rule. We used the pansy in this card, because it is a flower that frequently contains both the primary and secondary colors, if the leaves are included. The location of the different colors produced by printing the colors named in lines and solids over one another, is indicated by numbers ranging from i to 37, inclusive.
Plate 65.—This plate was first printed in a blue-gray, then in a yellow gold, and then in one of the dark tones of red—making an effective combination.
Plate 66.—This plate represents a program card, and the first page of a menu card, lying on a sheet of stippled paper. It was first printed in an olive tint, then in gold, then a light red, and finally in one of the dark tones of orange; then the words “menu” and “program” were embossed. The ornamental bands at the top and bottom of the menu page are excellent specimens of color combination.
Plate 67.—Fig. 351 on this plate is a fine specimen of card work, printed in gold and four colors. The first impression was pale gold; then a sea-green tint was printed; then a flesh tint; then a gray tint, and finally one of the dark tones of red.
Plate 68.—The figures on this plate are intended to show the effects produced upon different colors, by placing them in contrast with the different tones of other colors. Fig. 352 shows red surrounded by the different tones of black; the result is that the letter C which is surrounded by solid black appears much lighter than the letter R which is surrounded by a half-tone black; and the letter C appears very much lighter than the letter T which is surrounded by white. The same will apply to Fig. 353 which shows yellow in contrast with black, Fig. 354 which shows gray in contrast with blue, and Fig. 356 which shows gray in contrast with black. In Figs. 354, 355, and 356 the gray was printed in one impression. We call the special attention of the reader to the letter C in each of these figures; note the apparent difference be-
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