then in an olive tint, then in gold, and then in black. Fig. 317 was first printed in a greenish yellow, then in a flesh tint, then in gold, and then in black.
Plate 47.—The only design shown on this plate is Fig. 318, which represents a butterfly and business card. This is a splendid example of the harmony of distant colors. It was not the intention of the writer to stick very close to nature in coloring this butterfly, but instead we aimed to show an odd, and at the same time a correct combination of colors. We believe that printers everywhere will be well pleased with not only the combination, but also with the excellent presswork shown in this specimen. The first color printed in the butterfly was No. 78, one of the dark tones of orange; then a half-tone violet, then yellow, then one of the dark tones of red, then sea-green, then gold, and then a deep photo-black. The card was first printed in a blue tint with an electrotype taken from emery paper, and then in a deep blue.
Plate 48.—Fig. 319 on this plate was first printed in a sea-green tint, then in copper bronze, and then in sea-green; it was then embossed with a box-wood plate made with steel punches.
Plate 49.—This plate contains two specimens of cards printed in gold, three tints, and black. Fig. 320 was first printed in gold, then in a green tint, then in a rose-lake tint, then in a gray tint, and then in black. Fig. 321 was first printed in gold, then in a blue tint, then in an orange tint, then in a gray tint, and then in black. In both of these cards some very fine tints are produced by printing the gray tint over the rose, green, blue, and orange tints.
Plate 50.—This plate, as well as the two following, is intended specially to show printers some good results in printing gold ink and colors on colored enameled cover papers. Fig. 322 was first printed in a purplish red, then in color No. 80, which is one of the dark tones of orange, and then in gold ink. By refer-
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