The Washington herald., 1914-03-31

HOW TOMAKE THE MOST
OF YOUR GOOD POINTS

I is decided to produce, as chestnut.
golden or dead leaf. looks well with GER
| tain tones of blue, also green In q
chestnut brown the red predeminates. in
golden brown yellow, while in dead leaf
these two shades are used IN small pro-
| portions. The genuine colors Of blue and
brown, also blue and green, are not al
! ways a success. So when one Is in doubt
the broken colors should be experimental
with.
! When two colors that should go well
| together, but refuse to do so, separate
them with white. Most women have an
idea that any effect that appears In
doubtful taste may be toned down with
black This is a mistake. Black lowers
the tones certainly. but it not only be-
comes duh in itself Except black velveO,
but also imparts some of its dullness to
the colors.
White, on the contrary. absorbs or
| takes on a tinge of the colors it seeks to
modify. bringing about harmonious rath-
er than contrasting results.
Another point to remember in connec-
ton with color combinations is that very
often two tones or colors require a me-
dunn to make them agree. The two many
harmonic. still they need to be connect
ed or separated" as the case may be.
For instance. black and white go well to-
gether, but If the solid black and solid
white can be separated or brought to-
gether with q combination of the two
tones, as a black and white check or
stripe, the effect will be more artistic
because the contrast is not so strong.
Broken Tones.
A dainty color will answer quite as we'll
as the broken black and white; say the
gown is black and the top and also the
sleeves are finished with white lace yoke
and cuffs or ruffles of lace; then the
broken tones or color should come be-
tween the white and black as collar, out
line to yoke and turn-back cuffs, also
the belt.
Again, never combine two figured ma
terials. One should be a solid color.
Then one may combine two or even more
figured fabrics, as lace, stripes or figures
and printed ribbons. There must, how
ever. be a solid color somewhere to rest
the eyes upon.
1t is, I know, generally asserted by
color artists that women should study
nature as a means toward helping them
to choose their costumes correctly.
This may be all very well for those
persons VINO already possess a knowledge
of the law of color harmOnies and con-
trasts, but il is scarcely a safe rule for
all women to follow. Every one may,
however. study the shades found COM
bined in nature with much profit to her.
self. For instance, We might notice the
shade of the foliage Of the rose and how
ii differs in tone from the delicate green
of the poppy or the wild hyacinth. This
will give one an idea of the shades of
green which will combine respectively
with pink, red and blue.
Autumn tints are a lesson in color. The
variety is so great and by close obser.
walton of the fading leaves one can often
find out what tint of green will harmonize
with the copper colors and which shade
of brown goes best with the pale yellow
or maize tints seen in dying leaves.
(Any question suggested by this article
will be answered by Mrs. Lee personally
if a stamped and self-addressed envelope
be inclosed in the inquirer's letter.
Copyright, lslLD