Small Surfaces in Clay and Metal
Before proceeding to the discussion of the application of color to clay it becomes necessary to determine what technical possibilities are presented.
Color Applied to the Surface Enrichment of Clay
Plain glazing of the entire surface is a common form of pottery enrichment. A piece of ware, thus glazed, may become a point of concentration in the color arrangement of a room, and should be definitely located in that arrangement. The ware may harmonize with the background (side wall) by analogy, dominance, or contrast or through complementary coloring. Rule 12o. A glaze from the diagram in [Figure 464] should be selected as forming a part in the selected arrangement. Side wall (11), [Figure 457], would harmonize with glaze C9 by virtue of its dominant relation or with M7 through analogy. The glaze selected should be higher in chroma than the side wall and will be found to form a cheerful and brilliant element in the room color scheme. The definite linking of these different factors of interior decoration into unity has been earnestly advocated in these chapters. [Figures 457] and [464] show the possibilities of cross references.
Stains for Glazes
It soon becomes apparent because of the coloring of clay ware that the designer must know something of the color possibilities of glazed pottery forms. The decorative processes were explained at some length in [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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Plate 66
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.
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.
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.
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.
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.
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.
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.
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.
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?