Industrial Arts Design Part 34

[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 cla.s.sification is to be regarded as approximate.

[Ill.u.s.tration: PLATE 66]

[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. Pota.s.sium sulphuret will lower the surface value of silver or copper to a rich velvety black a.s.sociated with antiques. This may be removed in places naturally subjected to wear, thus varying the dead black appearance. Copper and bra.s.s 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 tr.i.m.m.i.n.gs 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 a.n.a.lysis of the natural copper color. It is found to be a shade of orange-red and will, therefore, readily harmonize with the _a.n.a.logous_ 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 a.s.sociated 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, a.n.a.logous, 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 a.n.a.logy 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 a.s.sociate with this an a.n.a.logous 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 a.n.a.logous 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 ill.u.s.trations 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. a.n.a.lyze 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 a.n.a.logous 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 a.n.a.logy_. 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 a.n.a.logy 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 gla.s.s in the shade. Through oxidation and glazing, bring the lamp into color unity.

SUMMARY OF RULES