Chapter XVII
COLOR AND ITS RELATION TO INDUSTRIAL ARTS DESIGN
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.