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The Weekly Florists^ Review* 



55 



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THE VACANT CHAIR. 



The accompanying illustration is from 

 a photograph of a very handsome vacant 

 chair made for the obsequies of the 

 mayor of Knoxville, Tenn., by C. L. 

 Baum, the artist being Miss Minnie 

 Baum. The piece w^as three feet eight 

 inches high and broad in proportion. Th* 

 half-tone shows the material used and 

 the excellent character of the wark. 



COLOR HINTS. -IL 



Shade and Tint. 



In our last talk on color we discussed 

 how to harmonize different colors and 

 combinations of colors. This time wei 

 shall attempt to show how a color can 

 find itself. There are two terms to be 

 employed today, which should be well 

 understood at the start. They are 

 "shade" and "tint." By the word 

 shade is meant the darkest, or one of 

 the darker tones of any one color. By 

 the word tint is meant the lightest or 

 one of the lighter tones of the color. 

 To better understand this, get out the 

 color box again. Take, for example, a 

 red. To find a shade of this color, mix 

 it with black, and as you add more 

 black, the red will become fainter, and 

 the result of the mixture will be a darker 

 red each time. These are the shades of 

 the red with which we started. Now 

 start again with a little of the pure 

 red. Dilute it or mix it with white, and 

 as you mix more white the color result- 

 ing from the mixture will become lighter 

 and lighter, until finally you get a deli- 

 cate pink. These light colors are the 

 tints of the red. We see that the red 

 runs all through from the darkest shades 

 to the lightest tints. 



In our last study we found that thera 

 must be some one color common to two 

 or more flowers in order to make a har- 

 monious combination. The same prin- 

 . ciple differently applied governs the use 

 of tints and shades. Follow it out, and 

 you will come upon many beautiful and 

 rare combinations, which will make novel 

 and catchy ideas. People will say, "I 

 am tired of pink and white; suggest 

 some other combination." Be able to 

 demonstrate to them that a dark crim- 

 son and a delicate pink make a beauti- 

 ful and artistic combination. The darker 

 the red and the more delicate the pink, 

 the richer and softer is the harmony. 

 To illustrate: Take a cluster of Lib- 

 erty roses and introduce to the group a 

 few Golden Gates. In all the realm of 

 color you can never find a finer combina- 

 tion. Another illustration of the same 

 principle can be seen in the combination 

 of Maceo and Morning Glory carna- 

 tions. It is pleasing to the eye because 

 there is a union and an easy blending of 

 the same line of color from the shade 

 to the tint as we see it discover itself. 



Adding Intermediate Tones. ' 



After some practice in this line you 



may introduce an intermediate tone or 

 two, as when in using the Liberty and 

 Golden Gate roses, some of the lighter 

 Bridesmaid roses may be added to the 

 group with good effect, for the coloring 

 in the Bridesmaid rose is one of the 

 tints of the red found in the Liberty. 



All so-called white flowers have a tint 

 or a trace of some color. It may be yel- 

 low, green, violet, red or blue. Find a 

 rich dark color which to your eye is the 



tions may be correctly used with flowers 

 of a soft creamy white tint. This law 

 of color harmony governs the use in 

 this last combination also. Brilliant and 

 trying magentas and purples are beauti- 

 ful with very delicate pink and lilac 

 tints: for example, Joost or Lawson 

 carnations with Prosperity. Try in this 

 line of coloring American Beauties and 

 white lilacs together. The more hid- 

 den the common or connecting color is, 

 the more delicate and fascinating is 

 the picture. In other words, the darker 

 the shade and the lighter the tint, the 

 finer is the color work. 



Among other questions that are apt 

 to occur in this connection is, how many 

 colors is it safe to use together? It 

 is quite a fad nowadays among peo- 

 ple who consider themselves qualified to 

 dictate to the public taste to limit the 

 amount of coloring to be used in a Clus- 

 ter or vase of flowers. Some even de- 



Vacant Chair for Funeral of Mayor of Knoxville, Tenn, 



shade corresponding to the tint found 

 in this particular flower, and combine 

 the two. Violets and white lilacs in a 

 cluster well illustrate this point. In this 

 combination purple in tint and shade is 

 the one color. A brilliant yellow or 

 orange in such flowers as chrysanthe- 

 mums, zinnias, marigolds and others 

 which are trying colors in most situa- 



clare that it is poor taste to use more 

 than one color. But I fail to see the 

 reasonableness of this opinion. Nature 

 blends many colors in one scheme. A 

 flower of a pure, that is, unmixed color, 

 is as rare as a vacuum. Use as many 

 colors as you can blend. This rule will 

 work both ways. If you have at hand 

 two colors between which you can see 



