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 nearly related to yellow. Fig. 303 was first printed in a pearl tint, then in gold, and then in one of the dark tones of orange. Fig. 304 is a fine combination of two colors which are nearly complementary, and gold; the half-tone olive was printed first, then the gold, and then the half-tone purple. Fig. 305 is composed of a sage-green, a light bine-green, gold, and a deep photo-brown, printed in the order named—making a splendid combination. Fig. 306 was first printed in a half-tone of deep blue, then in gold, and then in a light red. Fig. 307 was first printed in an olive tint, then in gold, and then in a half-tone olive; this specimen belongs to the harmony of scale. Fig. 308 was first printed in a flesh tint, then in gold, and then in a half-tone green.

Plate 46.—This plate contains nine different combinations of gold and colors. Fig. 309 was first printed in an olive tint, then in a rose-lake tint, then in gold, and then in black. Fig. 310 was first printed in bine, then in sage-green, then in a flesh tint, then in gold, and then in black. Fig. 311 was first printed in a greenish yellow, then in a half-tone purple, then in sea-green, then in gold, and then in black. Fig. 312 was first printed in a half-tone purple, then in an olive tint, and then in gold. Fig. 313 was first printed in red, then in one of the dark tones of orange, then in a light green-bine, then in gray, then in a primrose tint, then in gold, and then in black—making a splendid combination. In this design the light green-bine was treated in two different ways—by printing an open border over it in black, causing it to appear more bine, and by printing an open border over it in gold, causing it to appear more green. Fig. 314 was first printed in a green tint, then in a flesh tint, and then in gold. Fig. 315 was first printed in green, then in a green tint, then in a rose-lake tint, then in gold, and then in black. Fig. 316 was first printed in purple, then in a sage-green,