The combination of colors which are complementary, while not always the most pleasing, is sure to produce the strongest contrast; for example see Figs. 239 and 242, Plate 31; also Figs. 255, Plate 34; 262, Plate 35; 276, Plate 37, and many others. For bold and effective work the combination of complementary colors can not be excelled.
By the combination of two colors which are complementary, each color gains in fullness, while the combination of two colors which are not complementary, will cause each color to move a little toward the complement of the other.
The combination of cold and warm colors always results in the warm colors appearing warmer and the cold ones colder.
All of the primary colors are increased in strength and fullness, when combined with white on a gray ground.
When there is a lack of harmony or contrast between any two colors, they should be separated by a band of black, white, gold, or some neutral color which will harmonize with both.
A very effective two-color combination is obtained by combining a primary or secondary color with its complementary gray—that is, a gray to which its complement has been added. For example, see the figures on Plate 38. Fig. 280 is a combination of blue and orange-gray; Fig. 281 shows orange and blue-gray; Fig. 282 shows violet and yellow-gray; and Fig. 283 shows green and purple-gray.
Black will form a good combination with any color lying between red and blue on the right side of the circle. The light tones of blue should be used in combination with black, otherwise the contrast will be weak.
Black forms its best combination with orange-red or vermilion. A common mistake with printers generally, is the combining of a purple-red or rose-lake with black. Purple-red or rose-lake will combine well with black, only after the black has been moved toward green by the addition of green or yellow.
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