

^{^^■■^ 



April 6, 1911. 



The Weekly Florists^ Review* 



29 



' ■■''%: 



The Big Baskets of Flowering Plants are Still in High Favor with the Newrich. 



need the same treatment in this respect. 

 Still, one auto will cost less for painting 

 than two wagons. 



With the above conclusions arrived at, 

 what kind of a car should we purchase! 

 In this matter I will endeavor to give a 

 few pointers in a future issue. 



Hugo Schroeter. 



SOME SIM PLE COL OR LAWS. 

 Colors, Tints and Shades. 



In addition to the principle stated 

 in the last chapter of this article, as 

 to the opposite colors in the circle be- 

 ing harmonious in combination, as well 

 as their dependent tints and shades, 

 we are about to arrive at another im- 

 portant principle, which can be dis- 

 cussed after we obtain a clear under- 

 standing of the terms, tint and shade. 

 A pure color is the normal tone. 

 A tone is any grade of a named color. 

 A tint is a light tone of any color. A 

 shade is a dark tone. 



Since any flower is composed of two 



or more colors, it is likely to run into 

 tints and shades of all these colors. 

 As we learned in the last chapter, the 

 fact that one flower is composed of 

 this system of colors makes its color 

 plan !i complex one to begin with. 

 Then, when we come to combining 

 these complex systems of color de- 

 signing one with the other, unless we 

 have color instincts we are going to 

 be lost in the maze. It follows that 

 putting two flowers of different colors 

 together is no trifling matter. 



The Allowable and the Admirable. 



All these delicate color influences de- 

 termine the niceties of fine harmony 

 and make the differences between al- 

 lowable and exquisite coloring. For 

 example, many pink and lavender 

 sweet peas make fair combinations, 

 but, if you wish to strike a chord 

 of perfect harmony, select a rich, dark 

 violet and set it close to a light laven- 

 der pink, and this illustrates our next 

 principle, as expressed in these words: 

 The deeper shades of a normal color 



are best combined with the lightest 

 tints of its own or a harmonious color. 



This principle, namely, the common 

 color strain which runs through all 

 parts of a harmonious combination, is 

 clearly discerned in the color scheme 

 of any blooming plant, which invari- 

 ably shows a tint or shade of one of 

 its normal colors running through 

 flower, bud, seed, foliage and stem. 

 Take as an illustration a cineraria. A 

 purple one will show a lavender tint 

 under the leaves or on the stems. 

 Sometimes it w^ill be a reddish laven- 

 der; sometimes it will be a more de- 

 cided blue lavender. In either case it 

 is an excellent illustration of the fact 

 that red and blue make purple. The 

 general tone of the upper foliage will 

 be that of a purple green, rather than 

 a yellow green or any other green. 



This law of color association refers 

 not only to the combining of two or 

 more colors in flowers, but also to the 

 selection of extra green, the recep- 



tacles, the ribbon or any 

 cessorj', 



other ac- 



