4. Another way to make a good harmony is to use complementary colors. Red and blue; green, violet, and yellow; green and plum; blue and orange; purple and yellow-green. One should be used intense, and the other in a gray tone. For example, in combining color with hair, greens, particularly gray greens, are very pleasing with auburn hair. Barbara Oakes discovered that fact with her auburn hair. Violet tends to make yellow hair look more golden, so care must be taken to have a gray violet so the gold color in the hair will not be overpowered. "Red" hair is made to look brighter when a blue costume is worn. So you see one can avoid unfortunate combinations if one studies the strength of the color of the hair in relation to the colors to be used. =Learning to combine colors.= Miss James had many samples of gauzy chiffons which the girls learned to handle and to combine so as to get artistic results, for combinations of complementary and contrasting colors as well as for combinations of "one hue." It is only through trying that one learns. This, too, is a matter of appreciation. Some people have finer appreciation for color than others. By thinking about this and learning all you can in school and from books, you too may come to have real color appreciation. In choosing the best colors for your figure or for mother's or for auntie's, you must think about the value and intensity as well as the other characteristics of color. Our costumes, as a rule, are worn for different occasions and are seen against different backgrounds. We say that the backgrounds, as in rooms, or against rocks or grass or hillside, are of about middle value--halfway between white and black; in other words, gray. Black and white costumes, then, will always stand out. White tends to make the figure appear large; black calls attention to the outlines of figure and looks best on people with good figures because of this emphasis of outline. Blue, blue green, and blue violet--if of middle value, very "gray"--or gray itself are best adapted to stout figures as they are retiring colors. They seem to melt into the background and do not give prominence to the figure. A little brighter color may be added and make the costume more becoming to the face. This should be used through the center of the gown, not at the edge to draw the eye to the boundaries of the stout figure. A rose or a flower of contrast at the center of the belt is an example. =Studying lines of a costume.= Miss James says the best way to get an effect of height is to place the longest possible vertical lines through the center of the figure with no points of emphasis as trimming on the outer parts (Fig. 135). For a slim figure, when one wishes to appear stout, the outline of the figure should be emphasized at the outer sides of sleeves or shoulders or skirts, by such arrangement of trimming that the eye is carried across the figure (Fig. 136).