James Fischer writes: I think that the only hurdle is to pick colors that
contrast well in terms of being "far apart" from each other in a strict
"how many angstroms" terms.

Tim Vaughan writes: My best results were to make several marks of
different shapes, and of different numbers and on different parts of the
hives, which were all white...(all markings in black)

In his book "Principles of Color," Faber Birren writes: "If the areas
concerned are large in size, as on the checkerboard..., strong
differences in value and hue will cause startling visual effects. Here
black and white and complementary hues are most dynamic. On the other
hand, if values or colors of strong difference are presented in minute
areas, spots, or lines, and diffused by the eye, they will tend to cancel
each other and dullness will result. Red and green "juxtaposed" are
vibrant and impulsive. Red and green "diffused" will produce a muddy
brown. In short, opposite colors are best featured in large areas --
juxtaposed. Adjacent or analogous colors are well featured in minute
areas -- diffused." (Faber Birren, Principles of Color, Schiffer
Publishing Ltd.: West Chester, PA 1987, p.34)

Birren gives a black and white checkerboard pattern as an example of
color juxtaposition and very thin black and white lines drawn next to one
another as an example of color diffusion. (p. 33)

If Birren is correct, are a flower's visible colors and "UV color"
adjacent or analogous colors that are "diffused" over a small surface
area? Isn't a checkerboard pattern (or an equally bold pattern) a better
guidepost than a floral pattern when featured on a large surface area
such as a hive because it gives black and white and complementary hues
greater contrast? Opposite colors appear to require a large surface area
and bold patterns for maximum effect.

Mark