ring to Plate 10, the reader will see that Fig. 80 is a rather dark color, in which black predominates; but when printed on the deep green paper, the orange predominates. Fig. 324 was first printed in a purplish red, then in a deep blue, and then in gold ink. Fig. 326 was first printed in No. 80, then in a deep blue, and then in gold ink. These splendid effects can be used to great advantage on fancy covers for catalogues, and other work of a similar character.
Plate 51.—The figures on this plate are printed the same as Plate 50, except that a deep green was used in place of the purplish red. Fig. 327 was first printed in color No. 45, which is a deep green; then in No, 80, and then in gold ink. Fig. 329 was first printed in a deep green, then in deep bine, and then in gold ink. Fig. 331 was first printed in No. 80, then in deep blue, and then in gold ink.
Plate 52.—This plate shows some excellent results, obtained by printing gold ink and colors on black enameled paper. We have used some odd figures on this plate, merely suggestive of some of the uses which can be made of this paper. Fig. 332 was first printed in a deep green, and then in gold ink. Fig. 333 was first printed in deep bine, and then in gold ink. Fig. 334 was first printed in a deep green, then in vermilion, then in white, and then in gold ink. Fig. 335 was first printed in deep blue, then in a deep green, then in vermilion, then in white, and then in gold ink. To obtain the best result in printing red and white on black paper, the inks must be opaque , so that they will cover the black as completely as possible. The same rule will apply to yellow or any other luminous color.
Plate 53.—Fig. 336 on this plate was first printed in a green tint, then in a yellow-green tint, and then in one of the dark tones of orange. This specimen is an example of the harmony of relative colors.
Plates 54 and 55.—These plates show nine different patterns of embossing borders, made in two, three, and four-em pica widths, and
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