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 with white, or modified with gray, or darkened with black. The best combination with green is its complement, red-purple. See Fig. 242, Plate 31.

will harmonize with any one of the colors lying between orange-yellow and sea-green, in their normal state, or when modified with gray, or darkened with black, or when the greens are reduced with white. The best combination with purple is its complement, yellow-green. For example see Fig. 276, Plate 37.

In two-color combinations the reader can safely follow this rale—that any color shown in the Scale of Complementary Colors will form a good combination with any one of the seven colors on the opposite side of the circle, in their normal state, or when reduced with white, or modified with gray, or darkened with black.

To obtain the best result in the combination of two tones of one color, or two tones of different colors, always combine a full color with a dark tone, or a full color with a half-tone, or a half-tone with a very light tone. By following this rule a violent contrast of tone will be avoided.

In combining two hues, a primary color should show plainly in each hue. For example, when a hue of bine and a hue of green are combined, the blue should be moved toward violet and the green toward yellow—that is, in opposite directions on the chart. This would make a combination of violet-blue and yellow-green. See Fig. 389, Plate 85. The best result will be obtained if a primary color predominates in each hue. For example see Fig. 390, Plate 85, which shows a combination of violet-blue and green-yellow; blue predominates in one color and yellow in the other.

In nearly all of the best two-color combinations it will be found that they are really complementary colors, somewhat modified by the addition of other colors or black.

All specimens of monochrome printing (that is, printing in different tones of one color), belong to the harmony of scale.