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.