If two colors are separated by a narrow strip of light gray, gold, black or white, the effect is greatly improved. For this reason a design in analogous colors is often improved by separating certain colors by a fine line of black, gold or gray.

If two colors not closely related to each other in the spectrum circuit are placed in juxtaposition, each is modified by an effect which is the complementary of the other. For example, if red and yellow are placed side by side, in contact, the red is rendered more violet by the added effect of blue, which is the complementary of yellow, and the yellow is modified by the blue-green complementary of the red, which tends to dull the yellow and change it slightly toward green.

If blue and yellow are joined both are improved, as the two are so nearly complementary to each other that each is intensified by simultaneous contrast, blue being added to blue and yellow to yellow.

Dominant Harmonies.

In the use of colored papers those combinations classified as dominant harmonies are the most simple to make because they are all in one family, as the little children like to consider the relationship. The red family consists of the standard red and its tints and shades, or in other words the red scale. With the several papers ready made this harmony becomes very simple, but in the use of pigments the production of a true color scale is not a thing to be confidently undertaken by a novice.

In a very elaborate color chart for Primary education prepared with great care by Dr. Hugo Magnus and Prof. B. Joy Jeffries, and published at large expense about ten years ago with hand-painted samples in oil colors, this lack of classification of hues is very noticeable, although at that time it was by far the best publication of the kind and was not criticised on this point.

For example in a scale of five tones of red the following are the analyses, beginning at the lightest tint:—

Tint No. 2,O.45,Y.20,W.18,N.17.
Tint No. 1,O.69,Y.3,W.7,N.21.
Standard, R.75,O.25.
Shade No. 1,R.85,O.15.
Shade No. 2,R.75,N.25.

In this scale according to the Bradley nomenclature the standard or full color is a very fine vermilion expressed by R.75, O.25, i.e. an orange red, and therefore in order to form a perfect scale both tints and shades should be in the orange reds, but in fact the tints are both broken colors, the lightest a very broken yellow-orange and the deeper tint very nearly a light broken orange. The lightest shade is a pure orange-red but with a larger proportion of red to the orange than the standard, while the darkest tone is a pure shade of red. Thus in the five tones we have the following arrangement, beginning at the lightest tint:—

Broken yellow-orange, broken orange, orange-red; another pure orange-red but more red, and lastly red shade, thus embracing in one orange-red scale parts of four scales from yellow-orange to red. In these defects in the best chart of its kind in the market only ten years ago is seen the best possible evidence of the advance made since that time in color perception, largely due to the use of the color disks in determining scales. While in the use of colored papers the dominant harmony may be the simplest and the one in which there is least danger of really bad work, some of the combinations are much better than others, and superiority is perhaps secured as much by the relative quantities of each tone used in a composition as in the selecting of the tones. In the entire range of the spectrum even this class of harmonies involves problems too complex to be solved by a few rules, but it is a very interesting field in which the children may safely be allowed to roam and experiment.