The most perfect contrasts are those above mentioned, which are formed by the complementary colours; yet the primaries blue, red, and yellow also agree well together. But if such colours as are not in harmony are placed near each other, the effect is very damaging to their brightness. While red is made more brilliant by the proximity of green, it is dimmed and spoiled by placing it next an orange. Neither blue nor red contrasts well with violet, because the latter contains each of these colours in its composition. In any case where they must come into juxtaposition, the unpleasant effect may be lessened by adding a little of the opposite colour: so, if a violet is to contrast with red, it will be well to give it a shade of blue, making it more _purple_; if, on the other hand, it is to contrast with blue or green, it should be made _redder_. II. COLOURS WITH BLACK. In all contrasts, the depth of the colour is an important element, but especially so in such as are to be affected by the presence of black. In but few instances will the latter bear the neighbourhood of a very deep colour to advantage, while it harmonizes with the lighter ones by contrast of tone. Yellow, from its near approach to white, should always be worked “full;” orange and green should also be full, and moderately deep in tone, to contrast with black. If a blue is employed, it should be light, or it will impoverish the black and be weakened itself. A very light blue border, with a broad margin of white between it and the body of matter enclosed, will give a clean, bright look to black ink, and whiteness to the paper. A light pink (such as carmine reduced with flake-white or with clear varnish) is also good; yet perhaps the preceding is preferable. Dark and heavy borders are frequently a positive injury to printing, where the working in a light shade would have secured a good effect; for the border should always be so far secondary to the matter enclosed as not to draw off the attention too much to itself.