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 of shell-bark hickory wood, end grain. Various woods can be used to good advantage for tint plates. For instance, the writer has many times printed cards, letter-heads, checks, etc., in a deep buff tint and one or more colors, for different lumber merchants; the buff was printed as a back-ground from a piece of natural ash or oak wood. In one case the type form was printed in a deep yellow-brown, producing a fine effect—a good specimen of the harmony of relative colors.

Plate 84.—The figures on this plate show four different tint patterns printed from stereotype plates taken from different pat¬ terns of book cloth. Figs. 384 and 385 were taken from the right and wrong sides of one pattern, and Figs. 386 and 387 from the right and wrong sides of another pattern.

Plate 85.—This plate shows three different combinations of hues. Fig. 388 is composed of a light violet-blue and a yellow- green; as both colors are nearly related, and are also about equal in tone, the combination is weak. Fig. 389 is also composed of violet-blue and yellow-green, but the violet-blue is much deeper and the yellow-green lighter than in Fig. 388; as a result, it is a better combination because of its contrast of tone. Fig. 390 is composed of violet-blue and green-yellow—an excellent example of the harmony of hues.

Plate 86.—The figures on this plate were printed with inks not shown in any other part of this book. Fig. 391 is composed of ultramarine blue and persian orange. Fig. 392 is composed of bronze-brown and green lake. Fig. 393 is composed of bronze-blue, bronze-brown, and green lake—an odd combination. Fig. 394 is composed of carmine and green lake. Fig. 395 is composed of bronze-blue and persian orange.

Plate 87.'—Fig. 396 on this plate shows the different effects produced by printing an open border in gray, black, and gold, on red. Fig. 397 shows the different effects produced by printing the