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 of a blue-gray and yellow. Fig. 278 is composed of bine-green an orange. Fig. 279 is composed of one of the dark tones of rose-lake and light bine-green—a good combination.

Plate 38.—Fig. 280 is composed of blue and orange-gray. Fig. 281 is composed of orange and blue-gray. Fig. 282 is composed of violet and yellow-gray—a good combination. Fig. 283 is composed of green and purple-gray—a splendid combination.

The assortment of splendid two-color combinations just described, were selected with great care. Some of the figures are composed of full colors, and others of half-tones or tints. In selecting any of these combinations for use in fancy printing, consisting of type, borders, etc., it is best to print the type matter in the deepest or darkest of the two colors used. Sometimes an ornamental initial letter, or a bold display line, will look better if printed in the lighter of the two colors.

Plate 39.—This plate shows three three-color combinations, which are good examples of the harmony of scale—by contrast of tone. A combination of different tones of one color is always pleasing, it matters not what color may be used. This is very properly called monochrome printing. Fig. 284 is composed of olive in the full-color, half-tone, and tint. Fig. 285 is composed of rose-lake in the full-color, half-tone, and tint. Fig. 286 is composed of deep blue in the full-color, half-tone, and tint; this is a very effective combination.

Plate 40. —This plate also shows three three-color combinations, good examples of the harmony of scale. Fig. 287 is composed of two of the dark tones and one of the light tones of red. Fig. 288 is composed of three of the dark tones of yellow. Fig. 289 is composed of red in the full-color, half-tone, and a dark tone.