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Show Prof. Bement Stows How tke Scientific Laws of ' IN c:$ v " Ligkt, Color and Pattern Can Be Applied to Your U , - .vn. Housekold, Your Clotkes and Even Your Features WJ All - n n If -tp I - ( L 1 I How Lines nd i ;; v M A f A Angles Deceive Afe ei? ' ' U I 7(v A A I 111-'-; j ; jw' 3 -Is 1 4 .. 7 - r . . :- i . ' ; - : '--J y .-- ,v i - . -- t . . , - i A Generously Proportioned Woman Photographed in a Dress Which i J " -v . - v -' '. -t i Emphasizes Her Plumpness. i I - - .- j; j Diagrams Showing the Plain Figure and Two Designs of Gowns . . . -; ; Made on Scientific Principles Which Create a Pleasing I. i ; '" j, - , t ' ' Illusion of Greater Height and Slenderness. '-"- -- . V :;. , z3 - v. v: .f r , ) - :- -.-:.' ns i.tp:-s him. It C:u-c If I; r.irrow. do li-t " -'V'9 ' j ' - -' to do any harm f:u-o I'.ui lH to .-m ,, j . ' ' ' J ' x"v trlbutp.H an r.rtill- rounder by put line th. color :. ... ' f . J; f t ! . u, ,,, , , , fan'.irr l.ao::. toward tin-. j. I V.r : " r tall. i to do ana .... , , , . "r-ii r' . cars. I h- oliin !. i;..h.o jf' - , g 1'0 lias a IiooK. roumi.-r !Uid i-.oro p-oniinou: c , n , ,. u n hort. R'" - ut low at t!,o to,. v w(i)K on! m- it. Sarah Bernhardt Has Really a. wrt . . .;. torn; h Kofi shirt Of oourso. a.-tors ,nd ju-S- Dumpv Figure, but Is So SkllltU :T'.: .od coat xvr.l gno Disguising This by Long. Sweep- ' ly normal, if not ,,.,rUot, ,,, ,,.r in- Lines That Few People v X( nro. it In all ml- caui If tliov did i-ot llirioo! -ri t t U . the urdnn rxoiNpllllod ,,.,,, ,v,,j (;,.M,V ;,. om Think of 8S I"C . ... o moro iln Hin'-.i i,o ot tlio oyi-;. Photograph on lh v. tho narrower it ir M, ,,, tl, :1.,,!,r,.l.;r.t,, lfiU..UHff "'Vr given vou pood viu.t'iicv. and ,i,ado, ,,, Left Rc cals Her feminine head dress the bat Intended to r;:r.Mu(;ag btoutncsg should bo fairly h!b Rnd to a certain extent irrec j'.ar In 5',iap but never wide and. is staled above. If ihe font lady is goin; to wear anything that shine It should bo in the head dress. Hut v.ith ail slirr. persons, as wit'.i the liou.-e, If you extend the erv.vs the house seen:. lover. The h.V. can hardly bo too Ride, particularly the Tat and droopy variety; va-riety; only rare must bn exercised not to make tho fare appear too j!i:all by contrast. Tho usual method ij 'o Bo place ribbons or Doners so as to carry tho light tonen of the fare up Into the d.r of the hat. A man with no reek to spcal of should wear soft bow tie. for though It does - :;; ? . . ' . : ' ' '.'I.'. ! By Pre' lon Bement, Assistant Profs:or of Fine Arts, Teachers College, Columbia University. IN K".'9 an American artist, Mr. Abbott Thayer, and his brocher, a naturalist, publi-h'-d a book on "Coneeaiins; Color- ttion." which d';alt v.ith tbe laws cf ligi.t, ; color and pattern as applied by nature to : fc:r'Js and anin.ais, so tint they become ! T'-r'.y or corupietely invi:-:ibie. This book is, so far as I know, the first one on the fccitr.co of protective coloration. !n observations in vood3 and fields Mr. ; Thayer learned that in certain lights bird-i ?nj animals appear to lo-e their solidity 2nd 'be cote e flat. Further observation proved that those creatures v. hich had this ! power v. ere dark on top and very light urt-J urt-J dfcrneatb, and that they :-eerned to dis-ip-i pear ,-nost co-ripletely v.-hn the li?ht fell j ori tiiern fro'n aboe. Mr. Thayer took photographs uf a sphere darkened at a point, on top where the nio:-.t powerful light '; fails and shaded to v.dii-'j v-h'V". the j shado'-v is deepest. lie four.' that this ! sphere alio lost its third ilimen'ion and j U earns flat when p'.aeed before i: rr'-sitrp! 1 Urfc ground. This tr'-attnent of solid tlie ; oh -.-overer called "cornier sharib:?," a prin-cin;e prin-cin;e vbieh fonns the isb: of li.at Fi icnce cf proiective coloration whie.ii ve cad "cainouflage." ' Mr. Thayer also points out 'hat nature ba.-, u. ' d not only counter tiliadinK to eon-: eon-: :,-r brood from alien eyes, but lias even rone furtbT than lliis In u.-.in? Itni';i-' Itni';i-' tb.e color and Imitative pattern. A tl'T counter shaded and colored, .etandin;; tno-1 tno-1 tionless before hi:; natural i.ackfronn'l of ; g-ay and tan. is difib-uR. to foe; even more I ,o is the scroll-'-, adrls to tbi-, -o'iut'T i fha-KtiiC and eoior Irritation marveloii'l ! jrnitat.- o iiutu-i a of tin; p': ' of lirht. a.nd ' i'v.tV. of jtt, own b:o i eroi.nd made the j b.-'-.'s and t ' in of i:-. nrri-i"!n'". 'I h ! r i ' '".ma V': in a'eo ti.arveloin y ''' r" 1 1 ! iM ,,;., yt-V.'iv-- at. 'I r.ro"-t.. the di.'aioiid-! di.'aioiid-! hf'.'-l (pots l."l;!ic a-r- those of tiie ' e?v-. over v Ui' U It crawls. Tli- ; j ,' are but. three of liu: rourillcss r.x-ft r.x-ft m ; ''-. ria I a re has. I'i v n a-,. T,err. ;.ee;ns to b'i Id 1 1 ; I roilfll-lotl roll- raba; Me ,,7.:u of 'he f.r'l "'.i.niou-';,;:.."' "'.i.niou-';,;:.."' 'I r.i r': are rumor; afloat, that. It .j, ,ro'bi't. of tl'- titi'b rvi.tld of ;, r; a d f n- to 1' - pr. -' tit po -it ion .f , ;,r.,..;,l,i! , IbroUi'll .!!. I.Oth ,..,. f, . it' 'I ae,.- ' ab t, I li-: li-: ... , . ,,r,:, .loo - it a ; II ad I . ie;,,,le a , , .. ,1 . a ;.a,af: a.a hit'.. L ' . ' . ' ' thinking to execute a '' a, design In pure Gothic . and finding Roman- -...'' esque creeping In as Eaid to have "camnu-. "camnu-. ,'; faged" bis drawing. Still other3 say that it meant to draw a veil; and for a long btrte in the French theatre camouflage has mnant "make-up." it i- fro.a the point of view of "makeup" "make-up" in its bread'a-l sense that I propose to de?b The "it ai c up" of tho man and woman in daby life mainly Is the expression expres-sion (' Ibcb- outer habit, though much is to tie :-:.'d on the camouflaging of our ernerior:-. ta;j. We Ari;'-ri-3 are often accused of bluf-f.r:?. bluf-f.r:?. but nan h e," this im't camouflage, It is j'j:- ti,e da-ire to put the right foot forward for-ward all tho time. It's certainly the right kind of camouflage camou-flage that made our homesick doughboys sin? "I'm 1 up your troubles In your old kit bag and smile, smile, smile." It came to be as n.urh a part of the game "over there" to .a-ai to be brave as to be brave. We recognize that we do this to our emotions, emo-tions, but the fact is we more often camouflage camou-flage our outward selves from the eyes of others. Sum" of U3 take great palnn with i: and would do it. bet'er if v. o could ft conies of a tie., ire to look w ell In most cases. The f,,t man would give anything ti. look like a sh.nbcr sylph, and the very thin would do ta.r; ta.no to seem le-ft thin, 'i'ho truth i. . much can be done In both e irertionx. Of fours", there Is a limit to ' hat. we can rlo, but by the proper arrangement, ar-rangement, of spots, line;, and colors some fu the faults given us by nature may be r orree'ed. '"J Mini's are not what titey f.rein," said a, great po'-t. ami nothing could be truer our eyes are urn ucs! lonably fooling us mo. I. of the time. Hum times Its more flan our eyes. If you draw two circles o.'eily the, dame size and place one in a nharp poii.te.fi V the. one thus placed looks considerably larger than tho one without, the triangl . Now, if you have the finmo f( rms laised slightly mid put. them und"r tile lingers of a blind man lie will tell you tho same thing, the Inside one iicetn.-; tho larger. if you will take the trouble lo learn a few of the "tricks of the trade" you "111 be siii uri. ' 1 lo learn how uia ful they v. ill bn in tiie ordinary walkn of life. If I In acr-a;:o acr-a;:o man were asked If be used camouflage be would probably admit be did. Hut he would have In mind only tiie figurative and humorous lem.f, In which the word In ui.efl - uie.'i nlng that wo fool pcoplo fir fluit v.e bluff them or cover up our tracks. Hut when ;t come i to the e.lrnWit purpose of r amoutbige, deceiving Iho o.vc. I doubl If hn realize; how ol'ti 11 bo uses It, and. mill letin, h..w ol'e- he rn"ld li e If. lo -advantage. T,, b. gin with, color ban more lo do v j, h ;,! ilia ii you think. Some colors h.i-e ,, (i, runs ipn.lity of "'emlug bright. .. ,. - -,,-T in the light and daik or dull In the shadow. This increases the bulk, because the light and dark tides are thrown in strong r-dief. As the mathematician sayj. It shows the "third dimensio a" it gives depth. This Id especially truo of red. Can you Imagine a fat man dressed In red! Ho would look more like a barrel thai ever. Just tho reverso Is true of blue. Of al! bright colors the shadow aide of blue is lighter and the light side darker than any other color. To a certain extent the roundness round-ness of an object Is destroyed by painting it blue. Hence your fat man will look thinner In blue than In any other color. Klark has a similar effect. With the very fat or tho very thin It should be the aim lj conceal as much a3 possible the lines of the 1lgurc, not just the outline, but those lines that go In between or over tho figure which E've it lt3 third dimension. dimen-sion. Any line like that of a belt helps to establish tho tlzo. Of cour-e, a fat man hatm't any real waist line, but he only makes himself worse by trying to have one, he must never let anything cut him In two. In this ca::o a half belt Is better than a wholo one. With madam It Is tho same. Diagi .m No. 1 explains why this Is true. Lines that run up and don glvo ulenderness to the figure., Ilne that go across glvo tho appearance ap-pearance of width. In No. 2 tho upper end cf this figure seems wider than tho lower. Then, again, it la very dangerous for a stout woman to wear any dre- 3 material that shines, like rIoshv satin or hard taffetas, for Iho strons contrast that tho light and dnrk ureas make show the thickness thick-ness by calling nl'entlpn to It. Tb.t very thin may wear a material of that character char-acter to great advantage, for every surface sur-face that catches tho light makes bur seem plumper. Heavy satins and brocades bro-cades and silver and gold weaves are only for the very slender of figures, and, wa may ndrl. tho full of purse. A fat. man must never wear plaids; most of them know It, but few seem to know-that know-that In wearing n small round derby bat they are simply assisting nature to make I hem look ridiculous. A aol't hut Is less likely lo call attention to his lark of tigure. wliilo n. silk hat, with lis breadth mid shiny surface, pi the very host sorl of eamoiilbigo lor lib; short, stalure. for It lias the effect, of holding the eye and draw-leg draw-leg the iiitetillon awny from din lines of the rent of Mm figure. I enn explain Ibis by ii'dng (be butterfly an nn example. On n butlertlv'H wing there nro Home start, llngly conspicuous spots; deep blue); ones, perhaps, surrounded with circles. The evo s'mply cannot, miss Iheiio spots, nud that. In precisely why they are there. Involuntarily Invol-untarily innr vlalon nel7.es on them, and am do not see the outline of the butterfly's butter-fly's lug, nature's protection iirtaln.it Its natural eneineK. A high hnt, will have 1 1 1 o tame cfTcrt In lesser degree. Tut: i tiiiie, of course. Is I rue fur tho ('"l1..' b'.ill, I 'J ' 1. by t'li'r ' ,'eni t . n .- . rf- '-f-xM face. If It is narrow, tbe . OO? .. -,.' ' j -a-, face cm bo mule to seem f ' J 4 . f ".1 ' ',. . "". rounder bv putting tin1 color v :. . ' f ."- ) t ' -- farther back. toward tiie j.N'' 1' '.V,-'''.' V : cars. The chin is n .uio "v?.-. ; b?"rTi-.coor;rrvr:"i'10U? Sarah Bernhardt Has Really a Short. R.M, , n tii.aiiii. cot ti 01 1.. c. .lit js v. Of course, aritiis and act- Dumpy Figure, but Is So Skint"' v. !-.,.; nvses are. or should be. cv- Ti 1 Sweep lM-rt .a nou-b ur-. T ley D.sguismg This by Long w darken the loner i-'.i.Is. bo. in Lines That Few People -.v f caitve if tbev did not tac ,00! Think of Her a5 the ' li.-.lus would (bstrov the out imns. or nu . line ot tho eyes. Photograph Oil ltt , I' If j ,. wal to anprerirto Lcf t Reveals He? V''-what V''-what lights ami shadows con ron.-Uttute a lino that runs across him. It dors not run f.ir enough to do any harm to the whole, and It contributes an r.rtill-clal r.rtill-clal break which the collar falls to do and deceives you Into thinking bo has a neck, lils waistroal should be cut low at the top and V shaped at tho bottom; a soft shirt ami not too highly butto.ed rout will gie him an air ot being fairly normal. If not slender. Of rourso. you see. it Is all lol-lowlng lol-lowlng out tho optical Illusion exemplified In diagram No. 2. that, tho more Ihe lines slant down In a spare the narrower it looks. If nature hanVt given you good llnefl you must set up other Hues thai are good, and emphasize thrtu so Hint tho eye will take pleasure in dwelling on them. Last Summer I saw a woman who must have weighed over L'OO pounds so skillfully dressed that I hao never forgotten her. Iler dress was of soft blue material, and where It was fared with cresmv white (be lines were all running In double sets o' V-shaP'd angles; at tho end of her rather full sleeves the llniM en nip to a point well do'Ati on the hark of her hands; el the throat van an Inwrtod V, and die ib liealo Hno4 that ran down tho skirl terminated arnln In Vs. 1 roubl not but think bow perfectly the maker hud carried out the rules of an optical Illusion thai Is fairly well known, anil In -shown In diagram No. 11. Hern a V opening outward at the ends of a linn makes that, lino appear loiu-.er than one of tho same length tlmi bus s with the points out ward at the end 1. Facial makeup with rouge mid powder In eiimoutlage, but compiirat Wclv few wo men mulct-aland bow to ore It. f die faro Ik broad ami tint tho color should be put on the cheekbones near Cm centre of bo lit".. I ltrttnln KUMn l;,-.:ei ,-,1. i-?L ... no 10 ine tare, nun on a bright overhead light, take a mirror una tit down undo- the 1b:ht. l'rrbsps there lire slb-.ht "pouches" under your ryes. There ;iro little hollows under yosr che -k-bones. The lower part of the cheek scrms to sag. making drooping lines from the cornel of our mouth. Now. slid holding tho lirrror before -.011. stand up aad lot your bead until the li.-.hi comes dircady inlo oi.r ',e As on do bib. the shad mi liierabv "lice awav." our face took-; rounder su, smoother 1'us is why -haded l.lbla H)-hta iire l,.,. .,.,-,,)t,! ;- dia l sd'iMig lights oomiiig from ditrclly above. One of the most r .tr lotiliu.uy ovponent ' or what may 1 o culled personal cauion. tlace Is Madame Na.-mo.i. t''e artre-s. To see her in Nora In "The poll's House" ami again iw llebl.i dabler Is 'o bt con vlnccd thill ihe (li-ci Inilnat ,tii; oe ot lines run accompli, h 111.11 els pi ilecciv bo-. tln ( r. . Nora, ill her boil ,ii-,.v t. ,;- fa-s am' t Mm 'I rm11.1l h ,t. ..l, I, -el, ; ntmo.-t a III 1 le girl 1 l. M 1 ;., ;,),., 1,, le-u;. s' ecpinr. diapcri. . . . 1, , cicd;bl t-i'i: rspcrial'y as she w ,;. ! ;.? ous cvprdt -uts for steppr - '-P, j level of the s-aco a:ul a.vo;..-' - , apparent height. .. s ; J '' - Y Sarah b.-rnhsra:; was a re.'" ' 1 j '.-.. . arts and iiir-aers of cali,,""i--,;i. ;v'(. j who ii.-;-. rvcr -c-.i 'a-r v ill '- y pross'on of v.-ut'; she i::!' i ; ' rollars ! hc'Vlelvof. scrac-.irif. IV cars, as,! dips ;-: y tho 'r' ,",J - I p them xoa-.ht-ul. lHltin.i I"' . 1 of brr lifo on die sbico " i(i;4 i . s-m with a nockdrc-s cf v j s...-(ion. s...-(ion. i ' There are some st.-'C'' r-v)p 4 Mas- particular about whom ,;'!',vt , li with bmdiin tn .in ccr ;iM. woman taller d sn he. ai d so -.-fAjCp are all at it. dec, the m.ial 1 V0 a sho-t sumo- viii: on Ihe '- ... tj 10 hs-k I ke cieach lo the tT -4 , tiii j d; invi-.V--wJ L a Xl'sjJ P ft. |