as the background becomes lighter ( Lecture note, 3.2). In order to do it, I give the other parts except the arch the high brightness of 100% and 95%--much higher than the arch (30%). This large
difference brightness gives the dark grey arch prominent position of the window. In addition, I give the top surface, capitals and sills the low saturation of 30% and give lower surface, square column and circular column the much lower saturation of 1% to create the 3-demisional effect of the whole window. As the final touch, I give the horizontal dividers the highest saturation of 50% in this design to give the whole façade a little bit fresh and pure impression.
Hue (H) Hue( o) Saturation (%) Brightness ( %)
Horizontal Blue—240 50 94