As herewith shown the simple lines and stripes are seven in number, and the combination lines and stripes are presented in eight examples. In the cut of the divided stripe, distance fine line, the distance line is drawn nearer to the stripe than it is customary to allow. While there is no arbitrary rule to govern the spacing of the distance line from the stripe, it is usually drawn not less than 1/4 in. from center line or stripe. Oftentimes, too, it is placed at a distance of scant 1/8 in., as here shown.
The accompanying striping designs adapted to traps, drags, stanhopes, concords, and pleasure vehicles generally (used also on business vehicles) consist of corner and center pieces. Their representation may suggest extensions or changes, through the medium of which a wide variety of designs may be evolved. To specify the colors in which each design is best illuminated would exceed the limits accorded this chapter.
The color of the panel determines the color of the design, or should. A pleasing contrast to the body color should be sought, and in this achievement the workman's taste and art sense must be exercised in lieu of printed directions.
CORNER DESIGNS.
The panel designs, if placed on any dark surface, may be placed in white and trimmed in green, blue, vermilion, etc.; or they may be placed in carmine and tricked out in any of the many neatly contrasting colors. The finest carmine effects are obtained by glazing orange or chrome yellow with carmine. Against the fashionable blue surfaces many of these designs present fetching effects if drawn in gold, white, or king's yellow. Against yellow grounds they may be effectively shown in two or three shades of red. These suggestions apply also, in the main, to the corner pieces. The three last designs on [page 184] may be laid in gold, shaded with asphaltum, high lighted with light yellow. The fine lines can be done in any harmonizing color. Some of the small solid parts of these designs can be glazed with carmine and verdigris. Some of the designs may be executed in orange, glazed with carmine and high lighted with chrome yellow. Or the broad portions may be done in some solid color and the fine lines in a slightly different shade of the same color. On blue panels the simple fine line pieces may be done with lining bronze glazed with ultramarine blue; or on green panels use chrome yellow and glaze with carmine.
In fact, there is an infinite variety of colors to be used in the development of the designs here presented, and the still other designs which it is hoped they may suggest, the controlling factor in the selection of colors being simply and at all times the color of the surface upon which the design is to be used. In connection with this must exist the law of harmony and contrast, without which any selected color scheme will prove ineffective.