BY J. F. Earhart. STIRLING AND FRAN CINE CLA1UC ART INSTITUTE UBRART 3; $ i s Digitized by the Internet Archive in 2012 with funding from Federally funded with LSTA funds through the Massachusetts Board of Library Commissioners http://archive.org/details/colorprintertreaOOearh THE Color Printer A Treatise on the Use of Colors Typographic Printing BY John P. Earhart HI EARHAR 1 & RICHARDS* IN Cincinnati, ( >n I 8 9 2 IN Entered according to Act of Congress in the year 1892, by John F. Earhart, In the Office of the Librarian of Congress, at Washington, D. C. *~0 THE PRINTERS OF ALL ;-».♦.,♦.♦.♦.♦.♦.♦.».»» sa p ••:••• If 1 l|l I|l I||l""l||l I|l> I||l""l||l | I|l»"il|j|i""i|||i| 255 3 and 4 256 144 and 157 257 142 and 157 iiiiiiiiniiiiiiiiiiniiiiliiiiinini ^m tXXXXXXXXXXXXXXXXXXXXXXXXXXX 258 36 and 148 Two-Color Combinations. Plate 35 n 1 1 1 1 1 1 1 1 11 iiMiiiiiiiiiiiiiiiii^^5if'riii±~ArL« 3 33^5 33^33333^1111111 259 73 and 142 260 4 1 and 154 261 7 1 and 154 |l| l|l I|l I|l I|||i'""l|l I(IJ .illllllliilllllii.illll llll lllllHillllllu.llll Il lilt Il lliJi 262 and 148 263 44 and 161 264 149 and 161 -;.-"i M 265 95 and 142 Two-Color Combinations. Plate 36 xxxxxxxif'''" ™ 266 36 and 85 267 146 and 155 268 78 and 155 269 83 and 140 270 143 and 134 271 135 and 134 272 29 and 144 Two-Color Combinations. Plate 37 _ _ 1 1 1 1 1 1 Mill 1 1 1 1 1 1 II 1 1 n . - nil '"^VtTTT^TYTTTTTTTTT TT TTTT y yyT^"" ''""'"'" ''"'""'" 273 75 and 140 JL£W jtfwr J'JSK' A^W )^K»f >£W te fe^ tw a/ ®' Ss 274 36 and 52 275 89 and 139 m lili I|l '!|1 | I|l N|l i|||i' |1 |l 'I|l Ij!' : . : ,,:',/■ I h, I !., »>♦♦ + + ♦ ♦♦♦♦>^-f.< ! Si f If .♦.♦.♦.♦.♦.♦A*AtAfi? I| l|| 'I|I'""N| |l |l' | l|l l, ""l| | |MS illl ill - lilt I illl illl ill llliiiiiilili 276 6 and 85 wm* in 67 and 2 278 57 and 48 "iiiMiiiiiiiiiiiiiniiiiiiMiiiiiiiiiiiiiiii^^Ai"- 3iiifl'- ilmfffi hlMi^^*^*?I!^^^*'^ & ^_.^Z!™"^^r^>■ H 3+QD+BD+ M ♦♦< ■ SB+BD+i H ■■■■■■■■■■■■■■a ■ ■■■■■■■■■■■■■a - go+aa+E + ^M M \3+B3+si3+3rM* +B3+aj+H3+a3+E+K> M ■ ■■■■■■■■■■■'■■a ■a 5 ■■■«■■■■■■■■ ':; lE :; i ■ i - Z ■ H ■ ■■■■■■■■■■■ ■ ■■■■■■ s ■ ■ * $ ■{■ -': ■': ■■■■■■■■■I 31 ■[■ IN M EM* M :[: | :; ■ :;: $ :[:M ■ ■■■■■■■■a ■ ■ ■ ■ i Two-Color Combinations. Plate 39 284 75, 144 and 170 PA K°- K°: P. -P o b b- BH K°- Ko- Kp- hft- ha- H> atnin . • • p.-i i-p-i •pH K>- Ko-' 285 8, 140 and 156 • \ \ ' \ ; ;, ' ; ^ y\ \ \ ' \ ■ ' ; M ^ -$rtn fe m : : ^ir%- K '$& 3N -f®) M^ 8; M 286 7, 139 and 155 Three-Color Combinations. Plate 40 ■i 287 36, 32 and 149 J....1U 1 1 288 50, 51 and 52 ...ini4iinuiiiiinu " " ■ ■ ■ 289 34, I and 133 Three-Color Combinations. Plate 41 290 1 , 83, and both combined. 291 3, 4, and both combined. 292 6, 46, and both combined. Three-Color Combinations. The Harmony of Colors with Black, is produced by the com- bination of black with the full tones or light tones of the warm colors, and also, with the light tones of the cold colors; for example, black and the full tone of yellow ; or black and the light tone of violet. In the former case the contrast is very strong, but in the latter it would be very weak if the violet was not made lighter in tone. 37 Rules for obtaining Harmonious Combinations of Two or More Colors. E will again turn to the scale of complement- ary colors on Plate 32. This scale, or chart, was arranged with the greatest care, so that colors which are complementary would be exactly opposite to each other. If the reader desires to get the strongest combination possible, with any one of the colors shown in this chart, he must take the color directly opposite to the one selected. If red be the one selected, then its opposite, sea-green, will make its strongest combination. It is hard for the printer nowadays to get out a job of color printing without using red in some form. It is certainly the most important color with which we have to deal. That being the case, we will first give the colors which will harmonize with red. TWO-COLOR COMBINATIONS. Red will harmonize with either of the two primaries, yellow or blue, and also with any one of the colors lying between them, in their normal state, or when reduced with white, or modified with 38 gray, or darkened with black. The writer thinks that red forms the strongest combination with any one of the colors lying between green and blue reduced to a half-tone with white; for example see Fig. 262, Plate 35. Yellow will harmonize with either of the two primaries, blue or red, and also with any one of the colors lying between them, in their normal state, or when reduced with white, or when slightly modified with gray. The reader will perceive that a very strong contrast exists between yellow, which is the lightest and most lumi- nous color in the chart, and violet, its complement. In fact, when combining yellow with any of the colors which lie between red and blue on the opposite side of the circle, it is not best to make the contrast more violent by the addition of black to any of these colors ; instead, a more pleasing combination will be obtained by the addition of white to the color selected, thus reducing the violence of contrast. For example, the contrast between the violet and yellow is very strong. If the violet be reduced with white to a half-tone color, the combination will be much more pleasing, because we then get not only harmony of colors, but also a harmonious contrast of colors. Blue will harmonize with either of the two primaries, red or yellow, and also with any one of the colors lying between them, in their normal state, or when reduced with white, or modified with gray, or darkened with black. Blue makes the most effective com- bination with any one of the colors lying between red and yellozv. Its best combination is orange; see Fig. 255, Plate 34. Orange will harmonize with any one of the colors lying be- tween green and violet, in their normal state, or when reduced with white, or when slightly modified with gray. Orange makes the best combination with anyone of the colors lying between sea-green and blue-violet. For example see Fig. 255, Plate 34. Green will harmonize with any one of the colors lyiug between violet and orange, in their normal state, or when reduced 39 with white, or modified with gray, or darkened with black. The best combination with green is its complement, red-purple. See Fig. 242, Plate 31. Purple will harmonize with any one of the colors lying be- tween orange-yelloiv and sea-green, in their normal state, or when modified with gray, or darkened with black, or when the greens are reduced with white. The best combination with purple is its com- plement, yellow-green. For example see Fig. 276, Plate 37. In two-color combinations the reader can safely follow this rule — that any color shown in the Scale of Complementary Colors will form a good combination with any one of the seven colors on the opposite side of the circle, in their normal state, or when re- duced with white, or modified with gray, or darkened with black. To obtain the best result in the combination of two tones of one color, or two tones of different colors, always combine a full color with a dark tone, or a full color with a half-tone, or a half- tone with a very light tone. By following this rule a violent con- trast of tone will be avoided. In combining two hues, a primary color should show plainly in each hue. For example, when a hue of blue and a hue of green are combined, the blue should be moved toward violet and the green toward yellow — that is, in opposite directions on the chart. This would make a combination of violet-blue and yellow-green. See Fig. 389, Plate 85. The best result will be obtained if a primary color predominates in each hue. For example see Fig. 390, Plate 85, which shows a combination of violet-blue and green-yellow; blue predominates in one color and yellow in the other. In nearly all of the best two-color combinations it will be found that they are really complementary colors, somewhat modi- fied by the addition of other colors or black. All specimens of monochrome printing (that is, printing in different tones of one color), belong to the harmony of scale. 40 Plate 42 CO s O) - CM ,- o o Pale Gold and Two Colors. Plate 43 Feather- Gold, 5, 94, 17, 7 and 83 Card and Border— 164, 51 and 171 Plate 44 Mi GHT HILTON 295 155, Gold and 81 296 163, Gold and 139 297 44, 68 and 18 298 83, Gold and 80 m ^vvvvvvvvvvvvvvvvvv^vvvvy B E 299 13, 52 and 61 300 172, Gold and 73 301 154, Gold and 40 Combinations of Colors and Tints with Gold. Plate 45 302 150, Gold and 7 1 303 174, Gold and 78 304 144, Gold and 138 305 71, 142, Gold and I 15 B i© B r ® B © B © S © ©©©©©©©©©©©©©©©©©©©©©©©©©©©©©© 306 139, Gold and 20 ilHIBll 307 170, Gold and 144 308 157, Gold and 137 Combinations of Colors and Tints with Gold. Plate 46 310 [H] Lr^ pJ tT| pJ Lnp- ILr IP JL nP- | Lr|r^R )| f\jiripJt► ^3 CO <» CO lu /**■ « .? UJ * 8 « a «■ 0) o — CO CO u Copper Bronze and Two Colors. Black, green-yellow, and the light tones of blue, violet-blue, blue-violet, violet, purple -violet, and purple. Black, yellow-green, and the light tones of violet-blue, blue- violet, violet, purple-violet, purple, red-purple, and purple-red. Black, red and green -gray. Black, red and blue-gray. Black, orange -red and green -gray. Black, orange -red and blue -gray. Black, light green and purple-gray. Black, light green and red -gray. Black, light blue and yellow-gray. COMBINATIONS WITH GRAY. Gray will form a good combination with any two colors which are complementary or nearly so. It is the happy medium between black and white. Any color seen upon a black ground will appear paler ; when seen upon a white ground it will appear deeper ; but when seen upon a gray ground it will appear at its true value. For example see Figs. 399 and 400, on Plate 87. In forming combinations of three different colors, it is gener- ally most effective to combine a J nil '-color, a half-tone, and a tint; or a deep -shade, a full-color, and a half-tone. The reason is, that in such combinations we have harmony of contrast as well as har- mony of colors. DESCRIPTION OF PLATES SHOWING COMBINATIONS OF TWO COLORS. Plates 33 to 3S, inclusive, show a variety of fine two-color com- binations which belong to the harmony of distant colors. Plate 33. — Fig. 245 on this plate is a combination of one of the dark tones of orange and a light green-blue. Fig. 246 is composed of red-gray and a sea-green tint. Fig. 247 is composed of a light brown and a sea-green tint. Fig. 248 is composed of 45 a purplish hue of red and a light green — a strong combination. Fig. 249 is composed of a sage-green and a rose-lake tint. Fig. 250 is composed of a green-gray and a rose-lake tint. Fig. 251 is composed of a light red -brown and a light green -blue. Plate 34. — Fig. 252 on this plate is composed of a fine bright red and a light green-blue. Fig. 253 is composed of a red-gray and a green -yellow. Fig. 254 is composed of a half-tone pur- ple and a green -yellow. Fig. 255 is composed of the complementa- ries, blue and orange. Fig. 256 is composed of a half-tone olive and a flesh tint. Fig. 257 is composed of a light blue-green and a flesh tint. Fig. 258 is composed of one of the dark tones of red and a light green -blue. Plate 35. — Fig. 259 is composed of a light red-brown and a light blue-green. Fig. 260 is composed of a green-yellow and a purple tint. Fig. 261 is composed of a sage-green and a pur- ple tint. Fig. 262 is composed of red and a light green-blue — a very strong combination. Fig. 263 is composed of a light brown and a pearl tint. Fig. 264 is composed of a red tint and a pearl tint. Fig. 265 is composed of a purple-red and a light blue-green. Plate 36. — Fig. 266 is composed of one of the dark tones of red and a light green — an excellent combination. Fig. 267 is com- posed of a light brown and a blue tint. Fig. 268 is composed of a gray-orange and a blue tint. Fig. 269 is composed of sea-green and a half-tone rose-lake — a strong combination. Fig. 270 is composed of a light violet and a half-tone yellow. Fig. 271 is composed of a half-tone blue and a half-tone yellow. Fig. 272 is composed of a light red and a half-tone olive — an excellent combination. Plate 37. — Fig. 273 is composed of olive and a half-tone rose -lake. Fig. 274 is composed of a dark tone of red and a dark tone of yellow — a good combination. Fig. 275 is composed of a light brown and a half-tone blue. Fig. 276 is composed of purple and light green — a very good combination. Fig. 277 is composed 46 of a blue -gray and yellow. Fig. 27S is composed of blue -green and orange. Fig. 279 is composed of one of the dark tones of rose -lake and light brue- green — a good combination. Plate 38. — Fig. 2S0 is composed of blue and orange -gray. Fig. 2S1 is composed of orange and blue -gray. Fig. 282 is com- posed of violet and yellow -gray — a good combination. Fig. 283 is composed of green and purple -gray — a splendid combination. The assortment of splendid two-color combinations just de- scribed, were selected with great care. Some of the figures are composed of full colors, and others of half-tones or tints. In selecting any of these combinations for use in fancy printing, consisting of type, borders, etc., it is best to print the type matter in the deepest or darkest of the two colors used. Sometimes an ornamental initial letter, or a bold display line, will look better if printed in the lighter of the two colors. DESCRIPTION OF PLATES SHOWING COMBINATIONS OF THREE OR MORE COLORS. Plate 39. — This plate shows three three-color combinations, which are good examples of the harmony of scale — by contrast of tone. A combination of different tones of one color is always pleasing, it matters not what color may be used. This is very properly called monochrome printing. Fig. 2S4 is composed of olive in the full -color, half-tone, and tint. Fig. 285 is composed of rose-lake in the full-color, half-tone, and tint. Fig. 2S6 is composed of deep blue in the full-color, half-tone, and tint; this is a very effective combination. Plate 40. — This plate also shows three three-color combi- nations, good examples of the harmony of scale. Fig. 287 is composed of two of the dark tones and one of the light tones of red. Fig. 2SS is composed of three of the dark tones of yellow. Fig. 289 is composed of red in the full-color, half-tone, and a dark tone. 47 Plate 41. — This plate shows three three-color combinations; in each figure two of the colors are complementary, and the third color is a mixture of the two. Fig. 290 is composed of red, sea- green, and black; the latter was produced by a mixture of the red and sea-green shown in this figtxre. Fig. 291 is composed of orange, blue, and an olive produced by a mixture of the two. Fig. 292 is composed of purple, light green, and a color produced by a mixture of the two. Plate 42. — This plate contains only one specimen — Fig. 293 ; it is composed of one of the dark tones of yellow, its tint, and pale gold. This combination belongs to the harmony of scale. Plate 43. — This plate shows a very elaborate specimen — Fig. 294 — printed in gold and eight colors. In the feather, the gold was printed first; then the green; then the reddish purple; then the maroon -red; then the deep blue, and finally the sea-green. The card and border was printed in color No. 51 and its tint, and a sea-green tint. Plate 44. — This plate contains some elegant combinations of gold and two colors. Fig. 295 was first printed in a blue tint, then in gold, and then in one of the dark tones of orange. Fig. 296 was first printed in a flesh tint, then in gold, and then in a half- tone of deep blue. Fig. 297 is a combination of the three primaries — red, yellow, and blue, modified by mixture with other colors. Fig. 298 is a splendid combination of sea-green, gold, and one of the dark tones of orange, printed in the order named. Fig. 299 is a combination of the three primaries — red, yellow, and blue, modified by mixture with other colors. Fig. 300 was first printed in a delicate green tint, then in gold, and then in a light red -brown. Fig. 301 was first printed in a purple tint, then in gold, and then in a light green. Plate 45. — This plate also contains some splendid combina- tions of gold and colors. Fig. 302 was first printed in a yellow tint, then in gold, and then in a sage green ; this is a good example of I he harmony of relative colors — the colors, including gold, being 48 Plate 49 1 « w\ .,i«««*" , ' J "' , " , '" 1 ""»'*X tjj ~* Allison w ** -two** "«w & Smith :::?M?::. •• : 320 Gold, 153, 156, 158 and Black "The Best is the Cheapest." i PRINTERS ® • # * ROLLERS _ ===== Rollers Cast to Order Promptly : p^V^^ N m VAN BIBBER & GQ ROLLER COMPOSITION 8ixth and Vine Sts CINCINNATI, OHIO "•)<. ■) 1 l°i 321 Gold, 151, 152, 158 and Black Combinations of Gold, Black and Three Tints. 326 CO, 7 and Gold Ink Combinations of Cold Ink and Colors on Green Enameled Paper. I »;*» *** ' m a.-,v h T -i.u g liiiiiiliil j liil . ^UM^B>Mtf ^^^■w^™ W"W^^P^^ 45, 80 and Gold Ink 80 and Gold Ink S4EE5- gilllllEi rs <~* ra . J U t .. J U t .. J U t ..' l U t .. J U t . .V. 'A"A"A"A"A"A ( 80 and Gold Ink 45, 7 and Gold Ink ;i;i;;iiiimn;;mmiii;;H::T;iT^ P11IPS «§«&» :inmminmniimiiminiTinii:iiiiiiiiminnii^^ 331 80, 7 and Gold Ink ibinationsof Cold Ink and Colors on Maroon-Brown Enameled Paper. i ..._., J uto i.^ 'Vj#ffi«& JBfi' fedtt. ^i * <*.4* tm.A m S'*?$i «... SwUjftW SB 45 and Gold Ink 7 and Gold Ink q .r n XXXXXXXXXIXXXXXXXXXX Bsa" ®; • W- 41 ». .'sa-'^fc XXXXXXXXXXXXXXIXXXXX fe* >£ 1 Ut£> 45, 10, White and Gold Ink ,'^'JJ -'^''1 , "ia Ji1 j'AiiTi* ■ -^^i-* ih"^* .- ^-i* ■'■^■'.1 . .1^'Jl Ii'.jl .- ^.1 . • ^--"'^l : ^.■- 1 .1 , nj.^1 - f-a-Ia* i 4-i'i* J S'lli^ ■' ^-'-'i* ■"-■'** i fri!i*' i tti'i* r r ails* %t*?K..y "« -'^I'SliH 'AV2:"3Wi ^Vi;"^ '^j^W-K^J fUWBgSftZFy IfffSpffwpwaj ~ ---'-* - .l.'.'l : n-jjH --..- j^'iV ft: \* Aa^_>. 7, 45, 10. White and Gold Ink Combinations of Cold Ink and Colors on Black Enameled Paper. THE BEST IS THE CHEAPEST." Plate 53 U VAN BIBBER ROLLER CO, VAN BIBBERS REGULAR COMPOSITION 30 CENTS PER POUND. The Old Reliable. Too well and widely known to need description. Ill VAN BIBBERS PRESSMAN S COMPOSITION 35 CENTS PER POUND. The best composition of the recasting class made anywhere in the world. Melts and pours easily. Recasts easily- Never shrinks, cracks or loses suc- tion or elasticity. Cold has but little effect on its hardness. Especially designed for the qualities desired in form rollers having a direct roll. This composition is of a bright, green color, so it can be easily distinguished and blamed if deserving of blame. !H|IU||||||I) ♦ROUGH AND READY- 35 CENTS PER POUND. The cheapest roller material sold anywhere. Sold everywhere throughout North and South America. It makes good, durable rollers. |lll|lll|lll|Hl|= ► Van Bibber's Rollers used exclusively in printing this book. — Editor Color Printer : ^MLRIBBER ROLL E R JC . Sixth and Vine Sts., Cincinnati, Ohio, U. S. A. 336 153, 172 and 81 nearly related to yellow. Fig. 303 was first printed in a pearl tint, then in gold, and then in one of the dark tones of orange. Fig. 304 is a fine combination of two colors which are nearly complemen- tary, and gold ; the half- tone olive was printed first, then the gold, and then the half-tone purple. Fig. 305 is composed of a sage- green, a light blue -green, gold, and a deep photo -brown, printed in the order named — making a splendid combination. Fig. 306 was first printed in a half-tone of deep blue, then in gold, and then in a light red. Fig. 307 was first printed in an olive tint, then in gold, and then in a half-tone olive; this specimen belongs to the harmony of scale. Fig. 308 was first printed in a flesh tint, then in gold, and then in a half-tone green. Plate 46. — This plate contains nine different combinations of gold and colors. Fig. 309 was first printed in an olive tint, then in a rose -lake tint, then in gold, and then in black. Fig. 310 was first printed in blue, then in sage-green, then in a flesh tint, then in gold, and then in black. Fig. 311 was first printed in a greenish yellow, then in a half-tone purple, then in sea-green, then in gold, and then in black. Fig. 312 was first printed in a half-tone purple, then in an olive tint, and then in gold. Fig. 313* was first printed in red, then in one of the dark tones of orange, then in a light green -blue, then in gray, then in a primrose tint, then in gold, and then in black — -making a splendid combination. In this design the light green -blue was treated in two different ways — by printing an open border over it in black, causing it to appear more blue, and by printing an open border over it in gold, causing it to appear more green. Fig. 314 was first printed in a green tint, then in a flesh tint, and then in gold. Fig. 315 was first printed in green, then in a green tint, then in a rose-lake tint, then in gold, and then in black. Fig. 316 was first printed in purple, then in a sage-green, *The number 152 which is printed below Fig. 313, represents an orange tint; it should have been number n, which represents gray. 49 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 com- bination, 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 emer}? 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 in- tended 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. 8o, Avhich is one of the dark tones of orange, and then in gold ink. By refer- 50 Plate 54 337 Sample page of Embossing Borders and Corner Pieces. The borders are made in two, three and four-em pica widths, and four, eight and twelve-em pica lengths. ring to Plate 10, the reader will see that Fig. So is a rather dark color, in which black predominates ; but when printed on the deep green paper, the orange predominates. Fig. 324 was first printed in a purplish red, then in a deep blue, and then in gold ink. Fig. 326 was first printed in No. So, then in a deep blue, and then in gold ink. These splendid effects can be used to great advantage on fancy covers for catalogues, and other work of a similar character. Plate 51. — The figures 011 this plate are printed the same as Plate 50, except that a deep green was used in place of the purplish red. Fig. 327 was first printed in color No. 45, which is a deep green; then in No. So, and then in gold ink. Fig. 329 was first printed in a deep green, then in deep blue, and then in gold ink. Fig. 331 was first printed in No. So, then in deep blue, and then in gold ink. Plate 52.— This plate shows some excellent results, obtained by printing gold ink and colors on black enameled paper. We have used some odd figures on this plate, merely suggestive of some of the uses which can be made of this paper. Fig. 332 was first printed in a deep green, and then in gold ink. Fig. 333 was first printed in deep blue, and then in gold ink. Fig. 334 was first printed in a deep green, then in vermilion, then in white, and then in gold ink. Fig. 335 was first printed in deep blue, then in a deep green, then in vermilion, then in white, and then in gold ink. To obtain the best result in printing red and white on black paper, the inks must be opaque, so that they will cover the black as completely as possible. The same rule will apply to yellow or any other luminous color. Plate 53. — Fig. 336 on this plate was first printed in a green tint, then in a yellow-green tint, and then in one of the dark tones of orange. This specimen is an example of the harmony of relative colors. Plates 54 and 55. — These plates show nine different patterns of embossing borders, made in two, three, and four-em pica widths, and 51 four, eight, and twelve-em pica lengths. The corner pieces are made in two, three, and four-em pica squares. The manner of embossing with these borders is fully explained in another part of this work. Plate 56. — This plate represents a business card printed in gold and three colors, lying across a page framed with an embossed border. The first color printed was a gray tint as a solid ground for the page above and below the card; then the orange tint was printed solid in the card, and as a figured pattern on the inside of the page over the gray tint; then the gold was printed in solid bands on the card; then figured borders were printed in green over the gold bands ; then all of the type matter and the outlines of the card were printed in color No. 81, which is one of the dark tones of orange. Finally, the embossing border was printed in a pearl tint, and embossed at the same time. The card is an excellent example of the harmony of relative colors — all of the colors, including gold, being closely related to yellow. Plate 57. — This plate represents a handsome cover page, printed first in gray, then in gold, then in a figured sea-green tint over the gray, then in deep blue, and then in one of the dark tones of red ; the gold bands were then embossed. Plate 58. — Fig. 341 on this plate was first printed in a light green, and then in copper bronze. It was then embossed with a box-wood plate, containing nine different patterns made with soft steel punches. The outlines of the plate were cut with a round graver. Plate 59. — This plate was first printed in a flesh tint and then in one of the dark tones of orange. The sheet was then em- bossed with a plate made with four of the punches used on Plate 58. Plate 60. — This plate shows an imitation of both sides of leather paper, embossed. Fig. 343, representing the right side, was printed in a deep photo -brown, and was then embossed with an electrotype, taken from a sheet of embossed tin used by trunk - makers ; the type matter was then printed over it in green bronze. 52 Plate 55 338 Sample page of Embossing Borders and Corner Pieces. The borders are made in two, three and four-em pica widths, and four, eight and twelve-em pica lengths. Fig. 344, representing the wrong side, was printed in a manilla color and embossed from an electrotype taken from the other side of the tin mentioned above. Plate 61. — The figure upon this plate was first printed in orange and two of its dark tones blended together; then the type matter and borders at the sides were printed in its darkest tone. This combination belongs to the harmony of scale. Plate 62. — This is a most interesting plate, showing a great variety of handsome colors produced by printing the colors red, blue, 3 T ellow, gray, and black, in lines and solids over gold bronze printed in lines and solids. The reader will probably find on this plate many effects in printing which he has not seen before. We will not explain each one separately, as the matter printed below each figure makes this unnecessary" we will, however, show the cuts which were used to produce the figures printed in four colors. For example, the fourth figure to the right of black, showing black on bine on red on gold, was printed with the cuts below, in the order named : red. blue. black. The cuts were specially engraved to show the colors in solids, half-tone lines, and tint lines. The different colors were produced 53 by printing solids over solids, half-tone lines over half-tone lines, and tint lines over tint lines. Each of the nine colors on the right side of the plate were produced by printing half-tone lines in two colors over one another on solid gold. The five pairs of colors at the bottom of the plate were produced by printing colors in half- tone lines over gold solids, and in solids over half-tone gold lines. A score or more of fine metallic colors are produced by printing one or more colors over solid gold. Some of the colors on this plate look very much like fine cloth goods with golden threads inter- woven. The reason for this is because the lines in no two of the cuts run in the same direction. In the first cut they are perpendic- ular; in the second, horizontal; in the third they run diagonally from the right, down to the left; and in the fourth they run diag- onally from the left, down to the right, so that when the four cuts are printed over one another, each color is plainly visible ; especially so if the reader will examine any one of the figures on Plate 62 with a small magnifying glass. We believe that a greater number of fine effects in color printing has never been produced by six impressions. Plate 63. — The card on this plate is a good illustration of the use of the effects shown on Plate 62. The same colors were used, printed in the order named. In this card we aimed to pro- duce, with a few impressions, a great variety of colors arranged in harmonious groups; some of the most effective are the dull metal colors, produced by printing colors over gold bronze. For example the reader will refer to the numbers 3, 6, 12, 9, 17, 29, and 35 in the key-form on Plate 64. 3 represents a reddish copper produced by printing red over gold. 6 represents a steel blue produced by print- ing blue over gold. This card is a fine example of the harmony of distant colors. Plate 64. — This plate represents the key- form of the card on the preceding plate. It was set up altogether in type and brass 54 rule. We used the pansy in this card, because it is a flower that frequently contains both the primary and secondary colors, if the leaves are included. The location of the different colors pro- duced by printing the colors named in lines and solids over one another, is indicated by numbers ranging from i to 37, inclusive. Plate 65. — This plate was first printed in a blue -gray, then in a yellow gold, and then in one of the dark tones of red — making an effective combination. Plate 66. — This plate represents a program card, and the first page of a menu card, lying on a sheet of stippled paper. It was first printed in an olive tint, then in gold, then a light red, and finally in one of the dark tones of orange; then the words "menu" and "program" were embossed. The ornamental bands at the top and bottom of the menu page are excellent specimens of color com- bination. Plate 67. — Fig. 351 on this plate is a fine specimen of card work, printed in gold and four colors. The first impression was pale gold; then a sea-green tint was printed; then a flesh tint; then a gray tint, aud finally one of the dark tones of red. Plate 68. — The figures on this plate are intended to show the effects produced upon different colors, by placing them in con- trast with the different tones of other colors. Fig. 352 shows red surrounded by the different tones of black; the result is that the letter C which is surrounded by solid black appears much lighter than the letter R which is surrounded by a half-tone black; and the letter C appears very much lighter than the letter T which is surrounded by white. The same will apply to Fig. 353 which shows yellow in contrast with black, Fig. 354 which shows gray in contrast with blue, and Fig. 356 which shows gray in contrast with black. In Figs. 354, 355, and 356 the gray was printed in one impression. We call the special attention of the reader to the letter C in each of these figures ; note the apparent difference be- 55 tween these letters. Surrounded by blue, the C appears to be a yellow- gray; surrounded by red it appears to be a green -gray; surrounded by black it is a pure t gray, but appears much lighter than it is in fact. The apparent change which takes place in a color, when it is surrounded by another color, is due to the fact that any color occupying a small area of surface will be strongly tinted ivith the complement of the color which surrounds it. Plates 69 to 7g, inclusive. — These plates represent a series of impressions showing a landscape printed in ten colors. Bach block is shown separate and also as registered into its proper place as the work progresses toward completion. The picture represents a scene in the Pyrenees Mountains, in Southern France, and was reproduced from an old picture printed in the early part of this century. Fig. 376, on Plate 79, is the completed picture; the last impression was the border, or mat, which was printed in a green - gray, and then the whole picture was embossed, or roughed, with an electrotype taken from a sheet of emery paper. Plate 80. — The borders at top and bottom of this plate were printed in rose -lake and three of its light tones — making a fine example of the harmony of scale — by gradation of tone; then the back-ground of the page was printed in an olive tint from an engraved plate; then the type form was printed in olive — the whole producing a most pleasing and harmonious page. Plate 81. — Fig. 378 on this plate shows an impression from an electrotype taken from emery paper. Fig. 379 shows an impression in a deep blue - black from a plate engraved with bunches of needles fastened together. Plate 82. — Fig. 380 shows an impression in a deep photo - brown from a piece of walnut wood, side grain. Fig. 381 shows an impression in the same color, from a piece of ash wood, side grain. Plate 83. — Fig. 382 shows an impression from a piece of quartered oak wood. Fig. 383 shows an impression from a piece 56 Plate 56 MANUFACTURERS OP AND DEALERS IN BOOK, NEWS and JOB TYPE Printing Presses, Cases and Galleys, Inks and Printing Material - of Every Description - Allison & Smith PROPRIETORS <<£• Franklin ^ ULype ^ Foundry -3? 168 VINE ST CINCINNATI, OHIO • ELECTROTYPING • OF ALL KINDS : Books. Music, Patent Medicine Directions. Jobs, wood Engravings, etc. 339 158, 152, Gold, 5, 81 and 160 The border around the page was printed with Color No. 160 and embossed at the same time. 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 btiff 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. 3S8 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. 38S; 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 com- posed 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 b}' printing the 57 same colors on green; and Fig. 398 shows the different effects pro- duced by printing the same colors on blue. Fig. 399 shows the changes which apparently take place in red, when it is surrounded by different colors; when surrounded by blue it appears tinged with orange ; when surrounded by gray it appears at its true value ; when surrounded by black it appears a little lighter than it is, and when surrounded by white it appears a little deeper than it is in fact; when surrounded by green it appears more brilliant than in either of the cases just mentioned. It appears most brilliant when sur- rounded by sea-green, its complement. Fig. 400 shows the changes which apparently take place in black, when it is surrounded by different colors; when surrounded by blue it appears slightly tinged with orange ; when surrounded by gray it is seen at its real strength ; when surrounded by red it appears slightly tinged with sea-green ; when surrounded by white it appears darker than it is in fact ; when surrounded by green it appears to be tinged with red-purple, the complement of green. The eyes must be held about twenty inches above the page while testing the explanations just given, to obtain the best result. Plate 88. — This plate shows a combination of black and deep vermilion. By reading the matter on this plate it will be seen that no further explanation is necessary. Plate 89. — -The borders at top and bottom of this plate were printed in yellow, green and blue blended into one another — a good example of the harmony of relative colors — by gradation. The type form was printed in color No. 34, which is one of the darkest tones of red. Plate 90. — This plate shows a specimen of map work printed in black and three tints. The tints were made by mixing the colors with magnesia, and were printed over the black. Magnesia makes a transparent tint which is specially suitable for work of this character. The black was printed first; then the blue 53 Plate 57 5HSE5H5HSHSE5H5HSHSE5HSHSHSaSESE5H5H5HS5SHSHS25ESHSE5H5E5HraSE5H earharts Embossing Borders X MADE IN TWO. THREE AND FOUR-EM PICA WIDTHS, AND FOUR, EIGHT AND TWELVE-EM PICA LENGTHS, AND ON SOLID METAL BODY X X X X X ♦• JUST THE THINC FOR FANCY PRINTING •♦ ■ml SPECIMENS till! X X F ° R |lll| AND PRICES |lll| Ado " e SS EARHART Sc RICHARDSON CINCINNATI, OHIO 4 ! | : iiii ~ 340 II, Gold, 171, 7, 36, and borders embossed tint; then the pink tint, producing a purple tint where it laps the blue ; then the yellow tint, producing a green tint where it laps the blue, and a salmon tint where it laps the pink. These tints were made a little stronger than is necessary for map work, for the pur- pose of showing how plainly the black can be seen through them. 59 Two-Color Combinations. JHK following list of two-color combinations taken from the colors shown on Plates i to 21, inclusive, are in the writer's judgement, either good, very good, or excellent. We first give a list of combi- nations including red ; this is followed by a list including yellow; then a list including blue; then a number of lists including, orange, green, purple, deep blue, rose-lake, lemon- yellow, vermilion, gray, and black, in the order named. Then these are followed by lists including colors 17, 34, 36, 41, 44, 45, 52, 59, 60, 67, 73, 75, 80, 81, 83, 94, no, 115, 118, 119, 123, 135, 138, 139, 142, 144, and 148, in the order given. The principal color in each list of combinations is given at the head of same. Red. lgS. I and 2 — good. Figs. I anc 24 — good. 11 I tt 3'— very good. ti I u 32 — very good 11 tt _ 11 u 11 u -, -, << " 1 5 — 1 33 — 11 I u - tt tt u I u 34 — good. 11 I u 9 — good. u I ii 37- " It I it 11 — very good. ii I u 38- " 11 I u 12 — excellent. 1! I u 40— " It I ti 21 — good. 11 I 11 41- " 60 Plate 58 341 85 and Copper Bronze Samples of nine different patterns of Embossing, from one plate made with punches. igs. i ai " i ' " i ' ld 45 - ' 46- ' 47- - very good -good. " i ' " i ' ' 49- ' 50- u <( i ' " i ' ' 5 1 - ' 52- - very good - excellent. " i ' U j. 1 ' 53- ' 54- ' 57- -good. u - excellent. " I ' " I ' ' 58- ' 60- -very good " I ' (1 x ( I ' " I ' I ' ' 63- ' 67- ' 6S- ' 70- ' 7i- -good. a I ' " I ' I ' " I ' I ' ' 74- ' 75- ' 77- ' 79- ' 80- - very good -good. - very good u a " I ' ' 83- - excellent. " I ' " I ' ' 85- ' 86- -good. " I ' ' 87- u I ' 90- u I ' ' 9i- u " I ' ' 92- li Figs. 1 and 101 — very good. u I u I02 — (1 u u I u IO3- -good. a I (( IO4 — u a I u 10S- -very good u I a 109 — -good. ii I u no — -very good u I li III — u a (( I u 117- - good. a I u 118- -very good (i I (l 119- - excellent. u I (( 128- -good. u I a 129 — u a I a 132- a a I a 142 — -very good (( I u 144- u 11 a I a 148- - excellent. a I li 149- - very good u I 11 151- a a a I u 153- a u a I (1 155- - excellent. u I a 158- - very good a I (i 160 — - good. a I (1 161- a u I (( 164 — - very good a I K 170 — 11 u a I a 171- - excellent. a I a 172 — -very good a I a 176 — a a Figs. 2 and 1 — good. 2 " 3 — very good. " 2 " 6 — excellent. Yellow. Figs. 2 and 7 — very good. " 2 " 8 — good. " 2 " n — -excellent. 61 Figs 2 and 12 — very good. Figs. 2 and 81 — -very good u 2 ' i J5 _ it it tt 2 ' ' 82 — good. it 2 ' ' 1 6 — good. ti 2 ' ' 83- " t< 2 ' < 17- << it 2 ' ' 84 — very good a 2 ' ' 24- " tt 2 ' ' 93- " " it 2 ' ' 26— " it 2 ' ' 94- " " it 2 ' ' 27- " 11 2 ' ' 95— g° od - u 2 ' ' 28— " ti 2 ' ' 96 — very good ti 2 ' ' 3i- " it 2 ' ' 97— g° 0( i- it 2 ' ' 32 — -very good. 11 2 ' ' 98 — ■ very good ti 2 ' ' 33— g° od - it 2 ' ' 99— g° od - u 2 ' ' 34- " ti 2 ' ' 1 00 — excellent. u 2 ' ' 35 — very good. ti 2 ' ' 108 — very good it 2 ' ' 36- " " a 2 ' ' 109 — -good. u 2 ' < 3? _ it u it 2 ' 1 no— " it 2 ' ' 42 — good. ti 2 ' ' III— " it 2 ' ' 43- " u 2 ' ' 112 — very good u 2 ' ' 49 — very good. 1 1 2 ' < 113- << " it 2 ' ' 5° — good. ti 2 ' ' 114 — good. it 2 ' ' 5i- " u 2 ' ' 115- " it 2 ' ' 52 — very good. 11 2 ' ' 116 — very good it 2 ' 53 — g° od - ti 2 ' ' 119— " tt 2 ' ' 57— very good. 11 2 ' ' 125— good. it 2 ' ' 59 — excellent. it 2 ' ' 126 — very good a 2 ' ' 60 — very good. tt 2 ' ' 127 — good. ti 2 ' < 61— " it 2 ' ' 130- " tt 2 ' ' 62 — good. it 2 ' ' 131- " a 2 ' ' 63- " ii 2 ' ' 132- " it 2 ' ' 64- « it 2 ' ' 135 — excellent. ti 2 ' ' 67 — ■ excellent. ti 2 ' ' 138- " ti 2 ' ' 68 — -very good. it 2 ' ' 139 — very good u 2 ' ' 69 — good. ti 2 ' ' 143 — excellent. it 2 ' ' 70— " ii 2 ' ' 147 — very good it 2 ' ' 77 — very good. it 2 ' ' 148— " it 2 ' 79 _ g ood. 11 2 ' < 151- " " tt 2 ' ' 80 — very good. it 2 ' ' 154- " " 62 Figs. 2 and 155 — excellent. 2 " 15S— " 2 " 160 — good. 2 " 166 — excellent. Figs. 2 and 171 " 2 " 174- 2 T 75 " 2 " 176 excellent, very good. Blue. lgS • 3 and 1 - -very good. 11 3 u 2 - _ " " 11 3 u 4- - excellent. 11 3 u 8- - good. 11 3 ii 9- -very good. 11 3 u 10- - excellent. 11 3 u 11 - -very good. 11 3 a 12- -good. 11 3 u 13- - very good. 11 3 u 14- -good. 11 3 u 17- u 11 3 u iS- u 11 3 it 19- -very good. 11 "5 u 20- U 11 11 3 a 27- - good. 11 3 u 2S- -very good. 11 3 u 29- — good. it 3 it 3°- -very good. 11 3 11 3i- — good. 11 3 u 32- 11 11 3 11 34- u it 3 11 35- -very good. 11 3 u 36- 11 u 11 3 11 39- — excellent. 11 3 u 41- — very good. 11 3 u 44- u 11 11 3 u 48- u 11 Figs. 3 and 52- — good. 11 u 55- 11 u 3 11 56- — very good 11 3 11 66- — good. u 3 11 7 1 " 11 u 3 11 72- 11 it 3 11 73- — very good u 3 11 76- — good. a 3 ii 77- — very good u 3 11 78- — excellent. u 3 11 79" — good. 11 3 11 80- — very good u 3 11 81- — excellent. u 3 u S 9 - — good. 11 3 11 107- 11 u 3 ii 113- a u 3 11 "5- ii ii 3 u 116- — very good u 3 11 119- 11 11 u 3 u 120- — good. u 3 u 121 - 11 u 3 11 122- u 11 3 ii 123- 11 11 3 u 124- 11 11 3 u 127- 11 u 3 11 I3 1 - 11 11 3 11 133- — very good 63 Figs. 3 and 134 — very good. 3 ' ' 135- " " a 3 ' ' !55 — very good 3 ' ' 136 — excellent. a 3 ' < 156- " " 3 ' ' 140 — very good. a 3 ' ' 157 — excellent. 3 ' ' 145- " " a 3 ' ' 159 — very good 3 ' ' 146 — good. a 3 ' ' 162— " 3 ' ' 149 — very good. 11 3 ' ' 163 — excellent. 3 ' < 150- " " a 3 ' ' 168 — good. " 3 ' ' 151- " " a 3 ' ' 169 — very good Figs. 3 and 152 — excellent. Orange. igs 4 and 3 — excellent. Figs 4 and 99 — very good u 4 ' ' 6 — very good. (< 4 ' ' 100 — good. (1 4 ' < j << « u 4 ' ' 108 — very good u 4 ' ' 11— " u 4 ' ' 109 — good. it 4 ' ' 12— " 11 4 ' ' no — very good. u 4 ' ' 15— good. a 4 ' ' in— " u 4 ' ' 24- " 11 4 ' ' 125 — excellent. u 4 ' ' 37 — -very good. a 4 ' ' 126 — very good a 4 ' 59 — good. a 4 ' ' 127 — good. a 4 ' ' 60 — very good. a 4 ' ' 130- " a 4 ' ' 61 — good. a 4 ' ' 132- " u 4 ' ' 64— " a 4 ' ' 135— ver Y good u 4 ' ' 67 — very good. a 4 ' ' 138 — good. u 4 ' ' 68 — good. 11 4 ' ' 139 — very good a 4 ' < 70- « a 4 ' ' 143 — good- a 4 ' ' 77- " u 4 ' ' 148 — very good u 4 ' ' 79 — very good. u 4 ' ' 151 — excellent. u 4 ' ' 80 — -good. ii 4 ' ' 152 — very good. a 4 ' ' 81— " u 4 ' ' 155 — excellent. a 4 ' ' 83- " . u 4 ' ' 160 — good. << 4 ' ' 93 — very good. !( 4 ' ' 171 — very good a 4 ' ' 97 — g° od - (1 4 ' < 174- " " a 4 ' ' 98— " (1 4 ' 1 176— " 64 Plate 59 342 SO and 163 Specimen page, showing the use of Embossing Punches. The plate was made with four different punches. Green. 'igs . 5 and i — very good. Fi gs. 5 and 95 — excellent. « 5 ' 6 — excellent. ' 5 ' ' 96 — very good a 5 ' ' 8 — very good. ' 5 ' ' 97 — g° od - a 5 ' ' IO— " ' 5 ' ' 98 — very good a 5 ' ' ii — good. ' 5 ' ' 100— " u 5 ' ' 12— " ' 5 ' ' 112 — good. (( 5 ' 1 6 — very good. ' 5 ' ' 113- " a 5 ' ' 17 — excellent. ' 5 ' 1 114— " a 5 ' ' 18 — very good. ' 5 ' ' 115 — very good (( 5 ' ' I 9 — good. ' 5 ' ' 116 — excellent. u 5 ' ' 26— " ' 5 ' ' 123 — very good ii 5 ' ' 27 — very good. ' 5 ' ' 124 — good. l( 5 ' ' 28— " ' 5 ' ' 127— " u 5 ' ' 30 — good. ' 5 ' ' 131- " C( 5 ' ' 31 — very good. 5 ' ' 133- " u 5 ' ' 32 — good. ' 5 ' ' 138 — very good u 5 ' ' 33- " ' 5 ' ' 140 — -good. C< 5 ' ' 34 — very good. ' 5 ' ' 141— " a 5 ' ' 35- " " 5 ' ' 143- " (( 5 ' ' 36- " " ' 5 ' ' 147 — very good a 5 ' ' 42 — good. ' 5 ' ' 149- " " (i 5 ' ' 59 — very good. ' ' 5 ' ' 153- " " ft 5 ' ' 61— " ' 5 ' ' 154 — excellent. a 5 ' ' 62 — excellent. ' ' 5 ' ' 156 — very good t( 5 ' ' 73 — very good. ' 5 ' ' 157- " " a 5 ' ' 76 — good. ' ' 5 ' ' 163- " " u 5 ' So — very good. ' 5 ' 1 166- " (( 5 ' < Si— " < ' 5 ' ' 168 — good. (( 5 ' ' 94 — excellent. ' ' 5 ' ' 174- " Figs. 6 and 2 — excellent. 6 " 4 — very good. Purple. Figs. 6 and 5 — excellent. " 6 " 9 — very good. 65 Figs. 6 and 1 1 — good. 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 14 21 3§ 39 40 4i 45 46 47 49 50 5i 52 54 53 7 1 74 75 85 86 87 90 9i — very good. — good. u — very good. — good. — excellent. — good. it — very good. <( u u a — good. — very good. — good. — -very good. a i( — good. u __ u u Figs. 6 and 92 — good. 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 101 - 102- 103- 104- 117- 11S- 119- 128- 129- 134- 136- 137- 142- 144- 150- 153- 154- 159- 161- 162 • 164- 170- 172- -very good. ■ good. ■very good. good, ■very good. excellent. - very good. good. ■ very good. Deep Blue. Figs. 7 and 1 — very good. 7 ' ' 2— " 7 ' ' 4— " " 7 ' ' 8 — good. 7 ' 1 9- " 7 ' ' 10 — very good. 7 ' ' 11 — good. " 7 ' ' 13 — -very good. " 7 ' ' 14 — good. Figs. 7 and 17 — -good. 7 7 7 7 7 7 7 7 18 — very good. 19— " 20— " 23 — g° 0(i - 27- " 28 — very good. 29— " 30- " " 66 Figs. 7 and 31 — very good. 7 " 32 — good. 7 35 — 7 " 36 — very good. 7 " 39- " " 7 " 44 — g° od - 7 " 48 — -very good. 7 " 52— good. 7 o5 — 7 " 56 — very good. 7 " 66 — good. 7 " 72- " 7 " 73 — very good. 7 " 76- " " 7 " 78 — good. 7 " Si — very good. 7 " 89 — good. 7 " 107— " 7 " 120 — " 7 " 124- " 7 " 133 — ver Y good- Figs. 7 and 134 — very good. 7 " 135- " " 7 " 136 — excellent. 7 " x 39 — very good. 7 « I4 o— " 7 " 141 — good. 7 " 145 — excellent. 7 " 146 — good. 7 " 149 — very good. 7 " 150 — good. 7 " 151 — very good. 7 " 152- " " 7 " 155- " " 7 " 157 — excellent. 7 " 159 — good. 7 " 162— " 7 " 163 — very good. 7 " 165 — good. 7 " 16S— " 7 " 169- » 7 " 176- " Rose-lake. Figs. S and 2 — good. S 8 8 8 8 8 8 8 8 S 5 — ver y good. 7 — good. 9 — 11 — 21 — 24 — 38- 40 — 41 — Figs. S and 45 — very good. 46 — good. 47- " 49- " 50- " 51 — very good. 52— good. 54- " 5S — very good. 63 — good. 8 8 8 S 8 8 8 8 8 67 igs. 8 and 74 — very good. Figs. 8 and 119 — very good. " 8 ' ' 75- " " " 8 ' ' 129 — good. " 8 ' ' 85 — good. " 8 ' I44 — " 8 ' ' 86— " " 8 ' ' 148— " " 8 ' < 87- « " 8 ' ' 151 — very good. " 8 ' ' 90— " " 8 ' ' 153- " " " 8 ' ' 9 1 — " « 8 < ' 155- " " " 8 ' ' 92— " " 8 ' ' 161 — good. 8 ' ' 102 — very good. " 8 ' ' 164 — very good " 8 ' ' 103 — good. " 8 ' < 170— " " 8 < ' 117— " " 8 ' ' 171 — excellent. " 8 ' ' 1 1 8 — very good. " 8 ' ' 176 — - very good Lemon -yellow. igs. 9 and 1 — good. Figs. 9 and 36 — very good. 9 ' ' 3 — very good. 9 ' ' 37- " " 9 ' < 6— " " 9 ' ' 42 — good. 9 ' ' 7 — good. ' 9 ' ' 49 — very good. " 9 ' ' 8— " 9 ' ' 5° — g° od - " 9 ' ' 11 — very good. 9 ' ' 5i- " 9 ' ' 12 — good. 9 ' ' 52 — very good. 9 ' ' 15- " 9 ' ' 53 — g ood - 9 ' ' 16 — very good. 1 9 ' ' 57— ver Y g 00 B 1° 1 - ID iC DL Z Id u bJ Q_ if) ai in tn U >' . -O . >, >. >, >. = ' CB « rt a rt ca ° i- i- t- u u i- t- o o c o a o o I I I I I I I CO u < J a. [i< o 2 o > a ■j. I oo CO & & & -s° &TJ ooooooonor cu i; k cu tu tu tu u j* S~ '*f S~ ?* ** r* y* I. I. I. I. I. I. I. I. as a o oj ,- mic — " Santiago, ADDRESS - GOETME-S ADDRESS — THE UNIVE flCusic — Sclcctio :-:-:-:-:-:-:::>7K:£•>*•» Book Binding Department. Artistic Book Binding in all its branches - - =■ Special Attention Given to Fine Library Binding Edition Work of all kinds a Special Feature - = .»■• .»■'■.* EMBOSSING - - j CASE MAKING I EDGE GILDING C MARBLING = - J FOR THE TRADE. : Correspondence Solicited W 377 Rose Lake and three of its light tones, Olive and its tint. Figs. 119 aud 84 — good. 119 " 93 — excellent. 119 " 94 — very good. XI 9 " 95— g° od - ft 119 11 99- 11 u 119 11 100- ti u 119 11 107- it CI 119 11 iii - ti u 119 1 1 112 - it 11 119 11 116- - very good 11 119 It 120- -good. 11 119 11 124- it 11 119 11 !25- - very good 11 119 11 126- it ti It 119 It 133- -good. Figs. 119 and 135 — very good. 119 ' ' 13s- ft If 119 ' ' 139- 11 If 119 ' ' 140- — good. 119 ' ' 142- tf 119 ' ' 143- — very good 119 ' 147- tt tt 119 ' ' 148- — excellent. 119 ' ' 149- — very good 119 ' ' 154- — excellent. 119 ' ' 156- — very good 119 ' ' 157- — excellent. 119 ' 1 163- — very good 119 ' ' I6S- — good. 119 ' ' 173- tt Color No. 123. l igs. 123 anc 1 — good. tt 123 tt 2 — very good tt 123 tt 3 — good. tt 123 ti 4- " tt 123 tt 5— very good tt 123 tt 7 — good. tt 123 ti 9" " tt 123 it 10— " it 123 11 11— " tt 123 u i5- "■ tt 123 ti 21— " tt 123 tt 30- " tt 123 it 37 — excellent. it 123 u 38 — good. u !23 it 39- " it 123 tt 40- « it 123 it 41- " Figs. 123 and 45 — good. 123 ' ' 46- — very good 123 ' ' 47- — good. 123 ' ' 49" it 123 ' ' 52- — very good 123 ' ' 53- — good. 123 ' ' 57- — excellent. 123 ' ' 58- — very good 123 ' ' 60- it ti 123 ' ' 63- it tt 123 ' ' 64- — good. 123 ' ' 67- — very good 123 ' ' 6S- — good. 123 ' ' 7 1 " —very good 123 ' ' 74- -good. 123 ' ' 75- it " 123 ' ' 83- — very good 39 Figs. 123 and 85 — -very good. 93— g ood - 99- " 101— " 102 — very good. 103 — -good. 104— " 108— " in— " 117— " 119— " 125 — very good. 126 — good. 135 — very good. " 123 " " 123 " 123 " 123 " " 123 " 123 " 123 " 123 " 123 " 123 " 123 " 123 " " 123 " Figs. 123 an< 123 " 123 " 123 " 123 " 123 " 123 " 123 " 123 " 123 " 123 " 123 " 123 " 123 " 139 — excellent. 142 — very good. 144 — good. 148 — excellent. 151 — very good. 153- " " 155 — excellent. 160 — good. 161 — very good. 170— " 171 — -excellent. 172 — -very good. 176— " Color No. 135. Figs. 135 and 1 — good. 135 " " 135 " J 35 " i35 " *35 " *35 " i35 " *35 " i35 " i35 " i35 " 135 " J 35 " J 35 " 135 " 135 " " 135 " 2 — excellent. 4 — very good. 9 — excellent. 10 — good. 11 — very good. 12— " 13 — good. 14 — very good. 16— " 17 — excellent. 18 — very good. 19 — good. 20— " 23- " 27 — very good. 28 — good. 29- " << << a a u Figs. 135 " 135 " 135 135 135 135 135 135 *35 135 135 135 135 135 135 135 135 135 • very good. • good. << - excellent. and 30- 31- 35- 36- 39- 41 — very good. 42- 43" 44- 48- 52- 55" 56- 66- ■good. 7 1 72- 73- 76. excellent, very good. ■ good, •very good. n i< ■ good. • excellent, good. 90 Figs. 135 and 7S — very good. Fi gs. 135 and 136 — very good 11 135 ' ' 80 — excellent. 135 ' ' 140- — good. u 135 ' Si — 135 ' T 45 — u J 35 ' ' 89 — very good. 135 ' ' 146 — " u 135 ' ' 95 — g° od - J 35 ' ' M9 — u J 35 ' ' 107— " J 35 ' ' J 52 — a 135 ' ' 112— " 135 ' ' 156- u i35 ' ' 116 — very good. 135 ' ' +57— " u J 35 ' ' 120 — good. J 35 ' ' 159 — very good a J 35 ' ' 123 — very good. 135 ' ' 162 — good. u x 35 ' ' 124 — excellent. 135 ' ' 163 — very good (I 135 ' ' 133— good- 135 ' ' 169 — good. Color No. 138. Figs. 138 ai id 2 — excellent. Fi gs. 138 and 74 — good. 11 138 ' ' 5 — very good. ' ' 138 ' ' 75 — excellent. 11 138 ' ' 9 — excellent. ' 13S ' ' 80 — very good (1 138 ' ' 11 — good. ' 13S ' ' Si — good. u 13S ' < 14- » ' 138 ' ' 83- " u 138 ' ' 21 — very good. ' 138 ' ' 85 ■ — excellent. 11 138 ' ' 38 — good. ' 138 ' ' S6 — very good 11 13S ' ' 39- " ' 138 ' ' S7 — ■ good. li 138 ' ' 40 — excellent. ' 138 ' < 90- " u 13S ' ' 41- ' 138 ' ' 92- " (( 138 ' ' 45- " ' 13S ' 1 101— " u 138 ' < 46- " ' 138 ' ' 102 — very good a 138 ' ' 47 — very good. ' 138 ' ' 103- " " u 138 ' 49 _ g ood. ' 138 ' ' 104— " u 138 < ' 51 — ■ very good. ' ' 138 ' ' 117 — good. a 138 < ' 52- " " ' 13S ' ' 118 — very good a 138 ' ' 54 — good- ' 138 ' ' 119— " a 13S ' ' 56- " ' 138 ' ' 129 — good. u 138 ' ' 58- " ' 138 ' ' 134- " u 138 ' ' 71 — very good. ' 138 ' ' 136- " 91 Figs. 138 and 137 — very good. 138 " 142— " I38 144— 138 " 150 — good. I 38 " 153 — very good. it u u Figs. 138 and 159 — good. 138 " 162— " " 138 " 164 — very good. 138 " 170— " « I3 8 " 172— " Color No. 139. igs. 139 and 1 — good. Figs. 139 and 55 — good. 139 ' ' 2 — very good. u 139 " 56 — very good. 139 ' ' 4— " <( 139 " 66— " 139 ' ' 9— " a 139 " 71 — good. 139 ' ' 10 — good. a 139 " 72 — very good. 139 ' ' 11— " a 139 " 73 — excellent. " 139 ' ' 12— " u 139 " 76 — good. 139 ' ' 13 — very good. it 139 " 77- " 139 ' ' 14 — excellent. (( 139 " 78 — very good J 39 ' < 17- « a 139 " 80 — excellent. " 139 ' ' 18 — very good. u 139 " 81 — 139 ' ' 19— " a 139 " 88 — good. 139 ' ' 20 — excellent. a 139 " 89 — very good 139 ' ' 23 — good. u 139 " 106 — good. x 39 ' ' 27 — very good. u 139 " 107 — very good 139 ' ' 28— " a 139 " 120 — good. 139 ' ' 2 9 — good. (< 139 " 121— " 139 ' ' 30 — excellent. a 139 " 123 — excellent. 139 ' ' 3 1 —g°od. a 139 " 124 — very good 139 ' ' 35- " a 139 " 133- " " 139 ' ' 36 — very good. a 139 " J 34 — good. J 39 ' ' 39 — excellent. (i 139 " 136 — very good 139 ' < 41- « a 139 " 140 — good. 139 ' ' 42 — good. u 139 " 141— " 1 39 ' ' 43- " u 139 " 145 — very good 139 ' ' 44 — excellent. u 139 " 146 — good. 139 ' ' 48 — very good. a 139 " 149- " 92 378 Printed with color 109, from an electrotype taken from emery paper. Plate 81 379 Printed with color 109, from a wood block. The pattern was made with needles fastened together in bunches. Plate 82 3S0 Printed with color 114, from a piece of walnut wood, side grain. 381 Printed with color 114, from a piece of ash wood, side grain. Plate 83 382 Printed with color 79, from a piece of quartered oak wood. 383 Printed with color 79, from a piece of shell-bark hickory wood, end grain. Plate 84 • •<" •• ••• •v.-.- . i • •..:••••:•.-•.■ 384 385 WBBBBBM fIBlSISii 386 387 Printed with color 124, from stereotype plates taken from different patterns of book-cloth. Figs. 139 and 152 — very good. x 39 " 157— good. " *39 " 159- " Figs. 139 and 162 — good. I 39 " I0 3 — very good. " 139 " 169 — good. Color No. 142. igs. 142 and 1 — very good. Fi gs. 142 and 55 — good. 142 ' ' 2 — good. 142 << 56 — -very good " 142 ' < 4- " 142 u 59 — good. " 142 ' ' 6 — very good. 142 (I 61— " " 142 ' ( g_ « U < 142 i( 62 — very good 142 ' 1 10— " ' 142 u 66 — " 142 ' ' 13- " _ " 142 u 71— " " 142 ' ' 14 — good. ' 142 (( 72 — good. " 142 ' ' 16 — " ' 142 u 73 — excellent. " 142 ' 17 — very good. 142 u 76 — very good 142 ' 1 18 — " ' 142 (( 78 — good. " 142 ' ' 19— " " ' 142 a 80 — excellent. 142 ' ' 20— " 142 (i 81 — " 142 ' ' 23 — good. 142 u 84 — good. " 142 ' ' 26— " 142 (( SS— " " 142 ' ' 27 — very good. ' 142 (( 89 — very good " 142 ' ' 28 — good. ' 142 (( 94- " " 142 ' ' 29 — very good. 142 u 95" " " " 142 ' ' 30 — excellent. 142 11 100 — good. 142 ' ' 31— good. ' 142 a 107 — excellent. " 142 ' ' 32— good. ' 142 n 112 — good. " 142 ' ' 35- " 142 u 115 — excellent. " 142 ' ' 36 — very good. ' 142 11 116 — very good 142 ' ' 39 — g° od - 142 u 120 — good. " 142 ' < 42- " 142 u 123 — very good " 142 ' ' 43- " 142 u 124 — excellent. " 142 ' ' 44 — excellent. ' 142 u 1 3 3 — good- " 142 ' ' 4S — good. 142 a 136- " " 142 ' ' 52 — very good. 142 u 138 — very good 93 Figs. 142 and 140 — very good. Figs. 142 and 154 — good. it 142 ' ' 141 — good. ' 142 ' ' 156- " l( 142 ' ' 145 — very good. ' 142 ' ' 157- " 11 142 ' ' 146 — good. ' 142 ' ' 163 — very good a 142 ' ' 147 — very good. ' 142 ' ' 166 — good. u 142 ' ' 149 — -good. ' 142 ' ' 168— " Color No. 144. Figs. 144 and 1 — very good. F) igs. 144 and 61 — good. u 144 ' ' 6 — good. ' 144 ' ' 62 — very good a 144 ' < 8— " ' 144 ' ' 66— " a 144 ' ' 10 — very good. ' 144 ' ' 7 2 — good. u 144 ' ' 13- " " ' 144 ' ' 73 — excellent. u 144 ' ' 14 — good. 144 ' ' 76 — good. u 144 ' ' 16— " 144 < ' 78 — very good u 144 ' ' 17 — -excellent. ' ' 144 ' < 80— " u 144 ' ' 18 — good. ' 144 ' ' 81— " a 144 ' ' 19 — very good. ' 144 ' ' 84 — good. a 144 ' ' 20— " ' 144 ' ' 89 — very good a 144 ' ' 2 7 — good. ' ' 144 ' ' 94 — good. u 144 ' ' 28— " ' 144 ' ' 95— very good u 144 ' ' 29 — very good. ' 144 ' ' 96 — good. a. 144 ' ' 30 — excellent. ' ' 144 ' ' 98— " u 144 ' ' 31— good. ' 144 ' ' 100— " 11 144 ' ' 32- " ' 144 ' ' 107 — very good. a 144 ' ' 35 — g° od - ' 144 ' ' 112 — good. a 144 ' ' 36 — very good. ' 144 ' ' 113- " u 144 ' ' 39 — g° od - ' 144 ' ' 115 — -very good. u 144 ' ' 42 — -very good. ' 144 ' ' 116— " a 144 ' ' 43 — good. ' 144 ' ' 120— " 11 144 ' ' 44 — very good. ' 144 ' ' 121 — good. a 144 ' ' 48— " " ' 144 ' ' 124 — very good. a 144 ' ' 56 — good. ' 144 ' ' 133- " " a 144 ' ' 59 — very good. ' 144 ' ' 138- " " 94 Figs. 144 and 140 — excellent. 144 " 141 — good. J 44 " 145— very good. 144 " 146 — good. 144 " 147 — excellent. 144 " 149 — very good. Figs. 144 and 154 — very good. 144 " 156- " 144 " i 57 - « « 144 " 163 — good. 144 " 168— " " 144 " 173- " Color No. 148. Figs. 148 and 1 - — excellent. Figs 148 and 39- — excellent. K 14s u 2- — very good. a 14S tt 41- tt <( 148 k 4- ii ii tt 14S tt 42- — good. tt 148 u 8- — good. tt 148 tt 43- — very good if 148 ii 9- — very good. tt 14S tt 44- — excellent. it 148 11 10- — excellent. tt 148 tt 48- tt it 148 a 11- — good. tt 148 tt 5 1 " — good. ft 148 a 12- it tt 148 tt 52- — very good u 14s ii 13- — excellent. tt 148 tt 55- tt tt ft 148 k 14- — very good. " 148 tt 56- it tt ft 148 ii 16- — good. tt 14S tt 62- — good. 11 148 a J 7- — excellent. tt 1 48 tt 66- — excellent. ,1 148 tf 18- — very good. tt 1 48 tt 7 1 - — good. (1 14s a 19- — excellent. tt 148 it 72- — very good ft 14s a 20- it tt I48 tt 73- — excellent. ft 148 ft 23- — very good. tt 148 tt 76- — very good it 14s ll 26- - good. tt 148 tt 73- tt tt it 148 11 27- — very good. a 148 tt 80- — excellent. ft 148 tt 28- (i tt tt 148 tt 81- tt u 148 (1 29- tt tt tt 14S tt S 4 - — good. ii 148 il 30- — excellent. tt 148 tt 88- tt it 148 ll 3i- — very good. tt 148 tt 89- — very good. ii 148 (( 32- — good. a 148 tt 95" — good. 11 148 ft 34- — excellent. tt I4S tt 106- tt u 148 (( 35- — very good. tt 148 tt 107 - — very good. u 148 ii 36- — excellent. tt 148 tt 112- — good. 95 igs. 148 and 113 — good. Fi gs. 148 and 145 — very good 148 ' ' 115 — excellent. ' 148 ' ' 146 — good. " 148 ' ' 116 — very good. ' 148 ' '. 147- " " 148 ' ' 119— " ' 148 ' ' 149 — very good 148 ' ' I20— " ' 148 ' ' 152 — good. " 148 ' ' i2i — very good. ' 148 ' ' 156- " 148 ' ' 123 — excellent. ' 148 ' ' 157 — -very good " 148 ' ' 124 — ' 148 ' ' 159 — good- 148 ' ' 127 — good. ' 148 ' ' 163 — very good 148 ' ' 133— very good. ' 148 ' ' 165 — good. " 148 ' ' 134 — good. ' 148 ' ' 168— " " 148 ' ' 136 — very good. ' 148 ' ' 169— " " 148 ' ' 140— " 1 148 ' ' 173- " " 148 ' ' 141 — good. ' 148 ' ' 178 — very good 96 Plate 85 388 Light Violet-Blue and Yellow-Green 389 Deep Violet-Blue and Light Yellow-Green u raeagatatBta xj g:r: :5e a gat 5g;;:;;t "" * *J^* g ggggggg innnq y ">g innm!g;i3e;8;tat?g"»»"»'""f»ig«a»g J: 3r3»c"»S 390 Violet-Blue and Green-Yellow Two-Color Combinations Plate 86 A^JnJ^AXJmA XXXXXXXXXXXXXXXXXXXXXXXX Morgan : xxxx x xxx x xxxxxx x xixx x xi Dr IkrikFlkrlkFlk ryryryryryr IIIIIIIIIIXIIIXIIIJ 391 Ultramarine Blue and Persian Orange Grayson XXXXXXXXXXXXXXXXXXXXXXXX 392 Bronze Brown and Green Lake i^Ui^- ' ^wim\\ I AK I 4k I Jk. I Jkk. I Jlhk I Jlk. I ^llk I 4 v I --4'v I 4i. I, Jlk I ^k I AK I Jlk I Jk. < 393 Bronze Blue, Bronze Brown, and Green Lake rTTTTTTTTTTTT TTTTl ^srorow* XXXXXXXX IXIXXXXXIXXXXXXX Knofler xxxxxxxxxxxxxxxx Jones Carmine and Green Lake 395 Bronze Blue and Persian Orange Plate 87 Gray on Red 396 Black on Red Gold on Red Gray on Green 397 Black on Green Gold on Green Gray on Blue 398 Black on Blue Gold on Blue Mm V W 399 Red surrounded by Blue, Gray, Black, White, and Green 400 Black Surrounded by Blue, Gray, Red, White, and Green Three-Color Combinations. E will now give a number of lists of three-color combinations taken from the colors shown on Plates i to 21, inclusive, which we consider good, very good, or excellent. The first is a list of combinations including red and yellow ; this is followed by a list including red and blue ; then a number of lists including red and green, red and deep blue, red and lemon-yellow, red and gray, and red and black in the order named. Then these are followed by lists including red and colors 34, 41, 45, 52, 67, 75, 83, no, 135, 139 and 148 in the order given, altogether making a collection of several hundred combinations, in which red is the principal color. In forming these combinations we were governed solely by the natural laws of harmony and contrast of colors. Red and Yellow. Figs. 1, 2, and 3 — very good. h 2, 7 — u I. 2, a 11— " w I, 2, << 12— " u I, 2, 11 26 — good. Figs. 1, 2, and 32 — very good. u I, 2, « 34 _ « « a I, 2, 37 — good. ii I, 2, " 49 — very good. u I, 2, " 52— " 97 Figs I, 2, and 57 — excellent. a I, 2, ' ' 6o — very good << I, 2, ' ' 63 — good. a I, 2, ' ' 67 — excellent. it I, 2, ' ' 68 — very good (i I, 2, ' 77 — a I, 2, ' ' 80 — good. a I, 2, ' ' 81— " a I, 2, ' ' 83 — very good a I, 2, ' ' 108 — excellent. Figs. I, u I, << I, a I, a I, ti I, a I, a I, u I, 11 I, 2, anc 117- — very good 2, a Il8- - excellent. 2, a 119- — very good 2, a 135- a << 2, a 139- a a 2, (1 148- —excellent. 2, a I5 1 " - good. 2, (i 155- -very good 2, 11 158- a a 2, << 171- << a Red and Blue. Figs. 1, 3, and 9 — very good. it I, 3, ' ' 11 - — good. 11 I, 3, ' ' 32- — very good tt I, 3, ' ' 34- a a a I, 3, ' ' 4i- it it a I, 3> ' ' 47- - good. u I, 3, ' ' 52- - very good tt I, 3, ' ' 68- - good. a I, 3> ' ' 7 1 " — very good Figs. I, a I, 11 I, tt I, a I, a I, a I, a I, a I, 3, and 79 — very good. 3, << 80- - good. 3, (i 8l- a 3, it 108- a 3, it 139- -very good 3, it 155- — good. 3, a 159- -very good. 3, a 162- - good. 3, a 169- — very good Red and Green. igs ■ J > 5, and 11 - — very good. a I, 5, " 12- a a a I, 5, " 26- - good. tt I, 5, " 32- - very good. a I, 5, " 33- (1 14 it I, 5, " 34- u a a I, 5, " 40- u it Figs. 1, 5, and 90 — very good. 11 h 5, a 92- is a a I, 5, a 103- -good. tt I, 5, ti 104- -very good it I, 5, tt "3- - good. a I, 5, a 117- a a I, 5, a 118- — very good 98 Figs, i, 5, and 129 — good. " 1, 5» " 133 — very good. " i» 5. " 137 — good. " t r " T An " x > 5) x 49 — Figs. 1, 5, and 153— very good. a I, 5, a 158- " (( I, 5> (1 163 — good (I I, 5, a 172— " Red and Deep Blue. Figs. 1, 7, and 9 — good. Figs. 1, 7, and 52 — good. a I, 7, a II— " (< I, 7, a 71- " a I, 7, a 31- " t( I, 7, (( 8l— " 11 I, 7, a 32 — very good. a I, 7, a 139 — very good (! I, 7, a 39 — good. 11 I, 7, u 150— " (i I, 7, 11 41- « (( I, 7, a 155- " _ " u I, 7, a 47 — very good. a I, 7, a 162 — good. Red and Lemon Yellow. igs • h 9, and 11 — very good. Figs I, 9, and no — very good a I, 9, a 12 — good. a I, 9. a in— u a h 9, a 24— " a I, 9, a 117— " a I, 9, a 26— " a h 9> a 118 — excellent. a I, 9, a 32 — very good. a I, 9» a 119 — a I, 9, a 34- " " a I, 9, a 135- a I, 9, a 37 — good. a I, 9, a 139- a h 9> a 57 — very good. a I, 9, a 142 — good. a I, 9, a 60— " a I, 9, a 144— " a I, 9, a 63- " " a I, 9, a 148— " a h 9, a 67 — excellent. a I, 9, a 151- " a h 9, a 68 — very good. a I, 9, a 155- " a I, 9, a 83— good. a I, 9, a 171— " a I, 9, a 108— " a I, 9, a 176— " 99 Red an d Gray. igs. i, 1 1 , and 12 — very good. Figs. 1 11, and 83 — excellent. " I > n, ' 24 — good. " i> 11, ' ' 85 — very good " i, ii, ' 26— ". " 1, 11, ' ' 101— " " i. ii, ' 33- " " 1, 11, ' ' 135 — excellent. " i j ii, ' 34 — very good. " 1, 11, ' ' 139- " " i, ii, ' 40 — excellent. " 1, 11, ' ' 142 — very good " I > ii, ' 41 — very good. " 1, 11, ' ' 148 — excellent. " I > ii, ' 46— " " 1, 11, ' ' 149 — very good " i, ii, ' 47- " " " 1, 11, ' ' 150- " " " x , ii, ' 52 — good. " 1, 11, ' ' 151- " " " J > ii, ' 58 — very good. " 1, 11, ' ' 153- " " " z ) ii, ' 60— " " 1, 11, ' ' 155 — excellent. " T > ii, ' 71 — good. " 1, 11, ' ' 161 — good. " I ) ii, ' 74- " " 1, 11, ' ' 162 — very good " I > ii, ' 79 — very good. " 1, 11, ' ' 171— " " z . ii, ' 80— " " 1, 11, ' ' 172— " Red and Black. Figs. 1 12, and 40 — very good. 12, " 41 — good. 12, " 46 — very good. 12, " 47 — good. 12, " 52— " 12, " 57 — excellent. 12, " 58 — very good. 12, " 60 — good. 12, " 63 — very good. 12, " 67 — good. 12, " 71 — very good. 12, " 83 — excellent. 12, " 85- " 12, " 86 — very good. 12, " 102 — good. Figs. I , 12, an << I 12, " it I 12, " a I 12, " a I 12, " u I 12, " a I 12, " {( I 12, " a I 12, " a I, 12, " a I, 12, " a I 12, " u I 12, " u I, 12, " u I 12, '•' 12, and 103 — very good. 104— " 133 — good- 135 — excellent. 137 — very good. 139 — excellent. 142 — very good. 144 — good. 148 — excellent. 149 — very good. 150 — good. 153- " 155— ver Y good- 162 — good. 171 — very good. 100 Plate 88 Do NOT FORGET THAT, This Red FORMS A BETTER COMBINATION WITH * Black * ' ¥¥¥¥¥¥¥¥¥' pz % THAN ROSE LAKE OR^-, ANY OTHER RED WHICH LEANS TOWARD PURPLE • Printers » often make the mistake of combining a purplish red with black. 401 12 and 30 Red and Color No. 34- Figs, i, 34, and 32 — very good. Fi gs- 1, 34, and 90 — good. ' i, 34, ' ' 38 — good. ' 1, 34, ' ' 102 — very good ' i, 34, ' ' 40 — excellent. ' ' 1, 34, ' ' 103— " ' i, 34, ' ' 41 — very good. ' ' 1, 34, ' ' 104— " ' i, 34, ' ' 45- " " ' 1, 34, ' 1 10S— " ' i> 34, ' ' 46 — excellent. ' ' 1, 34, ' ' no — good. ' i, 34, ' ' 47 — very good. ' 1, 34, ' ' in — very good ' i, 34, ' ' 49 — g° od - ' 1, 34, ' ' 117 — good. ' i, 34, ' ' 52 — very good. ' 1, 34, ' ' 119 — very good ' i, 34, ' ' 57 — excellent. ' ' 1, 34, ' ' 129— " ' h 34, ' ' 58 — very good. ' 1, 34, ' ' 133- " " ' i, 34, ' ' 60— " " ' ' 1, 34, ' ' 135 — excellent. ' h 34, ' ' 63- " " ' 1, 34, ' ' 137 — very good ' i, 34, ' ' 67— " " ' ' 1, 34, ' ' 139 — excellent. ' i, 34, ' ' 6S — good. ' 1, 34, ' ' 142 — ' i, 34, ' < 71- " ' 1, 34, ' ' 144 — very good ' i, 34, ' ' 74- " ' 1, 34, ' ' 148 — excellent. ' i, 34, ' ' 75 — ver Y g° 0(i - ' 1, 34, ' ' 151 — very good ' i, 34, ' ' 81 — good. ' 1, 34, ' ' 155- — excellent. ' i, 34, ' ' 83 — excellent. ' ' 1, 34, ' ' 161 — very good ' i, 34, ' ' 85- " ' 1, 34, ' ' 170— " ' i, 34, ' ' 86 — very good. ' 1, 34, ' ' 171 — excellent. ' i, 34, ' ' 87 — good. ' 1, 34, ' ' 176 — very good Red and Color No. 41. Figs. 1, 41, and 32 — very good. (( u I, 41, 1, 4 1 , ' 1, 4 1 , ' 1, 4i, ' ' 34— " 37 — ( . ,-. " " 49 — ' 57 — excellent. (( u 1, 4i, ' 1, 41, ' ' 60 — very good ' 63— " " Figs. 1, 41, and 67 — excellent. 41, ' ' 68- -very good 41, ' ' 77- -good. 41, ' ' 80- a 41, ' ' 83- - excellent. 41, ' ' 108- - very good 41, ' ' IIO- a (( IOI Figs, i, " i, " i, 41, and 4i, " 4 1 , " in — excellent. 117 — very good. 118— " Figs 1, 1, 1, 41, and 142 — very good 41, " 144 — good. 41, " 148 — excellent. " i, " ii " i, 4h " 4i, " 4i, " 4i, " 119— " 125 — excellent. 126 — very good. 135 — excellent. 1, 1, 4 1 , " I5 1 — g° od - 4i, " 155— very good 41, « 158- « " 41, " 171 — excellent. " i, 4i, " 139- " 1, 41, " 176 — good. Red and Color No. 45. lgS. I 45 1 an " I 45, " " I 45, " " I 45, " " I 45, " " I 45, " " I 45, " " I 45, " 26 — good. Figs I, 45, and 85— good. 32 — very good. a I, 45, 103- " 33- " " a I, 45, 133 — very good 34- " " a I, 45, 137- " ' " 35- " " a I, 45, 149- « << 40 — ■ good. u I, 45, 153- " " 46 — very good. u I, 45, i5 8 — g° 0(i - 47 — good. << I, 45, 171— " Red and Color No. 52. igs. 1 52, and 24 — very good. Fi gs- 1, 52, and 83 — ■ excellent. " 1 52, ' ' 26 — good. ' 1, 52, ' ' 93 — very good " 1 52, ' ' 32 — very good. ' 1, 52, ' ' 99 — good- " 1 52, ' ' 33- " " ' 1, 52, ' ' 108— " " 1 52, ' ' 34- " " ' 1, 52, ' ' no— " " 1 52, ' ' 37 — good- ' 1, 52, ' ' 1 1 1 — very good " 1 52, ' ' 50 — very good. ' 1, 52, ' ' 125 — excellent. " 1 52, ' ' 60 — excellent. ' 1, 52, ' ' 126 — good. " 1 52, ' ' 63 — very good. ' 1, 52, ' T 33 — " 1 52, ' ' 67 — good. ' ' 1, 52, ' ' 135 — excellent. " 1 52, ' ' 70 — very good. ' 1, 52, ' ' 139- " 102 Figs, i, 52, and 142 — very good. " 1, 52, " 14S — excellent. 52, 149 — very good. Figs. 1, 52, and 155 — very good. 52, 52, 164 171 excellent. Red and Color No. 67. Figs. 1, 67, and 26 — good. (( I, 67. (( 32 — very good. it I, 67, u Si — very go< (( I, 67, u 33 — good. K I, 67, u !33— " u I, 67, ti 34 — very good. u I, 67, ti 134- 11 I, 67, u 41 — excellent. a I, 67, (( 149— " (( I, 67, ti 47 — very good. 11 I, 67, u 150— " It I, 67, it 52 — good. 11 I, 67. a 159— " 11 I, 67, u 71- « it I, 67, it 162 — " Figs. 1, 67, and 80 — good. Figs. 1 Red and Color No. 75. 75, and 16 — good. 75, " 26- " 75, " 32 — very good. 75, " 33- " " 75, " 34- " " Figs. 1, 75, and 133 " 1, 75, " 144 " 1, 75, " 149 " 1, 75, " 162 " 1, 75, " 170 very good. Red and Color No. 83. igs • I, S3, and 26- — good. Figs I, S3, and 78 — good. u I, S3, u 32- — excellent. u I, S3, u 79" " (( I, S3, a 33- — very good. u I, S3, (< 80 — ver}' good It I, S3, a 34- — excellent. (( I, S3, a Si — good. it I, S3, 11 41- (< !( I, S3, u 133 — very good 11 I, S3, it 49" — good. (( I, S3, 11 149— " !< I, S3, u 52- — excellent. u I, S3, u 15S- " " (i I, S3, (i 7 1 " a u I, S3, u 161 — good. u I, S3, n 77- — good. u I, 83, 11 171 — very good 103 Red and Color No. no. Figs, i no, and 32 — very good, no, " 41— " no, " 47 — good, no, " 52 — " no, " 71 — " no, " 80 — very good, no, " 104 — good, no, " 133 — -very good. Figs. 1, no, and 135 — very good. no, 139- no, ' ' 148- (i a no, ' ' 149- -very good no, ' ' 155- It u no, ' ' 162- -good. no, ' ' 171- -very good no, ' ' 176- a u Red and Color No. 135. Figs. 1, 135, and 16 — good. " I, I 35» ' ' 26- u " I, i35, ' ' 32- —excellent. " I, *35> ' ' 33- -very good " I, 135, ' ' 34- -excellent. " I, 135, ' ' 4i- u " I, 135, ' ' 44- -very good " I, !35, ' ' 52- -excellent. " I, 135, ' ' 7i- -very good " I, I 35» ' ' 80- -excellent. Figs. 1, 135, and 81 — very good. " I, 135, ' ' 104 — good. " h i35> ' ' 133— very good " I, i35> ' < 149- " « " h 135, ' ' 151- " " " I, 135, ' 1 155- " " " I, 135, ' ' 158- " " " x > *35> ' ' 159- " " " !, 135, ' ' 162— " " I> i35> ' ' 164 — good. Red and Color No. 139. Figs. 1 139, and 16 — very good. Fij " h 139, " 26— " a " i, I 39, " 32 — excellent. a " 1, I 39> " 33 — very good. it " i, I 39, " 34 — excellent. a Figs. 1, 139, and 41 — excellent. h I 39. " 44 — very good. 1, 139, " 52 — excellent. r > J 39> " 71 — very good. h 139, 80 — excellent. 104 Figs, i, 139, and Si — very good. " 1, i39» " 104— good. " x - x 39» " 133— ver Y good. !39> 149 — Figs- 1, 139. and 155— very good. 139, 139, J 39» 158— good. 159- " 162— " Red and Color No. 148. Figs. 1, 14S, and 16 — good. I, I 4 S, ' 26- 11 If I 4 S, ' ' 32- - excellent. I, 148, ' ' 33- -very good. I, 148, ' ' 34- - excellent. I, I 4 S, ' 4i- ti I, I 4 S, ' ' 44- - very good. I, I 4 S, ' ' 52- - excellent. Figs. 1, 14S, and 71 — very good. 1, 148, 1, 148, 1, 148, 1, 148, 1, 148, 1, 148, 1, 148, 77 — 80 — excellent. 81 — very good. 104 — good. 133 — excellent. 149 — very good. 171— " In the following lists of three-color combinations the principal color is yellow. Yellow and Blue. Figs. 2, 3, and 31 — very good. igs. 2, 3, and 1 — excellent. " 2, 3, ' ' 8 — very good. " 2, 3, ' ' 10— " " 2, 3, ' ' 11— " " 2, 3, ' ' 12— " " 2, " 2, 3, ' 3, ' '17- « " ' 18— " " 2, " 2, 3, ' 3, ' ' 19- " " ' 23 — good. " 2, " 2, " 2, " 2, 3> ' 3, ' 3. ' 3. ' < 27- " ' 28 — very good. ' 29— " ' 30 — excellent. " 2, " 2, " 2, " 2, " 2, 3, ' 3, ' 3, ' 3, ' 3» ' ' 32- " " 33 — good- ' 34 — very good. ' 35- <( " ' 36 — excellent. " 2, 3f ' ' 49 — g° od - " 2, 3, ' ' 5i- " " 2, " 2, 3, ' 3, ' ' 52- " ' 62— " " 2, 3, ' ' 66— " " 2, 3, ' ' 68— " " 2, 3, ' ' 72- " 105 Figs. 2, 3, and 73 — very good. tt 2, 3, ' 76— " a 2, 3, ' ' 80 — excellent. a 2, 3, ' ' 81 — very good tt 2, 3> ' ' 89— " u 2, 3, ' ' 95— g° od - tt 2, 3, ' ' 107— " it 2, 3, ' ' 113- " tt 2, 3, ' ' 115- " a 2, 3, ' ' 120— " a 2, 3, ' ' 121 — very good tt 2, 3, ' ' 123- " " it 2, 3> ' ' 124 — good. Figs. 2, 3, and 127 — good. 1 1 2, 3> 131- 1 i (I 2, 3, ' ' 133- -very good (1 2, 3, ' 134- (< n a 2, 3> ' ' 135- - excellent. it 2, 3, ' ' 140- -very good it 2, 3, ' ' 141- - good. tt 2, 3, ' ' 145- a 2, 3> ' 146- tt 2, 3, ' ' 149- a 2, 3, ' ' 150- a 2, 3> ' ' I5 1 - a 2, 3, ' ' i5 6 - Yellow and Purple. Fi gs • 2, 2, 6, at 6, ' id 1 1 • — very good ' 12 — good. 2; 6, ' ' 21— " 2, 2, 6, ' 6, ' ' 49 — very good ' 50 — excellent. 2, 2, 6, ' 6, ' ' 5 1 — ^ ver y good ' 52- " " 2, 2, 2, 2, 6, ' 6, ' 6, ' 6, ' ' 53 — g° od - 57 — very good ' 71 — good. ' 80 — very good Figs. 2, 6, and 83 — excellent. a 2, 6, ' ' 92 — good. tt 2, 6, ' ' 101— " a 2, 6, ' ' 117 — very good tt 2, 6, ' < „8_ " a 2, 6, ' ' 119— " tt 2, 6, ' ' 134- " " tt 2, 6, ' ' 138 — excellent. tt 2, 6, ' ' 148 — a 2, 6, ' ' 150 — very good it 2, 6, ' ' 154- " " Yellow and Rose Lake. Figs. 2, 8, and 11 — excellent. 2, 8, " 12 — very good. 2, 8, " 24— " tt Figs. 2, 8, and 32 " 2, 8, " 37- " 2, 8, " 49- very good. 106 Figs. 2, s, and 50 — excellent. Figs. 2 8, and 113 — very good " 2, 8, " 51 — very good. " 2 8, ' ' 114 — excellent. " 2, s, " 52 — good. " 2 8, ' 115 — very good " 2, s, " 57 — excellent. " 2 8, ' ' 118— " " 2, 8, " 60 — very good. " 2 s, l ' 134- " " " 2, s, " 63 — excellent. " 2 s, ' ' 140— " " 2, 8, " 83- " " 2 s, ' ' 14S — excellent. " 2, 8, " 10S — very good. " 2, s, ' ' 150 — good. " 2, 8, " no— " " 2 8, ' ' 156- " " 2, s, " in— " " 2 8, ' ' 171- Yellow and Gray. Figs . 2 , 1 1, and 1 2 — good. Fi gs. 2, n, and 66 — good. u 2 11, ' ' 15 — very good. ' 2, 11, ' ' S3 — very good u 2 11, ' ' 16 — good. ' ' 2, 11, ' ' 84 — good. (1 2 11, ' ' 17 — very good. ' ' 2, 11, ' ' 89- " u 2 11, ' 18 — good. ' ' 2, 11, ' ' 93 — excellent. a 2 11, ' 1 24 — very good. ' **> 11, ' ' 94 — very good U 2 11, ' ' 26— " ' 2, 11, ' ' 95- " " (( 2 11, ' ' 27— " " ' 2, 11, ' 1 9 S— " 11 2 11, ' ' 2 S— " ' 2, 11, ' 99 — good. u 2 11, ' ' 30- " " ' 2, 11, ' ' 100 — very good u 2 11, ' 34 — good. ' 2, 11, ' ' 107 — good. (1 2 11, ' ' 35 — ver Y g° od - ' 2, 11, ' ' in— " (( 2 11, ' ' 36- " " ' 2, 11, ' ' 112 — very good !( 2 11, ' ' 37- " " ' 2, 11, ' ' 114 — good. ll 2 11, ' ' 42 — good. ' ' 2, 11, ' 1 115- " u 2 11, ' ' 50- " ' 2, 11, ' ' 116 — very good (1 2 11, ' 1 59 — excellent. ' 2, 11, ' ' 123 — good. u 2) 11, ' ' 60 — very good. ' 2, 11, ' ' 124— " u 2 11, ' < 61— " " ' 2, 11, ' ' 125 — very good u 2, 11, ' ' 62 — good. ' 2, 11, ' ' 126 — excellent. (£ 2 ' 11, ' ' 63- « ' 2, 11, ' ' 133 — good- 107 Figs. 2, ii, and 134 — good. " 2, 11, " 135 — excellent. " 2, 11, " 138- " " 2, 11, " 139 — very good. " 2, 11, " 140 — good. " 2, 11, " 143 — excellent. " 2, n, " 145— g° od - " 2, 11, " 147 — very good. Figs. 2, 11, and 148 — excellent. 2, II, ' ' 149- -very good 2, II, ' ' I50- u a 2, II, ' ' 151- - excellent. 2, II, ' ' 154- a 2, II, ' ' 155- (( 2, II, ' ' 156- -very good 2, II, ' ' 171- a K Yellow and Black. Figs. 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 12, and 18 — very good. - good, -very good. — good. — excellent. — very good. — good. — very good. — good. — very good. — -good. — very good. — good. — very good. — good. — very good. 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 12, 19- 28 29 30- 31- 35- 36 37- 42- 57 59 61 63 73 76 81 83 93 95 96 100 112 good. Figs. 2 12, an< " 2, 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " " 2 12, " — good. 116- 117- 119. 120- 124- 125- 126- 133- 134- 135- 138- 139- 140- 143- 145- 147- 148- 151- 154- 155- 156- 171- ■very good, ■good. very good. • excellent. -very good. - excellent, -very good. (I u - excellent, -very good. 108 Plate 89 r»> 'ik9> "ii*> t •sk9-> 'ik+> "§k9i "fer»S 'ik+> 'fer*> 'U&> 'U*> "■y.-» '■sV»> '■^r»> %'.-») "■sfr» •*> - -ar*i - 4&») '4^*1 '&»> - 'fe?r»> 'ik*> ~H9: 'Hc9> "'fes* '^9i '■&&♦>. "fes*i '-^r*! ^»i ■fe*) •<£*> - ^r*> '^r») "fe#5 •^•5 H=Sr* - ^r»> , y r »i ••ar»b ■#> %V#S -y.-»> - y.-»!> •«£*> "i£»5 ■$k+> '■at* 'feV»b "«r»> "fei#S 't'.* "fe\-»5 ''s J r»> '^V*) '*'■* '^+> ''s ! r») '■&.-•> - 'g ; r») '-g^ %'.-* '■&<■»> '■feV* -f,-^ •fefl ^ ■■yr* '-y?*! - 's?r»> "fe*S "'S5r»> "-st* "4^* , I&«1 - ^r*i 'ik9i "^r*> "fe»4 "4 - ^r*S 'i&9> '~sk*> '■*£♦> 'ik*) %kP> 'ik9> 'i£*i "fe»4 H£* "i* I HE BED AND CYLINDER are each *■ driven by a crank, and there are no springs required to help reverse the motion of the bed. The whole movement is as simple and durable as an ordinary train of gears. We guarantee the movement to run perfectly smooth, and without a particle of jar at any point ; to run faster and last longer than any other movement now on the market. With proper care there is not a single part that will give out or need repairing ; and we want to call special attention to the fact that there are no cams, cam -gears, eccentrics, or any queer shaped parts about it, but that each and all of the parts are straight or round, and can be made in any first-class machine shop without special tools. There is no lost motion between the bed and cylinder during the printing stroke, and the register is perfect at all speeds. The bed is supported, under the line of im- pression, by four large rollers, journaled in stands which are fastened to a rigid box -stay that can not spring or give in the least degree. The Huber Crank Movement Super Royal Jobber Movement Patented July 22, 1890. TWO OR THREE ROLLERS. FOUR TRACKS. BOX FRAME. Front Delivery, Table Distribution. Back Delivery, Table or Drum Distribution. NO SPRINGS. VAN ALLENS & BoUGHTON, Selling Agents, 59 Ann St., and 17 to 23 Rose St., New York. H. W. THORNTON, Western Manager, No. 256 Dearborn Street, Chicago, III. Good Points Embodied in Press. I HE cylinder never comes to a full stop when the press is in operation, but keeps moving slowly, when the bed is reversing, until the speed of the bed is equal, when it increases in unison with the bed. The sheet is taken by the grippers when the cylinder is mov- ing slowly, — an important point in favor of perfect register. Having no complicated cam or stop motions to get out of order or limit the speed of the press, we guarantee every machine to print twenty-two hundred sheets per hour, when properly fed, in perfect register and without jar or extra wear. The cylinder can be tripped at the will of the feeder and up to the moment when the sheet is taken by the grippers. The side-frames are of the box pattern, also, and every part of the machine is constructed with an eye to great strength and durability. The sheets are delivered in front of the cylin- der, clean side to the fly, which is positive and noiseless in its action. 4 -j^*) -u*> -u^i •■y r » --y,-*) -u*> •■y r »> -ik+> -ua> -u^ -fe*> - -fe* -fe#» -fe»> -u&> %k* -u^ •*£*> -u&> ■ -ik*, -^m -a* im •%*> -y^ -^^ ^^ »} '•yr»i 'Ur*> 'ik+> '-Mr*! 'ik*> 'fes* '•as* '^sk9\ '•*£*> rrP> '•sk*> '~sk9i 'i£&> 'isk^, 'ik+> '•si* 'U&> "'&r»!i '-ss*i 'ik+i > •■gfe*) -ik+> -fe^ •fe»> -ik*> •■£&■»> -ik*> -fe») •■^»> •^,-» > -ik* -fe-rPi -fe^ -&*, -4^ H£»> -ik*, •«♦) -^9t •*&«> -fe»s -U&i - ^*> '&+> ^ "£*> -ik*> •^•4 -i&*> "fe* 'ik* 'ik*. 4 ik*> v'.»4 ^r*, v :,V#S '^*> 'f.* "to* '<&+> "fe*> '^*> '^^ '^^ '^+> '^^ %v *> '^*> '^^ ' feV *> 402 2, 3, 5, and 34. Yellow and Color No. 34. Figs. 2, 34, and 28 — good. 2, 34, ' 30- - excellent. 2, 34, ' ' 32- -very good. 2, 34, ' ' 37- u U 2, 34, ' ' 49- a u 2, 34, ' ' 52- (( t( 2, 34, ' ' 53- — good. 2, 34, ' ' 57- - excellent. 2, 34, ' 60- — very good. 2, 34, ' ' 63- 11 n 2, 34, ' ' 67- - excellent. 2, 34, ' ' 6S- -very good. 2, 34, ' < 76- — good. 2, 34, ' ' 83- - excellent. 2, 34, ' ' 108- a Figs. 2, 34, and 111 — very good. 2, 34, 117- n t i 2, 34, 119- it (i 2, 34, ' ' 125- U (1 2, 34, ' ' 133- U (( 2, 34, ' ' 134- -good. 2, 34, ' ' 135- -excellent. 2, 34, ' 139- << 2, 34, ' ' 142- - very good 2, 34, ' ' 148- -excellent. 2, 34, ' ' 149- - good. 2, 34, ' ' 150- a 2, 34, ' ' 151- -very good 2, 34, ' ' 155- it u 2, 34, ' ' 171- a a Yellow and Color No. 36. igs. 2, 36, and 24 — very good. Fi gs. 2, 36, and 83 — excellent. " 2, 36, ' ' 32- « << ' 2, 36, ' ' S5 — very good " 2, 36, ' ' 37 — excellent. ' 2, 36, ' ' 108 — excellent. " 2, 36, ' 49 — g° od - ' 2, 36, ' ' in — very good " 2, 36, ' ' 52 — very good. ' ' 2, 36, ' < Ii; _ « " 2, 36, ' 53— good. ' 2, 36, ' ' 11S — good. " 2, 36, ' 57 — excellent. ' ' 2, 36, ' ' 119 — very good " 2, 36, ' ' 5S — very good. ' 2, 36, ' ' 125- " " " 2, 36, ' ' 60— " " ' ' 2, 36, ' ' 133- " " " 2, 36, ' ' 63- " " ' 2, 36, ' ' 134- " " " 2, 36, ' ' 67 — excellent. ' ' 2, 36, ' ' 135 — excellent. " 2, 36, ' ' 68 — very good. ' ' 2, 36, ' ' 137 — g° od - " 2, 36, ' ' 70— " ' 2, 36, ' ' 139 — excellent. " 2, 36, ' 1 nn a u ( ' 2, 36, ' ' 142 — very good " 2, 36, ' ' 82 — good. ' ' 2, 36, ' ' 148 — excellent. 109 Figs. 2, 36, and 149 — good. 2, 36, " 150- " 2, 3 6 > " 151— very good. Figs. 2, 36, and 155 — -very good. " 2, 36, " 158 — good. " 2, 36, " 171 — very good. Yellow and Color No ■ 52. Figs • 2, 52, and 15 — -very good. Figs • 2, 52, and 94 — very good a 2, 52, ' ' 17 — good. u 2, 52, ' ' 95 — good- a 2, 52, ' ' 30 — very good. a 2, 52, ' ' 99- " a 2, 52, ' ' 34 — good. C( 2, 52, ' ' 100— " a 2, 52, ' ' 35- " a 2, 52, ' ' 108— " a 2, 52, ' ' 36 — very good. 11 2, 52, ' ' no— " a 2, 52, ' ' 37 — excellent. a 2, 52, ' ' in — very good a 2, 52, ' ' 50 — very good. a 2, 52, ' ' 116— " a 2, 52, ' ' 53 — good. a 2, 52, ' ' 125- " " CI 2, 52, ' ' 57 — -very good. a 2, 52, ' ' 126 — excellent. u 2, 52, ' ' 59 — excellent. a 2, 52, ' ' 134- " a 2, 52, ' ' 60 — (( 2, 52, ' ' 135- " << 2, 52, ' ' 61 — -very good. a 2, 52, ' ' 138- " a 2, 52, ' ' 62 — good. u 2, 52, ' ' 139- " (< 2, 52, ' ' 63 — very good. a 2, 52, ' ' 142 — very good a 2, 52, ' ' 67— " a 2, 52, ' ' 143 — excellent. a 2, 52, ' ' 68 — - good. a 2, 52, ' ' 148 — u 2, 52, ' ' 77- " a 2, 52, ' ' 150 — very good ff 2, 52, ' ' 82— " u 2, 52, ' ' 151— " a 2, 52, ' ' 83 — excellent. u 2, 52, ' ' 154— " it 2, 52, ' ' 84 — good. u 2, 52, ' ' 155— " 11 2, 52, ' ' 85 — very good. (( 2, 52, ' < 158- " " a 2, 52, ' ' 93 — ■ excellent. a 2, 52, ' ' 171— " Yellow and Color No. 59. Figs. 2, 59, and 49 — very good. 59, 52- Figs. 2, 59, and 57 — - very good. " 2, 59, " 5S-good. no ig ; 5. 2, 59, and S3 — very good. Figs. 2, 59, an n 2, 59, " 85- " " (< 2, 59, a u 2, 59, " 117 — good. (( 2, 59, a (1 2, 59, " 119- " (1 2, 59, <( a 2, 59, " 134 — excellent. u 2, 59, (( 143- » » 148 • — excellent. 150 — very good. 154- " " Yellow and Color No. 67. igs. 2, 67, and 17 — very good. Fi gS. 2, 67, and 73 — very good " 2, 67, ' ' iS— " ' 2, 67, ' ' 76 — good. " 2, 67, ' ' 23— good. 2, 67, ' ' 80 — very good " 2, 67, ' < 27- " ' 2, 67, ' ' 81 — excellent. " 2, 67, ' < 2S— " ' 2, 67, ' ' 89 — very good " 2, 67, ' ' 30 — very good. ' 2, 67, ' ' 94 — good- " 2, 67, ' ' 31— good. ' 2, 67, ' ' 95- " " 2, t>7, ' ' 32 — very good. ' 2, 67, ' ' 107— " " 2, 67, ' ' 34- " " ' 2, 67, ' ' 116 — excellent. " 2, 67, ' ' 35 — excellent. ' 2, 67, ' ' 120 — good. " 2, 67, ' ' 36- " ' 2, 67, ' ' 124— " " 2, 67, ' ' 52— good. ' 2, 67, ' ' 133 — very good " 2, 67, ' ' 60— " ' 2, 67, ' ' 140— " " 2, 67, ' ' 62 — very good. ' 2, 67, ' ' 145- " " " 2, 67, ' ' 66 — " ' 2, 67, ' ' 149 — good. " 2, 67, ' < ;i _ '< " < ' 2, 67, ' ' 156- " " 2, 67, ' ' 72 — good. ' ' 2, 67, ' ' 168— " Yellow and Color No. 81. Figs. 2, 81, and 1 — good. 2, 81, " 3 — very good. 2, 81, " 6 — good. 2, 81, 7 — Figs. 2, 81, and 1 1 — excellent. 2, 81, " 15 — good. 2, 81, " 17 — very good. 2, 81, " iS— " a u a ill Figs . 2 , 8i, and 24- — good. Figs ■ 2 , Si, and I 95- — good. (< 2 Si, a 26- (i a 2, Si, a 96- — excellent. a 2 8i, a 27- — very good. a 2, 81, a 98- — good. tt 2 8i, a 30- n a a 2, Si, a 99- — very good it 2 8i, a 31- — excellent. a 2, Si, a 100- tt a a 2 8i, it 32- — very good. tt 2, 81, a 101 - — good. if 2, 8i, a 34- — good. a 2, 81, a 108- — very good a 2, 8i, a 35- — very good. tt 2, 81, a IIO- — good. tt 2 , 8i, a 36- it a a 2, Si, tt III - — very good tt 2, 8i, a 37- — excellent. a 2, 81, a 112- — good. it 2> 8i, a 42- — good. it 2, Si, a 113- — very good tt 2, 8i, a 49" — excellent. tt 2, 81, a 115- it ti a 2, 8i, a 52- — very good. a 2, Si, a Il6- a a a 2) 8i, a 53- ti a a 2, 81, tt 117- a a it 2, 8i, a 54- -good. a 2, 81, a 119- a a it 2, 8i, a 57- — excellent. a 2, 81, a I20- — good. tt 2, 8i, 11 58- -very good. a 2, Si, ti 121- — excellent. a 2, 8i, a 59- - excellent. tt 2, 81, a 125- a a 2, 8i, a 60- a tt 2, 81, a 126- tt a 2, 8i, a 61- it ti 2, Si, it 133- -good. a 2, 8i, it 62- -very good. a 2, 81, a 134- — very good. tt 2, Si, a 63- — excellent. a 2, 81, a 135- - excellent. it 2, Si, a 64- - very good. a 2, 81, it 138- -very good it 2, Si, 11 67- - excellent. a 2, Si, a 139- — excellent. a 2, Si, a 68- - very good. a 2, Si, a 140- -good. a 2, Si, a 70- a n a 2, 81, a 142- -very good. it 2, Si, a 7i- it a a 2, Si, a 143- a tt a 2, Si, n 76- - good. a 2, 81, (i 144- a a it 2, Si, u 77- -very good. a 2, Si, a 147- a 11 tt 2, Si, u 78- -good. a 2, 81, a 148- - excellent. a 2, Si, a 80- -very good. a 2, 81, a J5 1 - -very good. it 2, Si, a 82- a it (i 2, Si, a 154- - good. a 2, Si, a S3- - excellent. a 2, 81, it 1 55~ -very good. it 2, Si, a 84- - very good. a 2, 81, a 156- -good. . a 2, Si, a 93- _ tt ti a 2, Si, it 161- -very good. a 2, Si, it 94- -good. a 2 , Si, a 171- it ii 112 Yellow and Color No. 83. Figs • 2, §3, and 15 — very good. Figs .2, 83, and 78 — good. u 2, S3, u 16 — excellent. a 2, S3, ' ' So — very good ll 2, S3, u 17 — very good. a 2, S3, ' ' 81— " (( 2 S3, (( 18— " u 2, S3, ' ' 84 — good. u 2 S3, li 27- " ' u 2, S3, ' ' 89 — very good u 2, S3, <( 28— " 11 2, S3, ' ' 94- " " u 2 S3, a 30- " ' (( 2, S3, ' ' 95- " " u 2, S3, a 3i- " ' u 2, S3, ' ' 100— " (< 2, S3, u 32- " ' u 2, 83, ' ' 107— " (I 2, S3, u 34- " ' 11 2, S3, ' ' 112 — good. (( 2, S3, 11 35- " ' u 2, S3, ' ' 114 — very good (1 2, S3, ti 36- " ' ■ 11 2, S3, ' ' 115 — excellent. (< 2, S3, 11 49- " ' 11 2, S3, ' ' 116 — (< 2 S3, 11 50- " ' u 2, S3, ' ' 117 — very good (( 2, S3, 11 51 — excellent. it 2, S3, ' ' 123- " " u 2, S3, 11 52 — very good. 11 2, S3, ' ' 124 — excellent. u 2, S3, ti 59- " " 11 2, S3, ' ' 133 — very good ll 2, S3, 11 61 — -good. 11 2, S3, ' ' 134- " " u 2, S3, u 66 — " 11 2, S3, ' < 13S- " " u 2, S3, a 72— " 11 2, S3, ' < 140— " It 2, S3- 11 73 — very good. 11 2, S3, ' ' 143- " " u 2, S3, 11 76 — good. 11 2, 83, ' ' 145— g° od - u 2, S3, u 11~ " 11 2, S3, ' ' 150- " Yellow and Color No. 135. Figs. 2, 135, and 1 — very good. Figs. 2, 135, and 27 — very good. ll 2, i35> ' ' 3- " " ii 2, 135, ' ' 28 — good. ll 2, i35, ' < y " u a 2, 135, ' ' 30 — very good ll 2, !35, ' 1 8 — good. 11 2, 135, ' ' 3i- " " ll 2, 135, ' 1 11 — very good. 11 2, 135, ' ' 32- " " ll 2, x 35, ' ' 17 — good. 11 2, 135, ' 34- " " 11 2, 135, ' ' 18 — very good. 11 2, J 35, ' ' 35- " " ll 2, 135, ' ' 23— good. 11 2, x 35, ' ' 36 — excellent. 113 Figs .2, 135, and 42 — good. Figs. 2, 135, and 113 — good. a 2, 135, it 43- " ' 2, 135, ' ' 116 — very good a 2, 135, it 49 — very good. ' 2, 135, ' ' 120 — good. a 2, 135, a 52— good. ' 2, 135, ' ' 121 — very good a 2, !35, a 62 — very good. ' 2, 135, ' ' 123 — good. a 2, i35, a 66— " ' 2, !35> ' ' 124 — very good a 2, i35, a 72 — good. ' 2, 135, ' ' 133- " " a 2, i35, it 73— very good. ' 2, 135, ' ' 134— good. a 2, i35, a 76 — good. ' 2, 135, ' ' 140— " a 2, i35, a 80 — very good. ' 2, *35, ' < 141— " a 2, i35, a 81 — excellent. ' 2, *35, ' ' 145- " a 2, i35, a 89 — good. ' 2, 135, ' ' 149 — very good a 2, i35, a 95 — very good. ' 2, i35, ' < 151- " << a 2, i35, a 107 — good. ' 2, i35, ' ' 156 — good. a 2, J 35, a 112— " ' 2, 135, ' 1 168— " Yellow and Color No. 138. Figs. 2, 138, and 6 — very good. " 2, 138, " 11 — excellent. it a it it 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, a a ti it 12 — very good. 41— " " 47— good. 49 — excellent. 51 — very good. 52- " " 63— good. 71 — very good. 77— good. Figs. 2, 138, and 80- 11 a 11 it a a a a a a 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, 2, 138, 83- 117- 121- 134- 142- 150- 154- 158- 161- 171- -very good, -good. -very good, -good, -very good. a a a a -good, -very good. Yellow and Color No. 148. Figs. 2, 148, and 1 — very good. " 2, 148, " 8— " " Figs. 2, 148, and 10 — -good. " 2, 148, " 11 — -very good. 114 Figs. 2 (( (( « a a a u a <( it (( (< u u 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, 148, aud 12- 17- 18- -good. -very good. ti a 19 — good. 20- 23- 27 — very good. 28 — 29- 30- 3 1 " 32- 34" 35" 36- 49 — -very good. 5 1 - 52- 62- 66- -good. -very good. it a a a ti a ; — excellent. -good. 71- 72- 73- 76- -excellent, -very good. Figs • 2, <( 2, a 2, u 2, « 2, 11 2, u 2, (< 2, u 2, (( 2, u 2, (( 2, it 2, a 2, a 2, <( 2, a 2, a 2, a 2, a 2, a 2, u 2) it 2, u 2, 148, anc I 77- — very good 148, it 80- u a 148, u 81- — excellent. 148, a 84- - good. I 4 8, a 89- it 148, a 95" -very good 148, a 107- a (i 148, << 112- -good. 148, a 113- a I 4 8, a JI 5- -very good 148, it 116- -excellent. 148, it 119- -good. 148, a 120- u 148, it 123- -very good 148, (( 124- a a 148, It J 33- -good. 148, a 134- « 148, a 140- u 148, a 145- a 148, it 146- it 148, a 149- u 148, it 150- 11 148, tt 156- -very good 148, (< 168- -good. In the following lists of three-color combinations the principal color is blue. Figs. 3, 3, 3, 3, Blue and Orange. 4, and 11 — excellent. 4, " 12 — very good. 4, " 32 — good. 4) " 33 — ver Y good- 3» 4> 34- Figs. 3, 4, and 35 — very good. 3) 4> 3° — " 3, 4, " 39- " " " 3, 4, " 52- " " " 3, 4, " 53— good. "5 Figs. 3, 4, and 54 — good- Figs. 3, 4, and 122 — very good. it 3, 4, ' ' 68— " it 3, 4, ' ' 127— " " (( 3, 4, ' ' yy — very good. (< 3, 4, ' < 131- " " a 3, 4, ' ' 79- " " u 3, 4, ' ' 132 — good. it 3, 4> ' ' 80 — excellent. << 3, 4, ' ' 135 — excellent. a 3, 4> ' ' 81 ■ — very good. u 3, 4, ' ' 136 — very good a 3, 4. ' ' 108 — good. it 3, 4, ' ' 148— " a 3, 4, ' ' 109 — very good. u 3, 4, ' x 5i — good. tt 3, 4> ' ' 114— " " a 3, 4, ' ' 152- " a 3, 4, ' ' 115 — g° od - n 3, 4, ' ' 158 — very good it 3, 4, ' ' 119— " n 3, 4, ' ' 171 — good. Blue and Vermilion. Figs • 3 10, and 11 — excellent. Figs. 3 10, and 107 — very good u &> C CO O CQ c Q. (0 'o Q. ffi^sy ' ° CO o v a a J3 •a a CD a 3 3 J3 a J3 P. CO 3 H Figs 3, n, and 18 — - excellent. Figs 3, 11, and 76- — very good. u 3) ii, << i9 — 11 u 3, 11, <( 7 S- — good. c< 3> ii, it 20 — u u 3, 11, ii So- — very good. (i 3, ii, (( 23 — -good. u 3, 11, ii 81- — excellent. »" 3, ii, ft 26- <( (( 3, 11, ii, (( 48- u u a 3, 11, n 139- it ii a 3, ii, (( 52- u (( a 3, 11, ii 141- — good. 11 3, ii, u 55- - good. a 3, 11, ii 145- — very good. u 3, ii, « 56- -very good. 11 3, 11, ti 146- — good. u 3, ii, tt 62- -good. u 3, 11, it 149- ii (( 3, ii, a 66- a (i 3, 11, ii 151- — very good. it 3, ii, a 68- a it 3, 11, ti 152- — good. ti 3, ii, a 7i- - very good. it 3, 11, n 155- it it 3, ii, « 72- -good. it 3, 11, ti 163- u u 3, ii, a 73- - excellent. a 3, 11, tt 169- ii Blue and Black. Figs. 3, 12, and 13 — excellent. " 3, 12, " 14 — very good. '< 3, 12, " 17- " " Figs. 3, 11 3, 11 3, 12, and 18 — very good. 12, " 19 — excellent. 12, 20- 117 Figs • 3 , 12, and 28 — very good. Fi gs- 3 12, and 80 — good. a 3 12, ' ' 29 — excellent. ' 3 12, ' ' 81 — very good a 3 12, ' ' 30- " ' 3 12, ' ' 89 — ■ good. a 3 12, ' ' 31 — ■ very good. ' 3 12, ' ' 95- " n 3 12, ' ' 32 — good. ' 3 12, ' ' 107 — ■ " f a 3 12, ' ' 35- " ' 3 12, ' ' 116— " (i 3 12, ' ' 36 — very good. ' 3 12, ' ' 120— " it 3 12, ' ' 39- " " ' 3 12, ' ' 124 — very good u 3 12, ' 1 41— " " 3 12, ' ' 133- " " u 3 12, ' 44 — ' 3 12, ' ' 135- " " a 3 12, ' ' 48— " " ' 3 12, ' < 136- " " a 3 12, ' ' 49 — g° od - ' 3 12, ' ' 139- " " a 3 12, ' ' 52 — very good. ' 3 12, ' ' 140— " " a 3 12, ' ' 55 — g° od - ' 3 12, ' ' 141 — good. a 3 12, ' ' 56 — very good. ' 3 12, ' ' 145 — very good u 3 12, ' ' 62— " ' 3 12, ' ' 149 — good. u 3 12, ' ' 66 — good. ' 3 12, ' ' 151 — very good u 3 12, ' ' 68— " ' 3 12, ' ' 152 — good. u 3 12, ' ' 71 — very good. ' 3 12, ' ' !55— very good a 3 12, ' ' 7 2 — good. ' 3 12, ' ' 156- " " n 3 12, ' ' 73 — excellent. ' 3 12, ' ' 157- " " u 3 12, ' ' 76 — very good. ' 3 12, ' ' 163 — good. (I 3 12, ' ' 78— " ' 3 12, ' ' 169— " Blue and Color No. 36. Figs. 3, 36, and 14 — very good. 3, 36, ' ' 30- -good. 3, 36, ' ' 3 1 " — very good. 3> 36, ' ' 32- (l a 3, 36, ' ' 39- it u 3, 36, ' ' 4i- (( u 3, 36, ' ' 44- - good. 3, 36, ' ' 47- -very good. 3, 36, ' ' 48- - good. Figs- 3, 36, and 49 — good. 3, 36, ( ' 50- - very good 3, 36, ' ' 52- [< a 3, 36, ' ' 55- u a 3, 36, ' ' 56- - good. 3» 36, ' ' 68- - very good 3, 36, ' ' 7 1 - - excellent. 3, 36, ' ' 77- - very good 3, 36, ' ' 73- U (( 118 Figs. 3, 36, and 79 — -very good. 3, 36, " 80- " " 3, 36, " 81 — excellent. 3, 36, " 108 — very good. 3, 36, " 109- " " 3, 36, " 113 — good. 3) 3 6 > " 114 — very good. 3, 36, " 118- " " 3, 36, " 119- " " 3, 36, " 121- " " 3, 3 6 > " 127 — good. Figs- 3) 3 6 , and 133 — very good. " 3. 3 6 , " J 35— excellent. <( u u 3, 36, 3, 36, 3, 36, 3, 36, 3, 36, 3, 36, 3, 36, 3, 36, 3, 36, 136 — very good. 139- » « 1 5 2 — good. 159- " 162— " 164— " 169 — very good. 171— " 176 — good. Blue and Color No. 52. Figs. 3, 52, 3, 52, 3, 52, 3, 52, 3, 52, 3, 52, 3, 52, 3, 3, 3, 52, 52, 52, 3, 52, 3, 52, 3, 3, 3, 3, 3> 3, 3, 52, 52, 52, 52, 52, 52, 52, 3, 52, 3, 52, and 13- 17- 18- 19- 20- 27- 28- 29- 30- 3 1 " 32- 34- 35- 36- 44- 48- 50- 56- 62 66 68 (< a a C< a a (( a u u u u a u a (< u (( u u •very good, good, •very good. U u u u -good, -very good. - excellent, -very good. (1 u good, •very good. ■good. (i it Figs. 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, " 3, 52, and 72 " 73 76 So 81 S 9 95 107 10S 112 113 TI 5 116 120 121 123 124 127 133 135 140 u u (1 <( u (( (( u u a a a a u n u <( ■ very good. ■ excellent. — very good. — good. — very good. — good. ■very good. •good, ■very good. (1 u ■ good. a ■very good, ■good, •very good. - excellent, -very good. 119 Figs- 3, 52, and 145 —very good. 3, 52, " 146 — good. 3, 52, " 147- " 3» 52, " 149 — very good. 3, 52, " 151- " " a u a a Figs. 3, 52, and 155 — very good. 156- 3i 52, " 163- " 168- a u u 3, 52, 3, 52, 3, 52, 3, 52, 171 — Figs. 3 73, and 34 3, 73, ' 41 ' 3, 73, ' ' 47 ' 3, 73, ' ' 49 ' 3, 73, ' ' 50 ' 3, 73, ' ' 5i ' 3, 73, ' ' 52 ' 3, 73, ' ' 55 ' 3, 73, ' ' 68 ' 3, 73, ' ' 7i ' 3, 73, ' ' 79 ' 3, 73, ' ' 80 ' 3, 73, ' ' 81 ' 3, 73, ' ' 104 ' 3, 73, ' ' 108 ' 3, 73, ' ' no Blue and Color No. 73. ■ very good. - excellent, ■good, -very good. - excellent, -very good. - good. - very good. Figs. 3 73, an 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " ' 3 73, " 115- 117- 118- 119- 121- 122- 123- I3 1 " J 35- 151- 155- 158- 164- 171- 172- ■ very good. u a - good, -very good. ■good. ■very good. -good. a - excellent, •very good. - good. u -very good. - good. Blue and Color No. 81. Figs. 3, 81, and 13 — good. 3, 81, ' ' 14- — very good. 3, 81, ' ' 29- — good. 0, 81, ' ' 30- — very good. 3, 81, ' ' 3i- — good. 3, 81, ' ' 32- — very good. 3, 81, ' ' 33- a a Figs. 3, 81, and 34 — very good. 3, 81, ' ' 39- " " 3, 81, ' ' 49- " " 3, 81, ' ' 52 — good. 3, 81, ' ' 53- " 3, 81, ' ' 68 — very good. 3, Si, ' . 73 _ u u 120 *ig ; *■ 3 Si, and 77 — very good. Fig- '• 3 Si, and 133 — very good u 3, 81, ' ' 79- " " tt 3 Si, ' ' 135 — excellent. a 3, Si, ' ' 104 — good. tt Si, ' ' 136 — very good tt 3, Si, ' ' 10S — very good. tt 1 Si, < ' 139 — excellent. u 3, Si, ' ' 109— " u 3, Si, ' ' 140 — good. tt 3, Si, ' ' 1 10 — good. 11 3, Si, < < 141— " tt 3, Si, < ' 112— " a 3, 81, ' ' 145 — very good 11 3, Si, ' ' 114 — excellent. 11 3, Si, ' ' 146 — good. it 3, Si, ' ' 115 — very good. 11 3, Si, ' ' 149- " 11 3, Si, ' ' 116— " tt 3, Si, ' ' 151 — very good 11 Si, < ' 117— " it 3, Si, ' ' 152 — good. 11 3, Si, ' ' 11S— " 11 3, Si, ' ' 155— ver y g° od It 3, Si, ' ' 119— " tt 3, Si, ' ' 156 — good. tt 3, Si, ' ' 121 — good. 11 3, 81, ' ' 157- " tl ■5 Si, ' ' 122 — very good. it 3, 81, ' ' 15S- " tt 3, Si, ' ' 127— " tt 3, Si, ' ' 169 — very good tt 3, Si, ' 1 131- " " tt 3, Si, ' ' 171— " The following is a list of excellent three-color combinations taken from the mixed colors on Plates 2 to 21, inclusive. Figs. 17, 41, and 135 — excellent. 11 17, 44, ' ' 135 — If If 17, 52, ' ' !35 — tl tt 17, 7i, ' ' J 35 — ft fl J 7> 78, ' ' x 35 — ft It i7» Si, ' ' 135 — tt It 34, 44, ' ' s 3 - ft tl 34, 44, ' ' 139 — fl tl 34, 44. ' ' 142 — If It 34, 44, ' ' 14S — ft tt 34, 73, ' ' s 3 - ft tt 34, 78, ' ' 83- ft Figs. 34, 78, and 139 — -excellent. ff 34, 78, ' ' 142 — tt tt 34, 78, ' ' 148 — tt fl 34, Si, < ' 60 — tt ft 34, Si, ' ' 67- tt ff 34, Si, ' ' s 3 - u ft 34, Si, ' ' !35 — it ff 34, Si, ' ' i39 — tt ff 34, 81, ' ' 142 — it ft 34, 81, ' ' 148 — ti ff 36, 4i, ' ' 60— it ft 36, 4i, ' ' 67- it Figs. 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, " 36, 41, and 4 1 , 4i, 44, 44, 44, 44, 44, 44, 52, 52, 52, 52, 52, 52, 52, 52, 7h 7i, 7i, 7i, 7i, 7i, 7i, 7i, 78, 78, 78, 78, 78, 78, 78, 81, 81, 81, 81, 135 — excellent. 139 — 148— 60 — 83- no — 139 — 142 — 148 — 60 — 67- 83- no — 135 — 139 — 142 — 148 — 60 — 67- 83- no — 135 — 139 — 142 — 148 — 60 — 67- 83- 135 — J 39 — 142 — 148 — 60 — 67- 83- !35 — Figs. 36 81, and 139 — excellent. 36, 81, < 142 — 36, 81, ' 148 — 41, 94, " 148— 41, 95, ' 148 — 41, 115, ' 148 — 41, 116, ' 148 — 41, 147, ' 148— 44, 94, " 148— 44, 95, ' 14S— 44, 115, ' 148— 44, 116, ' 148— 44, 135, ' 140 — 44, 135, ' 145 — 44, 135, ' 149— 44, 135, ' 156— 44, 147, ' 148 — 45, 59, ' 73 — 45', 73, ' i43 — 52, 94, ' 148— 52, 95, ' 148— 52, 115, ' 14S— 52, 116, ' 14S— 52, 147, ' 14S— 59, 73, ' 75 — 59, 73, ' 83- 59, 73, ' 142 — 7i, 94, ' 148— 7i, 95, ' 148— 7i, 115, 1 148— 122 Figs. 71, 147, and 14S — excellent. ft 73, 75, u 143— (1 it 73, S3, {( 13s- ft ft 73, S3, it 143— ft a 73, 142, 11 143— ft it 78, 94, C( 148— tf (( 73, 95, (( 148— tf Figs. 78, 115, and 148 — excellent. " 78, 116, " 148— " 7 8, 147, " 148- Si, 94, " 148- 81, 95, " 148- Si, 115, " 148- Si, 116, " 148- Si, 147, " 148- It tf (( ff ft P» _A 12.- A Few Hints on Job Composition. N the composition of display work of any kind, there are two things which the printer should always keep in mind — Harmony of Type Faces, and Harmony of Proportion. By Harmony of Type Faces, we mean that when more than one character of letter is used in a job, they should be selected with a view to producing a harmonious contrast of face — that is, there should be a decided difference in character but not a violent difference. For example, in the card below, we Original Ideas, Semper Paratus, Director. Operator. Good Work & Co. RECOGNIZE THE FACT THAT The Best is the Cheapest IN THE BEGINNING AND MIDDLE • • AS WELL AS IN THE END • • Cincinnati, Ohio, U. S. A. Telephone 161. Nevada Building. 124 have used one style of letter for the main lines and for the sake of contrast of face, have nsed a ronian letter for the balance of the card. Harmony oj Proportion is produced when a job is so con- structed that all the borders, panels, lines of type, etc., of which it is composed, bear a proper proportion to one another in heft, height, and length, and are located so as to produce a nice balance — the whole being property proportioned to the size of the sheet or card upon which it is to be printed. So then it may be said that when a job shows a harmony of type faces, and at the same time a harmony of proportion in all its parts, it is a very perfect specimen of the compositor's art. When it is possible to set the whole of a job in the different sizes of one style of letter without producing a disharmony of proportion — one of the best results in job composition is attained. For example, see Plates 43, 49, 61, 80, and 88. This harmony in type faces bears the same relation to type, that the harmony of scale does to colors ; for example, see Plate 80, which was set in different sizes of one letter, and the borders at top and bottom were printed in different tones of one color ; the balance of the page was printed in two tones of another color. When a fancy letter or one that is peculiar in character is used for the main display lines of a job, it is always in good taste to use a plain roman or *gothic letter (or sometimes both) for the balance of the matter. The gothic and roman letters bear the same relation to t} r pe faces that gray does to colors ; gray is a neutral color, and can be used with any other color without producing a disharmony. So it is with the gothic and roman letters ; they can be used with any other letter without producing a bad effect. This rule also applies to any plain letter in which •The tj-pe known as gothic, in the United States, is composed of plain lines, and is the simplest in form of any type made. 125 the gothic or roman character predominates. For example, see Plates 47, 48, 49, 53, 56, 57, 65, and 67. It is not in good taste to place near together in one job, two lines of letters between which there is a violent difference in form or character ; it is always best to avoid extremes in the selection of different kinds of type for display lines. The card following is a good illustration of what printers ought to avoid. It will be observed that there is a violent contrast in form between the two main lines, while the character of the letters is the same ; and a violent contrast in both form and character between the letters in the business line and the letters in the street line ; and also between the letters in the street line and the letters in the city line. UNO I. Nevehteink. Estimator. That'sgood'nough, Operator. ROOR WORK 8c CO., vwuzn- We use TEIEPHONE next door. §1IM>I>< It is not in good taste to use a very extended letter for a narrow title page ; or a very condensed letter for an oblong page. To get the best result, the letters and the page should be very nearly the same in proportion. If possible, the most 126 important line or panel should be located between three and five-tenths of the full length of the page from the top. It will sometimes be found that, on account of the nature or quantity of the matter, this suggestion can not be followed. A perfectly- shaped egg, viewed as represented on the following page, is a splendid illustration of the form of a perfect title page. When a single line of type is to occupy the center of a page, it should be placed a little above the actual center; other- wise, if placed exactly in the center, it will appear to be below the center. For example, see illustrations below. IN THE CENTER ABOVE THE CENTER This rule will also apply to any amount of type matter, ornaments, panels, etc., which are intended to occupy the center of a page or panel. 127 A SKETCH OF Two Type Tinkers BY Peter Pica Pigh, Author of "Any Color So'ts Red, or the Pranks of Pat the Pasty Pressman." ?k The Never Estimate Cost Co. Guessers, SWINECINNATI, OHIO. 1892 I2S In the composition of high-class display work, when it is possible, the letters in a line of type should be spaced so that each word will show an even distribution of color — that is, the body of each word should approach as nearly as possible to the even sweep of the painter's brush. See example below. LAWYER SKINNIM NOT SPACED. LAWYER SKINNIM SPACED. Sometimes the combination of certain letters makes it impos- sible for us to get a very even distribution of color by spacing ; but we can always improve the appearance of the line by so doing ; see following example : MALTJUICE NOT SPACED. MALTJUICE SPACED. The letters which cause the uneven appearance of lines are A, F, J, L, P, T, V, W and Y. In some job types this uneven- ness is overcome to a great extent by some of these letters being mortised or by all the other letters not named being cast on bodies somewhat wider than the face. 129 A Few Hints on Printing Presses, Rollers, Inks, and Papers. O do good presswork one must have good presses, ink, and rollers. If a cylinder press, the tympan should be made of thin, hard press -boards held firmly to the cylinder by a sheet of fine muslin, and on top of the muslin there should be drawn a sheet of fine, heavy manilla paper ; on top of this there should be not to exceed two or three sheets of thin book paper of the best quality. When the tympan is so constructed its surface should be a little below the surface of the cylinder bearers, so that when the over-lays are pasted in their proper places on the tympan, and a sheet of fine manilla paper drawn over the whole, the surface of the tympan will then be exactly on a line with the surface of the bearers on the cylinder. A tympan made up in this manner is specially suitable for a high class of job and illustrated catalogue work. The platen of a job press should be so adjusted, that when the tympan is made up of two sheets of fine three-ply bristol, covered with three or four sheets of thin manilla or book paper, it is then in proper condition for printing delicate scripts and other light-face letters. For heavier forms it will, of course, be necessary to add more sheets of paper and sometimes an extra card. The tympan must always be drawn as tight as possible to insure good work. 130 A roller when in the best condition for taking up the ink and freely giving it off again, should be firmly elastic, and should feel tacky when the hand is gently pressed upon its surface; at the saine time, if the haud is moved rapidly along its surface, it should feel smooth and polished as if it was not very tacky. A form roller should be nicely adjusted so that it will be evenly pressed by the vibrator, along its full length, without flattening its surface ; at the same time it should firmly but evenly press the face of the form without depositing any ink below the actual face of the type, cuts, etc., contained in the form. Printing ink should always be adapted to the surface upon which it is to be stamped. If the paper is hard and smooth, then the ink should be somewhat stiff; but if it is soft and rough, then the ink should be comparatively thin. Black inks require less impression to make them adhere properly to the surface of paper than any of the colors ; the reason being that the coloring matter of which the blacks are made, is generally composed of much finer particles than the colored inks ; for this reason very fine half-tone and wood engravings can be printed much cleaner and sharper with black than with any colored ink. Sometimes it will be found that certain heavy-bodied colors, such as vermilion, orange, etc., will cake on the form and rollers; the reason for this is generally because the varnish in the ink is not quite strong enough to hold the coloring matter, which is very heavy. This trouble can often be overcome by adding a little medium varnish to the ink. Boiled linseed oil is one of the best mediums there is for reducing inks, when a little too stiff for printing upon some papers. It will sometimes be found, however, that linseed oil will not answer the purpose ; for instance, we have tried to reduce certain inks which had become somewhat hard, and found that the oil merely separated the hard inks into little buttery masses which could not be united nor reduced to an even con- 131 sistency for working. By adding a little varnish we soon had the inks in excellent condition for printing. Very often it will be found that a job is to be handled soon after coming from the press. In such cases setting-off and smear- ing can sometimes be avoided. For example, say the job is to be printed in medium blue ink; mix one part ultramarine blue, one part bronze blue, and about two parts zinc white ; the result will be a good blue which will work well and dry quickly. Any mixture of inks in which zinc white predominates will work well and dry quickly, without the printer being annoyed by the sheets setting-off. It is sometimes hard to make an ultramarine blue, a violet, or a purple ink print smoothly upon some papers; the best result is obtained with these inks when they are printed on an unsized paper; the colors will invariably lay smoother and look much better than when printed on sized paper. In bronze work, the best result is generally obtained when a fine writing paper is used. In the use of enameled or coated papers, the printer will frequently be troubled by the fact that after the work is completed the bronze powder will rub off at the slightest touch; the reason for this is, the greater part of the sizing does not remain on the surface, but, instead, it goes through the enamel or coating, to the body of the paper, leaving the powder to come off when it is touched. This trouble can be overcome by printing the form first in the sizing and then, when dry, running the work through the press a second time and applying the bronze powder at the last printing. The first printing is for the purpose of filling the paper so that the size will remain on the surface in the second printing. When paper is sized or properly filled, so that the size when printed will remain on the surface, there will then be no danger of the powder coming off. In printing half-tone and fine wood engravings, the best result will be reached when a fine enameled book paper is used. A more 132 perfect surface impression can be obtained on this paper than upon any other. By examining impressions of a cut upon different kinds of paper with a magnifying glass, it will be plainly seen that the lines are thinner and sharper on the enameled paper than upon any other. The reason for this is that the instant the cut comes into contact with the paper, all the surplus varnish or oil in the ink goes through the enamel, instead of remaining on the surface and being spread by the pressure of the cut, as it will on a hard, sized paper. i33 IMSSHKW^WBM9B"ilSi Description of Head and Tail Pieces and Initial Letters. HE head-piece on page 3 was printed in three of the light tones of color No. 80, and the tail-piece on same page was printed in color No. 64 and two of its light tones ; both are excellent examples of the harmony of Scale. The initial B on page 5 was printed in tint No. 163 and black. The initial P on page 1 1 was printed in a gray tint and black. The head piece on page 13 was first printed in tint No. 170, then in tint No. 159 and then in color No. 81 — a good example of the harmony of relative colors. The initial F on same page was first printed in a pale gold bronze, then in a half-tone red, then in color No. 41, and then in black. The head-piece on page 22 was printed in color No. 51 and its tint No. 164, the tint being printed first. The initial P on same page was first printed in gold bronze, then in a bine, then in an orange red, and then in black. The tail-piece on page 32 was printed in color No. 71. The head-piece on page 33 was first printed in tint No. 152, and then in color No. 35 — a rich combination. The initial W on same page was first printed in silver bronze, then in a half-tone bine, then in a half-tone rose-lake, and then in black. The head-piece on page 38 was first printed in tint No. 176, then in tint No. 169, and then in color No. 73. The initial W on 134 same page was first printed in gold bronze, then in green, then in purple, and then in black. The head-piece on page 60 was first printed in tint No. 166 and then in black. The initial T on same page was first printed in tint No. 162 and then in black. The head-piece and initial W on page 97 were first printed in an orange tint and then in black. The head-piece and initial I on page 124 were first printed in a flesh pink and then in black. The head-piece and initial T on page 130 were first printed in tint No. 165 and then in black. The head-piece and initial T on page 134 were first printed in a green tint and then in black. The head-piece on page 136 was printed in color No. 71. The initial on same page was printed in same color and then in black. 135 A Simple Method of Embossing. HB different specimens of embossed work shown in this book were done in the following manner : In the first place, the embossing plate or border was locked in a chase ready for press. Then the form was "made ready" so that the impression showed firmly and evenly on the tympan, without the use of ink. Then a paste was made of Barytes powder and a good flour paste thoroughly mixed in equal proportions, the flour paste being free from lumps. Then the face of the form was well oiled, so that when the impres- sion was taken the pasted sheet would not stick to it. Then the paste was spread evenly and thinly over the impression on the tympan with a stiff brush, and a sheet of manilla tissue was laid over this, and an impression taken upon it. Then this impression was again coated thinly with the paste, care being taken to put the paste where it was most needed, and another sheet of the tissue was added. This operation was repeated until every part of the work was embossed as evenly as the plate or border would allow. Then the matrix so made was dried with a hot iron or a piece of burning paper; in the mean time, at intervals of a minute or two, a half dozen impressions were taken on the tympan so that the matrix would not warp or shrink out of position while After the matrix was thoroughly hard and dry, the 136 being dried guides were set and the sheets run through at a moderate rate of speed. In embossing the border on Plate 56 it was also printed in a blue-gray tint over a gray tint at the same time. Many fine effects can be produced with the different embossing borders shown on Plates 54 and 55, b}f embossing and printing them at one impression in a tint on delicately tinted paper or cardboard. The Barytes powder can be obtained of any dealer in painters' dry colors. It will be noticed that the embossed work does not stand in very high relief. This is due to the fact that the sheets were subjected to great pressure during the process of binding the work, which, of course, somewhat flattened them out. This method of embossing is not suitable for heavy or hard bristol board. Any smooth stock that is somewhat soft and at the same time tough, is best for the purpose. 137 -fO ^ >£• C& ^fe'v^^ ,vi '-fO ■S <«-/ A Cfc «%-■ r I