The Harmony of Scale—by Gradation of Tone, is produced in two ways. First—by the combination of three or more tones of one color blended into one another, and showing a gradual increase or decrease in depth of tone; for example, the cut on Plate 61 was printed in three different tones of orange blended into one another. This harmony is best illustrated in the colors of the rose, and is frequently seen in the leaves of some plants and trees. Second—by the combination of three or more tones of one color, gradually increasing or decreasing in depth of tone, and showing a slight difference in depth between any two adjacent tones; for example, see the borders at top and bottom of Plate So, which were printed in rose-lake and three of its light tones.
The Harmony of Relative Colors—by Contrast of Tone, is produced by the combination of two or more colors which are somewhat closely related, and between which there is a decided difference in tone; for example, see Fig. 389, Plate 85, which shows a combination of deep violet-blue and light yellow-green, the former being a hue of blue, and the latter a hue of green. Fig. 388 shows a violet-blue and yellow-green about equal in tone, making a poor combination, because the contrast of tone is very weak.
The Harmony of Relative Colors—by Gradation, is produced in two ways. First —by the combination of two or more related colors or hues blended into one another, and showing a gradual change from one color to another—the colors being arranged in their natural order as represented on Plate 32; for example, see the borders at top and bottom of Plate 89, which were printed with yellow, green, and blue, blended into one another. This harmony is best illustrated by the colors of the rainbow, and is frequently seen at sunset, the sky being a reddish-orange color at the horizon, and gradually blending, as you look higher, into delicate tints of yellow, green, blue, and violet. Second—by
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