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BOOK ILLUSTRATIONS 275
gether, and great care must be taken not to smudge the ink from one line to another. As far as possible it is also best to avoid trying to erase any marks, since such attempts usually produce effects resulting in smudges which look very bad in the illustration.
When the design of a border is very complicated, it is not always necessary to draw the whole of the border. If sufficient is drawn to enable the printer to easily see the order of the design, he will be able to make up the complete border if a rough drawing of it be submitted at the same time.
The Three-colour Process. — One of the most instructive and interesting of the processes used for book illustration is that known as the " three-colour process." This is more particularly so from our standpoint, since the success of the process depends upon the correct use of ortho-chromatic plates and colour-screens, and in the last year or two colour photography has also played a very important part in this work. The spectrum colours, red (vermilion), green (emerald green), and violet (blue violet), are often spoken of as primary light colours, since by the combination of these three colours it is possible to produce any of the various tints.
Now we must consider that while the sum of the three primary light colours produces white light, we have quite a different matter to deal with in the case of pigment colours. When one colour is printed on the top of another, we perform in reality a subtraction process so far as the light reflected is concerned.
The so-called primary pigment colours which are used in the colour process are secondary, so far as the light reflected by them is concerned, for each is built up of tAvo primary light colours. Thus, magenta or crimson is composed of the primary colours red and violet, primrose yellow consists of green and red, and lastly blue or cyanblue is built up of green and violet.