Chapter XII, wherein we described the common types of surface

enrichment. As we are now primarily considering the question of color, we first regard the ware as uniformly glazed with either clear or matt glaze. The former is brilliant, of high chroma, and has a highly polished surface, while the latter is dull surfaced glaze of lower chroma.

[Sidenote: Metallic Oxides]

Metallic oxides are used to stain or color clear glazes, while underglaze colors are ordinarily used for matts. The percentage of stains to be added to the dry glazes is stated in Figure 464 where they can be readily traced to their approximate locations in the hue rectangles by the reference letters M1, C1, etc. Certain oxides are weak coloring agents and require larger amounts of oxide to color the glaze perceptibly.

Iron and copper oxide may be mixed to produce a large variety of yellow greens; other combinations will suggest themselves. It is possible to use oxides as well as underglaze colors for staining matt glazes.

[Sidenote: Harmony of Color]

We have, to this point, considered the enrichment of large surfaces whose areas were arbitrarily determined by construction, as, for example, the extent of wall surface, ceiling, or wood trim and furniture. The essential element in this type of problem is the selection of a one, two, or three-hued color arrangement that would harmoniously link ceiling, wall, and wood together. If we had introduced stencilling or figured wall paper it would have immediately called for the solution of another problem, the factor of _how much_ strong color to use. In other words, it would have introduced the question of _proportionate distribution_ of color upon a given area. It was thought best to limit the subject of proportionate distribution to small areas, where the designer is often forced to make decisions and to divide surfaces into proportionate color parts for his surface enrichment.

We may now repeat the definition of harmony with the accentuation placed upon a certain wording directly applicable to small surfaces. Harmony is obtained by the proper balancing and _proportionate distribution_ of value, hue, and chroma upon a surface to give a unified and pleasing reaction to the eye and intellect.

[Sidenote: Proportionate Distribution of Color for Small Areas]

Rule 12k. _Proportionate distribution of hue, value, and chroma in surface enrichment calls for a small area, high in chroma, and contrasting in value to the rest of the surface but harmonizing with it. This is usually located in the area of concentration. The larger areas are to be sufficiently reduced in chroma and value to form a slight contrast with the background._

[Sidenote: Examples of Proportionate Distribution]

Figure 465 illustrates some of the salient factors of distribution of values and hues. Hues of or near standard chromatic intensity should be used in _small quantities_ and should accentuate the point of concentration. These small areas are to be regarded as giving brilliancy and life to the surface and to hold the eye at the point of concentration. Very small surfaces are capable of sustaining spots of high chroma, as is shown in the silver pin of Figure 468. The remaining portions of the surface enrichment should be kept subordinated in hue and value to the point of concentration, _but related to it_. The bands of Figure 465 are well reduced in value and make little contrast with the background, thus forming true surface enrichment or that which neither rises above or apparently falls through the surface. The point of concentration is higher in chroma than the surrounding areas.

Rule 12l. _One hue, or a group of analogous hues should dominate all color schemes. The point of concentration may be emphasized by one hue related to the other hues by (1) contrasted, (2) dominant, (3) analogous, (4) complementary relations. This hue should make slightly stronger value and chroma contrast than the remaining hues._

Rule 12m. _An extreme range of five values is generally sufficient to supply contrast to a design but still retain its value unity. Restraint in the use of values is essential._

Rule 12n. _The amount of chroma may be increased in proportion to the decrease in the decorated area. Exceptions may be made to this under Rule 12o._

[Sidenote: Value and Hue and Chroma Range for Small Areas]

In the vase, Figure 464A, the designer selected hues from neighboring or analogous rectangles green and blue-green. The value range is restricted to four steps and the areas of concentration are placed at the top of the vase by the stronger value and hue contrasts of the foliage of the trees and dark blue rim. In both Figures, 464A and 465, the designer has used analogous hue arrangements. This is suggested to the beginner as serviceable for objects exceeding the dimensions of jewelry and includes such problems as vase forms, book stalls, and brackets. Contrasted and dominant arrangements are also good, safe, and sound arrangements, but fail to give the variety of color to small objects afforded by analogous grouping. At a later point in this chapter the subject of complementary coloring will suggest a new arrangement to the reader, but this scheme is to be left until he has sufficiently mastered the possibilities of the arrangements just indicated.

Five values form a safe value range for small objects. It is good practice to keep the larger areas, including the background, within three steps of each other and to allow the point of concentration to form the strongest value contrast.

[Sidenote: Over Reduction in Chroma]

The chroma may range from full to three-quarters intensity. Reduction to one-half or one-fourth intensity is inclined to make a small object appear washed out or chalky. Shades, at their full intensity, are good colors to use for small surfaces in wood. Small enameled objects may be developed in full chroma, while pottery forms range from full chroma to one-half chroma in forms of slip and underglaze painting.

[Sidenote: Color Applied to the Surface Enrichment of Metal]

It is interesting to note the gradually increasing chroma percentage of the different coloring media in direct proportion to the reduction of the area of the surface to be enriched. By comparing the diagrams of Figures 464 and 457 it will be seen that there is a steady movement toward the left sides of the hue rectangles or toward stronger intensity. The wall areas are shown to be lowest in chroma, followed by the increasing intensity of wood stains, glazes, and enamels.

[Sidenote: Enamels]

Enamels, commonly used to enrich metal surfaces, are highest in chroma of the decorative materials under discussion and are to be treated with nearly as much restraint as one would use in enriching a surface with semi-precious stones, for strong hues are cheapened by excessive use. The plate in Figure 436 has small circles filled with enamel and a large field of chased or uncolored design.

[Sidenote: Transparent Enamels]

Transparent enamels are comparable to clear glazes and the coloring medium is the same. Their preparation is difficult and therefore trade names have been given in the table of Figure 464. As will be seen by consulting the diagram of Figure 464, T1, T2, T3, etc., they are all at their full value intensity. Enamels, as supplied by the trade, are much too intense for use in enrichment and consequently are applied over a coating of colorless clear enamel, technically named flux or fondant. As the thickness of coating of enamel may vary, the hue classification is to be regarded as approximate.

[Sidenote: Opaque Enamels]

Opaque enamels may be compared with matt glazes, for, while the texture of the surface has a distinct gloss, the enamels themselves are not so strong in hue as the transparent enamels. By referring to the diagram of Figure 464, it may be seen that many of the opaque enamels are reduced in chroma, thus accounting for their softened hue.

[Sidenote: Oxidation]

Metals are capable of considerable change of color by the application of chemicals to the surface. Potassium sulphuret will lower the surface value of silver or copper to a rich velvety black associated with antiques. This may be removed in places naturally subjected to wear, thus varying the dead black appearance. Copper and brass may be coated with salt and vinegar or verdigris to give the surface a corroded and greenish appearance. Heating is a fugitive method of coloring and is, therefore, not considered.

[Sidenote: Harmony through Oxidation]

These surface changes may be utilized to harmonize metal and its environment, as, for example, copper trimmings and a shade for a pottery lamp; or it may be used to reduce the brightness of the natural copper surface.

The surfaces of metals may be changed with actual manipulation of the surface by frosting or sanding and plating. Gold may be readily plated with gold to bring it into closer harmony with the stone. Plating, applied to base metals, merely to give the impression of a more expensive metal, is to be discouraged.

[Sidenote: Metal Backgrounds]

One has to consider metal as a background in much the same manner as we considered wall surfaces as a background for stained furniture. Whatever color is applied to the surface must harmonize in proportionate distribution as well as hue, value, and chroma. We have a small amount of leeway for varying the background by the different processes of oxidation and plating.

[Sidenote: Enamel on a Copper Background]

As one of the more common processes, let us consider the application of enamel to copper in the form of champleve enrichment. Our first thought would be the analysis of the natural copper color. It is found to be a shade of orange-red and will, therefore, readily harmonize with the _analogous_ oranges and reds, as they both have the common hue of red. There should be a slight contrast of value between these enamels and the background. If this contrast is not present, it is well to oxidize slightly the copper to lower its value and thus produce the contrast.

[Sidenote: Complementary Arrangement]

The fourth harmonious hue combination, that of complementary arrangement or grouping, has been left to the last as its use is more closely associated with small multi-colored projects and small areas. A hue approximately complementary to the initial hue is found by counting seven rectangles to the right or left of that hue; this will give the hue complementary to the initial hue. Thus, starting with red and moving through seven rectangles toward the right, we find the complement to be green. Any two hues so selected will be found to enhance the brilliancy of each other. The best results are secured when one hue dominates the color scheme by its increased area. Pottery may be adapted to a complementary color scheme by Rule 12i.

Rule 12o. _Small one or two-hued projects in clay, designed to be used as a part of the decorative color scheme for a room should bear a contrasted, dominant, analogous, or complementary relation to the side walls of the room. The project may be much higher in chroma than the side walls._

[Sidenote: The Relation of Colored Glazes to Interior Decoration of a Room]

To find a glaze that will harmonize with the side walls of a room by complementary arrangement of hues, select the desired wall tint from the diagram in Figure 457. Find the similar hue rectangle in the diagram of Figure 464 and, starting with this rectangle as one, count seven hues from the side wall rectangle in either direction. In the seventh rectangle or in a neighboring one will usually be found a number of glazes answering the requirements and bearing a complementary relation to the side walls. Select a glaze from these that will make a contrast of chroma or value with the side wall. Example: background or side wall, Figure 457, No. 8, is in the orange yellow rectangle. Counting seven from this in Figure 464 we find the complement to be blue violet. As there is no glaze in this rectangle we will move to its neighbor on the left. This gives us clear glaze, C1, containing one and one-half per cent black oxide of cobalt, or a matt glaze containing seven per cent mazarine blue.

Glazes that will harmonize with side wall 8 through dominant arrangements are found in the same rectangle, O Y, and are numbered M5, M6, C7, C8. Glazes that will harmonize by analogy are C9 and M7, and are found in the left and right neighboring rectangles.

In Figure 466, the copper fob, R O, is combined with its complementary blue-green. Let us look at Figure 464. Counting seven intervals or hue rectangles to the right of the orange red rectangle we find T4 which is transparent blue green enamel. We may associate with this an analogous enamel from the green rectangle; this proves to be T5 medium green transparent enamel.

[Sidenote: Development of Design for Enamel on Metal]

The point of concentration may now be emphasized by an enamel complementary to the blue green hue. Counting seven rectangles to the _left_ we again encounter the red orange rectangle. Here there are no enamels but in the red hue rectangle we find T7 which is slightly orange-red. A small portion of this, Rule 12k, is applied and is found to center the design at the point of concentration in a satisfactory manner. Slight oxidation brings out the colors of the enamels.

Upon attempting to develop the same figure in opaque enamels it is soon seen that there are no pleasing complementary enamels of this type, but many analogous combinations. Autumn brown with the point of concentration developed in orange (O5) would be an excellent compromise.

Rule 12p. _Correct color for surface enrichment should neither apparently rise above nor drop below the surface to which it is applied, but should stay upon the plane of that surface. Correct value and chroma range will accomplish this._

[Sidenote: Color for Silver Enrichment]

The gray-blue color of silver lends itself to a great number of gem stones, forming examples of contrasted arrangements. Care should be taken to form contrasts of _value_. Figure 467 is an example of a weak and insipid combination, lacking in value and hue contrast. The amethyst of Figure 468 corrects this error, while the oxidation of Figure 469 has partially corrected the lack of contrast shown in Figure 467. These illustrations tend to show that even stronger contrasts may be attempted with small gems and semi-precious stones than with enamels. This again proves the rule that the smaller areas are capable of sustaining stronger contrasts of hue, value, and chroma than are large ones.

SUMMARY OF DESIGN STEPS

The outline of the surface enrichment is considered as complete.

(_a_) METAL OR WOOD. Analyze the background into its hue, value, and chroma. CLAY. Select a background that will harmonize with the controlling hue or hues of the proposed color scheme. Rule 12o. If this is a one hued color scheme without gradation or surface enrichment the design steps may terminate at this point.

(_b_) METAL, WOOD, AND CLAY. Select the extreme value range of the color scheme, considering, if possible, the background as a balancing or pivotal value point upon which the values may balance above and below. As the side walls formed a balancing point for the ceiling and furniture or wood work, so may the background of metal, wood, or colored clay become a similar balancing factor for small surfaces. Rule 12m.

(_c_) METAL, WOOD, AND CLAY. Select a hue or hues which will harmonize with the background through dominant, contrasting, or analogous relations. Rule 12l. In selecting the hues consider the final placing of the object.

(_d_) METAL, WOOD, AND CLAY. Select a chroma range. Allow the point or area of concentration to have a slightly higher chromatic relation than the other hues. The point of concentration may be one of the hues already selected or it may bear a _complementary_ relation to them. The hues may be averaged and a complementary to the average selected. Rule 12n.

(_e_) METAL, WOOD, AND CLAY. Apply the rule of proportionate distribution, Rule 12k.

(_f_) METAL AND WOOD. Using the pigments suggested in Chapter XV, design the problem. Test the result by applying Rule 12p.

(_g_) CLAY. If the design has been developed in slip or underglaze painting, select a glaze for an overglaze coating that will harmonize with the prevailing hues by _dominance or analogy_. Other arrangements may destroy the hues of the original color scheme.

(_h_) Develop the problem in its material.

SUGGESTED PROBLEMS

Design a bowl for nasturtiums; make the color arrangement harmonize through analogy with the hues of the flowers.

Design a vase for chrysanthemums; make the surface enrichment and the color arrangement harmonize through dominance with the hues of the flowers.

Design a hat pin for a blue hat; materials, copper, and transparent enamels.

Design a brooch to be worn with a gray dress.

Design a pottery and copper lamp with amber art glass in the shade. Through oxidation and glazing, bring the lamp into color unity.

SUMMARY OF RULES

Rule 12k. _Proportionate distribution of hue, value, and chroma in surface enrichment calls for a small area high in chroma and contrasting in value to the rest of the surface, but harmonizing with it. This is usually located in the area of concentration. The larger areas are to be sufficiently reduced in chroma and value to form a slight contrast with the background._

HUES FOR SMALL OBJECTS

Rule 12l. _One hue, or a group of analogous hues should dominate all color schemes. The point of concentration may be emphasized by one hue related to the other hues by (1) contrasted, (2) dominant, (3) analogous, or (4) complementary relations. This hue should make slightly stronger value and chroma contrast than the remaining hues._

VALUES FOR SMALL OBJECTS

Rule 12m. _An extreme range of five values is generally sufficient to supply contrast to a design but still retain its value unity. Restraint in the use of values is essential._

CHROMA FOR SMALL OBJECTS

Rule 12n. _The amount of chroma may be increased in proportion to the decrease in the decorated area. Exceptions may be made to this under Rule 12o._

Rule 12o. _Small one or two-hued projects in clay, designed to be used as a part of the decorative color scheme for a room should bear a contrasted, dominant, analogous, or complementary relation to the side walls of the room. The project may be much higher in chroma than the side walls._

Rule 12p. _Correct color for surface enrichment should neither apparently rise above nor drop below the surface to which it is applied, but should stay upon the plane of that surface. Correct value and chroma range will accomplish this._

REVIEW QUESTIONS

1. State the value of mono-hued pottery in the decorative scheme of a room.

2. What are generally used as stains for clear glazes; matt glazes?

3. What is highest in chroma--matt, or clear glaze?

4. Make a table of metallic oxides and the hues produced by them.

5. Why will iron and copper oxides produce a yellow green stain? What stains will be produced by cobalt and copper oxides; cobalt and manganese oxides; cobalt and nickel oxides?

6. Describe the type of room which you regard as best fitted for clear glazed pottery forms; matt glazed pottery forms.

7. Define harmony of color.

8. What is meant by proportionate distribution? Describe proportionate distribution.

9. Give the value, hue, and chroma range for small areas. See Rules 12l, 12m, and 12n.

10. How does the size of the area to be enriched by color affect the color medium, _i.e._, stains, glazes, enamels, etc.?

11. Describe enamels, their types, characteristics, and range of hues. Consult catalogs for fuller possibilities.

12. What is the effect of oxidation; what is its value?

13. Describe fully complementary arrangements and give illustrations for enamel on silver or copper.

14. State the color scheme for a fob to be worn with a blue-green dress; with a gray suit for a man.

15. Select a stone for a silver brooch that would harmonize with a light blue dress; for a dress of orange dark hue and value. See catalogs of dealers in semi-precious stones for color of stones.

16. What problems of hue, value, and chroma would arise in Question 15?

SUMMARY OF THE GENERAL AND SPECIAL RULES IN THE PRECEEDING CHAPTERS

HORIZONTAL AND VERTICAL PRIMARY MASSES

Rule 1a. _A primary mass must be either vertical or horizontal according to the intended service, unless prohibited by technical requirements._

PROPORTIONS OF THE PRIMARY MASS

Rule 1b. _The primary mass should have the ratio of one to three, three to four, three to five, five to eight, seven to ten, or some similar proportion difficult for the eye to detect readily and analyze._

HORIZONTAL SPACE DIVISIONS

Rule 2a. _If the primary mass is divided into two horizontal divisions, the dominance should be either in the upper or the lower section._

Rule 2b. _If the primary mass is divided into three horizontal divisions or sections, the dominance should be placed in the center section with varying widths in the upper and lower thirds._

SEQUENTIAL PROGRESSION OF MINOR HORIZONTAL SPACE DIVISIONS

Rule 2c. _A primary mass may be divided into three or more smaller horizontal masses or sections by placing the larger mass or masses at the bottom and by sequentially reducing the height measure of each mass toward the smaller division or divisions to be located at the top of the mass._

VERTICAL SPACE DIVISIONS

Rule 3a. _If the primary mass is divided into two vertical divisions, the divisions should be equal in area and similar in form._

Rule 3b. _If the primary mass is divided into three vertical divisions, the center division should be the larger, with the remaining divisions of equal size._

Rule 3c. _In elementary problems, if more than three vertical divisions are required, they should be so grouped as to analyze into Rules 3a, and 3b, or be exactly similar._

APPENDAGES

Rule 4a. _The appendage should be designed in unity with, and proportionately related to, the vertical or horizontal character of the primary mass, but subordinated to it._

Rule 4b. _The appendage should have the appearance of flowing smoothly and, if possible, tangentially from the primary mass._

Rule 4c. _The appendage should, if possible, echo or repeat some lines similar in character and direction to those of the primary mass._

OUTLINE OR CONTOUR ENRICHMENT

Rule 5a. _Outline enrichment should be subordinated to and support the structure._

Rule 5b. _Outline enrichment should add grace, lightness, and variety to the design._

Rule 5c. _Outline enrichment, by its similarity, should give a sense of oneness or unity to the design, binding divergent members together._

Rule 5d. _Parts of one design differing in function should differ in appearance but be co-ordinated with the entire design._

Rule 5e. _In cylindrical forms outline curves with a vertical tendency should have their turning points or units of measurement in accordance with the horizontal divisions of Rules 2a and 2b._

Rule 5f. _Dependent outline enrichment should be related to essential parts of a design and influenced by their forms and functions; it must be consistent with the idea of the subject._

Rule 5g. _A curve should join a straight line with either a tangential or right angle junction._

SURFACE ENRICHMENT

Postulate. _The design should conform to the limitations and requirements of tools, processes, and materials, and should be durable and suitable for service._

Rule 6a. _Surfaces to be enriched must admit of enrichment._

Rule 6b. _Surface enrichment must be related to the structural contours but must not obscure the actual structure._

Rule 6c. _The treatment must be appropriate to the material._

CONTINUOUS BANDS AND BORDERS FOR PARTLY ENRICHED SURFACES

Rule 6d. _Bands and borders should have a consistent lateral, that is, onward movement._

Rule 6e. _Bands and borders should never have a prominent contrary motion, opposed to the main forward movement._

Rule 6f. _All component parts of a border should move in unison with the main movement of the border._

Rule 6g. _Each component part of a border should be strongly dynamic and, if possible, partake of the main movements of the border._

Rule 6h. _Borders intended for vertical surfaces may have a strongly upward movement in addition to the lateral movement, provided the lateral movement dominates._

Rule 6i. _Inlayed enrichment should never form strong or glaring contrasts with the parent surface._

Rule 6j. _Carved surface enrichment should have the appearance of belonging to the parent mass._

ENCLOSED ENRICHMENT--PARTLY ENRICHED PANELS FOR SURFACE ENRICHMENT

Rule 7a. _Marginal panel enrichment should parallel or be related to the outlines of the primary mass and to the panel it is to enrich._

Rule 7b. _Marginal points of concentration in panels should be placed (1) preferably at the corners or (2) in the center of each margin._

Rule 7c. _To insure unity of design in panels, the elements composing the point of concentration and links connecting them must be related to the panel contour and to each other._

ENCLOSED ENRICHMENT--FULLY ENRICHED PANELS FOR SURFACE ENRICHMENT

Rule 7d. _The contours of fully enriched panels should parallel the outlines of the primary mass and repeat its proportions._

Rule 7e. _The points of concentration for a fully enriched square panel may be in its center or in its outer margin._

Rule 7f. _The points of concentration for a fully enriched vertical panel should be in the upper portion of the panel._

Rule 7g. _The fully enriched panel and its contents should be designed in unified relation to the structural outlines, with the center line of the panel coinciding with the inceptive axis of the structure._

FREE ORNAMENT FOR PARTLY ENRICHED SURFACES

Rule 8a. _Free ornament for partly or fully enriched surfaces should be based and centered upon an inceptive axis of the structure._

Rule 8b. _Free ornament should be related and subordinated to the structural surfaces._

Rule 8c. _Points of concentration in free enrichment of vertically placed masses are usually located in and around the inceptive axis and above or below the geometric center of the design._

SURFACE ENRICHMENT OF CLAY

Rule 9a. _Surface enrichment of clay must be so designed as to be able to withstand the action of heat to which all ware must be submitted._

Rule 9b. _Incised, pierced, and modeled decoration in clay should be simple and bold and thus adapted to the character of the material._

Rule 9c. _A border should not be located at the point of greatest curvature in the contour of a cylindrical form. The contour curve is of sufficient interest in itself at that point._

SURFACE ENRICHMENT OF BASE AND PRECIOUS METALS FOR SMALL MASSES

Rule 10a. _Designs in precious metals should call for the minimum amount of metal necessary to express the idea of the designer for two reasons: (1) good taste; (2) economy of material._

Rule 10b. _Contour and surface enrichment should never appear to compete for attention in the same design._

Rule 10c. _Parts of a design differing in function should differ in appearance but be co-ordinated with the entire design._

Rule 10d. _Surface enrichment should at some point parallel the contours of both primary mass and point of concentration especially whenever the latter is a stone or enamel._

Rule 10e. _In the presence of either stone or enamel as a point of concentration, surface enrichment should be regarded as an unobtrusive setting, or background._

Rule 10f. _Stone or enamel used as a point of concentration should form contrast with the metal, either in color, brilliancy, or value, or all three combined._

Rule 10g. _The inceptive axis should pass through and coincide with one axis of a stone and at the same time be sympathetically related to the structure._

Rule 10h. _The position of the inceptive axis should be determined by: (1) use of the project as ring, pendant, or bar pin, (2) character of the primary mass as either vertical or horizontal in proportion._

Rule 10i. _Caution should be exercised with regard to the use of enamel. Over-decoration by this material tends to cheapen both process and design._

Rule 10j. _All surface enrichment should have an appearance of compactness or unity. Pierced spots or areas should be so used as to avoid the appearance of having been scattered on the surface without thought to their coherence._

Rule 10k. _Built, carved, and chased enrichment should have the higher planes near the point of concentration. It is well to have the stone as the highest point above the primary mass. When using this form of enrichment, the stone should never appear to rise abruptly from the primary mass, but should be approached by a series of rising planes._

Rule 10l. _The lanes or margins between enameled spots should be narrower than the lane or margin between the enamel and the contour of the primary mass._

Rule 10m. _Transparent and opaque stones or enamel should not be used in the same design._

SURFACE ENRICHMENT OF BASE AND PRECIOUS METALS FOR LARGE PRIMARY MASSES

Rule 11a. _The preliminary steps toward surface enrichment should be thought out before they are drawn._

Rule 11b. _Conservative application should mark the use of surface enrichment of large masses. Its use should: (1) lighten or soften necessarily heavy construction; (2) support or apparently strengthen good structure; (3) add interest to large unbroken and uninteresting surfaces._

Rule 11c. _The type of design unit for large masses should be bolder than similar designs for small primary masses._

Rule 11d. _The eye should be attracted to one principal zone of enrichment, whether located upon the primary mass, appendage, terminal, links, or details. All other zones should be subordinate to this area._

Rule 11e. _Two periods of historic ornament should not be introduced into the same design._

Rule 11f. _Repulsive forms should not be introduced into surface enrichment._

APPLICATION OF COLOR TO LARGE AREAS VALUES

Rule 12a. _An average wood stain is to be retained between the values middle and low dark._

Rule 12b. _An average wall hue is to be retained between the values light and middle._

Rule 12c. _An average ceiling hue is to be retained between the values white (minus) and light._

Rule 12d. _The relation between the side walls and furniture, trim, etc., should be retained within the range of four values or less, as low light and dark._

Rule 12e. _The relation between the side walls and ceiling should be within the range of three values or less, as high light and low light._

HUES

Rule 12f. _Color schemes for wood work and side walls should preferably be selected from one of the following groupings: analogous, contrasted, or dominant arrangements of hues. Analogous grouping is preferable where variety of hue is desirable._

Rule 12g. _Ceilings should be colored by a lighter tint of the side walls or by a lighter tint of an analogous hue._

CHROMA

Rule 12h. _Stains are usually not reduced to below three-fourths chromatic intensity. Nearly gray side walls, however, call for a reduction to one-fourth intensity._

Rule 12i. _Wall colors are usually reduced to three-fourths chroma to a minimum reduction of slightly less than one-fourth chroma._

Rule 12j. _Ceilings should usually be reduced in chroma to three-fourths intensity, with slightly less than one-fourth chroma as a minimum reduction._

DISTRIBUTION

Rule 12k. _Proportionate distribution of hue, value, and chroma in surface enrichment calls for a small area, high in chroma, and contrasting in value to the rest of the surface, but harmonizing with it. This is usually located in the area of concentration. The larger areas are to be sufficiently reduced in chroma and value to form slight contrast with the background._

HUES FOR SMALL OBJECTS

Rule 12l. _One hue, or a group of analogous hues should dominate all color schemes. The point of concentration may be emphasized by one hue related to the other hues by (1) contrasted, (2) dominant, (3) analogous, (4) complementary relations. This hue should make slightly stronger value and chroma contrast than the remaining hues._

VALUES FOR SMALL OBJECTS

Rule 12m. _An extreme range of five values is generally sufficient to supply contrast to a design but still retain its value unity. Restraint in the use of values is essential._

CHROMA FOR SMALL OBJECTS

Rule 12n. _The amount of chroma may be increased in proportion to the decrease in the decorated area. Exceptions may be made to this under Rule 12o._

Rule 12o. _Small one or two-hued projects in clay, designed to be used as a part of the decorative color scheme for a room should bear a contrasted, dominant, analogous, or complementary relation to the side walls of the room. The project may be much higher in chroma than the side walls._

Rule 12p. _Correct color for surface enrichment should neither apparently rise above nor drop below the surface to which it is applied, but should stay upon the plane of that surface. Correct value and chroma range will accomplish this._

APPENDIX

The following plates comprise complete courses for applied art problems in thin metal (copper and silver), and clay. The problems are based upon what is known as the "group system." The process forms the basis for each group in each course. The stated problem in each group is merely one of many that might be selected which involves the process of the group.

The design rule that should be applied to each problem has been indicated by its proper figure and letter on each plate, as 10a, etc. The plates are sequentially arranged in order of the difficulty of the process and may be summarized as follows.

THIN METAL

Plate 67: Bending. Sawing. Riveting. Plate 68: Bending. Soft Soldering. Plate 69: Raising. Piercing. Etching. Plate 70: Raising and Planishing. Plate 71: Bending. Piercing. Etching. Hard Soldering. Plate 72: Hinge Construction. Plate 73: Raising. Planishing. Hard Soldering. Plate 74: Raising. Planishing. Plate 75: Champleve Enamelling. Plate 76: Precious Stone Mounting; Pins. Plate 77: Precious Stone Mounting; Rings. Plate 78: Precious Stone Mounting; Pendants.

POTTERY

Plate 79: Hand Built Tile. Plate 80: Hand Built Bowl, Coil and Strip Method. Plate 81: Same with Appendage Added. Plate 82: Hand Building; Spouts, Lids, Handles. Plate 83: Poured Forms and Mould Making. Plate 84: Slip Painting. Plate 85: Glaze Testing.

Figure 471 shows the actual results produced by the preceding course. The process to which the individual pieces belong is indicated by the small figure placed on the table and in front of the ware. The preceding sheets should be regarded in the light of suggestions for original thinking on the part of the student. They merely suggest technical guidance, in order that his progress may be sequential and fitted to his increasing skill.

The glazes are stated in the terms of the ceramist with the proportions of base, alumina, and acid content of each glaze clearly stated. By referring to the textbooks mentioned in the preface, these glazes may be developed into the potter's formulae.

In both metal and pottery courses, two or more types are frequently represented upon one plate. These types will allow the teacher to assign a more difficult problem to the student with some previous experience.

INDEX

PAGE

Accenting bands in wood, 105

Accentuation of functional parts, 79

Adapting data to material, 127

Analogous hues, 203

Analysis, intelligent, 7

Andiron design, 53

Aniline wood dyes, 199

Appendage design, 43-49

Appendage, use of, 43

Appendages, 43

Appendages and primary mass, 45

Appendages, contour enrichment of, 88

Appendages, design violations, 43

Appendages in clay, 47

Appendages, industrial applications, 47

Appendages, influence of tools and materials, 53

Appendages in metal, 51

Appendages in wood, 45

Artificial objects, 129

Architectural, horizontal divisions for, 21

Bands, wood inlay, 105

Backgrounds, 113, 201

Base metals, enrichment of, 87

Base and precious metals, surface enrichment of, 160, 163, 165, 167

Borders for wood, 107

Building, 165

Candlesticks, 81

Carving, 103

Carving and piercing, 141

Carving, design steps for, 105

Ceilings, 202-205

Center zone enrichment, 121

Chasing, 163

Chip carving, 115

Chroma, 197

Chromatic intensity, full, 195

Clay, coloring for underglaze, 151

Clay, decorative processes, 145

Clay, incising, 147

Clay, inlay, 149

Clay, introduction of pigments, 149

Clay, modeling, 147

Clay, piercing, 147

Clay, slip painting, 149

Clay, surface enrichment for, 145

Clay, surface enrichment, structural classification for, 151

Clay, underglaze painting, 151

Color for clay enrichment, 209

Color for small areas, 210

Color harmony, 201

Color pigments, 194

Color pigments, application of, 194

Color symbols, 198

Color systems, 194

Commercial pottery, 158

Complementary hues, 214

Conservative use of ornament, 101

Contrasted hues, 203

Containers, 81

Continuity and contrast, 63

Contour enrichment, influence of materials, 65

Contour enrichment, methods of varying, 70

Contour enrichment of clay, need of, 77

Contour enrichment, evolution of, 65

Contour enrichment, purpose of, 59

Contour enrichment, requirements of, 59

Contour enrichment, systematic development of, 81

Contour versus surface enrichment, 185

Corners, contour enrichment of, 88

Correlation, ideal, 11

Covers, design for, 49

Criticism, clear, 7

Criticism, non-technical, 7

Curve of beauty, 91

Curve of force, 61

Curve of force, approximate, 61

Curves for contour enrichment, 59

Curves, grouping of, 63

Curves of extravagance, 73

Dependent surface enrichment, 167

Details, contour enrichment of, 93

Design evolution, major divisions, 9

Design evolution, steps in, 11

Design, preliminary thought, 17

Dominant hue, 204

Dynamic curves and areas, 111

Edges, contour enrichment of, 87

Elements, 157

Enameling, 163, 212, 213, 215

Enrichment for small metal areas, 179

Enrichment, need and value of, 57

Enrichment of large metal areas, 179, 183

Enrichment, types of, 57

Essentials of good surface enrichment, 179

Exposures, 206, 207

Flat surfaces in base and precious metal, 185

Fobs, design of, 169

Four vertical minor divisions, 139

Free balance, 129

Free enrichment, 121

Free minor division treatment, 141

Free ornament, 117

Freehand curves, 30, 51, 63

Full size drawing, value of, 23

Functional parts, enrichment of, 88

Glazes for pottery, 149

Glazes related to interior decoration, 214

Glazes, stains for, 209

Greek scroll, 93

Handles, design for, 49

Harmonious color, need of, 194

Harmony of color, 210

High cylindrical forms in clay, 157

High cylindrical forms in metal, 191

Historic ornament in hardware, 186

Horizontal and vertical minor divisions, 137

Horizontal divisions, architectural precedent, 25

Horizontal divisions, nature and need of, 19

Horizontal divisions, steps in designing, 21

Horizontal minor divisions, 139

Hue and hue rectangles, 195

Hue groupings, 203

Industrial problems, requirements of, 9

Inceptive axes, 107, 121, 161

Inceptive axes for marginal enrichment, 119

Inlaying, 101-103

Intermediate points, contour enrichment of, 89

Ionic volute, 91

Leading lines, curved, 108

Links, 45

Links, contour enrichment of, 93

Low cylindrical forms in clay, 157

Low cylindrical forms in metal, 187

Major design division, first, 9

Major design division, second, 9

Major design division, third, 11

Marginal zone enrichment, 118

Material, adapting data to, 127

Material, economy of, 161

Material, relation to surface enrichment, 101

Metallic oxides, 210

Methods, architectural design, 13

Methods, industrial design, 13

Minor details, 141

Minor subdivisions in wood, 133

Moorish ornament, 107

Mouldings, 61

One vertical division, 35

Outlines, free and dependent, 87, 91 (See Contours.)

Oxidation, 213

Panels, 117, 123, 125, 127, 129

Panel design, steps in, 125

Parts differing in function, 77

Pendants and chains, design of, 173

Pierced enrichment, 123

Pigment table, 195

Pigments, wall and ceiling, 205

Pins and brooches, design of, 167

Point of concentration, 115, 161

Point of concentration for marginal enrichment, 119

Porcelain painting, 151

Pourers, 81

Precious metals, processes of enrichment, 161, 163, 165, 169

Primary hues, 198

Primary masses, 13

Primary mass, drawing of, 15

Primary mass, divisions of, 19

Primary masses, vertical and horizontal, 15

Primary masses, proportions of, 15

Proportionate distribution, 210

Ratios, unsatisfactory, 17

Rectangular panels, 127

Rings, design of, 169

Sequential progression, 135

Service, influence of, 9, 13, 15

Sets, designing of, 83

Shades, 197

Shallow circular forms in clay, 155

Shallow circular forms in metal, 187

Side walls, 202-205

Silver, color for, 215

Silver, contour enrichment of, 93

Silver, free outline enrichment, 97

Silver, motives for contour enrichment, 97

Spouts, design of, 49

Square and rectangular areas in clay, 153

Square panels, 125

Standard hues, 195

Standard hues, locating, 196

Stones, cutting, 95

Stones, relation to contour, 95

Stones, relation to metal, 173

Structural forms, classification, 160

Structural forms, classification for clay surface enrichment, 151

Structural reinforcement, 118

Surface design evolution, 180

Surface enrichment, nature and need of, 99

Surfaces, when and where to enrich, 99

Tangential junctions, 51, 93

Technical processes for metal, 163

Technical rendering, 161

Terminals, contour enrichment of, 89-91

Three horizontal divisions, 29

Three horizontal divisions in clay, 30

Three horizontal divisions in metal, 30

Three horizontal divisions in wood, 29

Three vertical divisions, 37

Three vertical divisions in clay, 39

Three vertical divisions in metal, 41

Three vertical divisions in wood, 39

Tints, 196

Transitional types in furniture, 139

Two horizontal divisions, 25

Two horizontal divisions in clay, 27

Two horizontal divisions in metal, 27

Two horizontal divisions in wood, 25

Two vertical divisions, 35

Two vertical divisions in clay, 37

Two vertical divisions in metal, 37

Two vertical divisions in wood, 35

Unit of measurement for vertical curves, 79

Unity, 29

Unity in clay design curves, 77

Value lines, 196

Varied panels, 129

Vertical divisions, architectural precedent, 33

Vertical divisions, more than three, 41

Vertical divisions, nature and need, 33

Vertical and horizontal division evolution, 40

Vertical sections and their minor divisions, 133-135

Vocabulary, designer's, 105

Walls and ceilings, 203-204

Walls and wood work, 202-203

Warm and cold colors, 198

Wood finishes, opaque, 206

Wood, methods of surface enrichment, 101

Wood stains, 198

Wood stains, chroma range, 205

Wood stain mixing, 199, 200

Wood stain rendering, 195

Wood stains, value range, 201

Wrought iron enrichment, 91

Zones of enrichment, 118

* * * * *

Transcriber's Notes

Inconsistent hyphenation and obvious punctuation and spelling errors have been corrected.

{PC} and {IA} have been used to represent the letters P and C or I and A overlaid on one another to label the "Point of Concentration" and "Inceptive Axis" respectively.

Although referred to on page 75, no illustration is captioned as "Plate 23" in the original text.

End of Project Gutenberg's Industrial Arts Design, by William H. Varnum