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 red is the standard red mixed with a smaller quantity of orange. With the disks, pure hues are secured only by mixing two standards adjacent in the spectrum circuit.

For convenience in speaking and writing about colors in this system of color instruction, all the spectrum colors other than the six standard spectrum colors are designated as intermediate spectrum hues, and often for convenience in speaking of them they are called simply spectrum hues. To these are also added the colors between red and violet which are not in the spectrum. When so used the term must be considered as purely technical in this particular relation, because a color between the standard blue and the standard green is in the abstract no more a hue than either of these colors. If two standards not adjacent in the spectrum circuit are combined the result is not a pure spectrum hue but always some broken spectrum color.

Local Color.—A term applied to the natural color of an object when seen in ordinarily good daylight and at a convenient distance, as a sheet of paper at arms length, a tree at twice its height, etc.

Tint.—Any pure or full color mixed with white, or reduced by strong sunlight. In the disk combinations a spectrum color combined with white.

Shade.—A full color in shadow, i. e., with a low degree of illumination. In disk combinations a spectrum color combined with a black disk produces by rotation a shade of -that color. In pigments the admixture of black does not usually produce as satisfactory shades of a color as may be secured with some other pigments, and each artist has his own preferences in making shades of the various colors on his palette.

Scale.—A scale of color is a series of colors consisting of a pure or full color at the center and graduated by a succession of steps to a light tint on one side and a deep shade on the other.

Tone.—Each step in a color scale is a tone of that color, and the full color may be called the normal tone in that scale. In art this word has had such a variety of meaning as to ren-