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| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-06 06:36:22 -0800 |
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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..df872e7 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #53067 (https://www.gutenberg.org/ebooks/53067) diff --git a/old/53067-0.txt b/old/53067-0.txt deleted file mode 100644 index a9bbb2f..0000000 --- a/old/53067-0.txt +++ /dev/null @@ -1,4707 +0,0 @@ -The Project Gutenberg EBook of Color Cement Handicraft, by -Pedro J. Lemos and Reta A. Lemos - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Color Cement Handicraft - -Author: Pedro J. Lemos - Reta A. Lemos - -Release Date: September 17, 2016 [EBook #53067] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK COLOR CEMENT HANDICRAFT *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - - - - - [Illustration: COLOR CEMENT TILES AND POTTERY] - - - - - [Illustration: - - COLOR - CEMENT - HANDICRAFT - - PEDRO·J·LEMOS - RETA·A·LEMOS - - THE DAVIS PRESS - WORCESTER - MASSACHUSETTS] - - - - - Copyright, 1922 - by The Davis Press, Inc. - Worcester, Mass. - - Printed in the - United States of America - - - - - Dedicated to - - ROBERT B. HARSHE - - Director of the - Chicago Art Institute - for his early recognition - and encouragement - of Color Cement - Handicraft - - - - -TABLE OF CONTENTS - - - Page - -Foreword 9 - -Chapter 1. Materials and Equipment 11 - -Chapter 2. The Making of Plaster Molds 21 - -Chapter 3. Plain and Incised Cement Tiles 33 - -Chapter 4. Making Vases and Bowls 47 - -Chapter 5. The Use of Color in Cement Tiles 57 - -Chapter 6. Color Cement Relief Tiles 67 - -Chapter 7. The Majolica Tile 75 - -Chapter 8. Sgraffito Color Cement Work 87 - -Chapter 9. Modeled and Carved Color Cement 95 - -Chapter 10. Color Cement for Bowls and Vases 103 - -Chapter 11. Glass Mosaic Tiles 111 - -Chapter 12. Flower Boxes and Other Straight Forms 119 - -Chapter 13. Color Cement for the Garden 129 - -Chapter 14. The Making of Candlesticks and Book Supports 141 - -Chapter 15. Color Cement for Interior Decoration 147 - -Chapter 16. Surface Finishes 159 - -Chapter 17. Decorations in the Open 165 - -Chapter 18. Tile and Pottery with Color Magnesite Cement Work 173 - -Chapter 19. Color Cement Projects for the Schoolroom 179 - -Chapter 20. Designing for Tiles and Pottery 191 - - - - -LIST OF ILLUSTRATIONS - - - Page - -Color Cement Tiles and Vases. Frontispiece in color - -Tools for Color Cement Handicraft 18 - -The Mixing of Plaster-of-Paris 19 - -Helpful Material for Color Cement Handicraft 20 - -The Making of Plaster Molds 30 - -The Making of Molds 31 - -How to Make Color Cement Tiles 44 - -Cement Tile Textures 45 - -The Incised Tile 46 - -Vase Molds 55 - -The Finishing of Cement Pottery 56 - -Use of Color in Cement Tiles 64 - -Color Tile Methods 65 - -Plaster and Clay Modeled Cement Tiles 73 - -Color Cement Tiles and Pottery by Art School Students 74 - -The Majolica Tile 83 - -Slip Painted Tiles 84 - -Slip Painted Tile Methods 85 - -Sgraffito Tile and Sgraffito in Architecture 93 - -Modeled and Carved Cement Tile Methods 102 - -Color Cement Vases 108 - -Color Cement Vases 109 - -Mosaic Tile Method 116 - -Mosaic Tiles 117 - -Mosaic Stone Tiles 118 - -Three Cement Box Methods 126 - -The Making of a Cement Box 127 - -Helps in Cement Garden Pottery 137 - -Application of Cement Tiles to Architectural Use 138 - -Color Cement Flagstones used for a Bridge, Garden -Pathway and Entrance 139 - -Color Cement Used for Chimney Stones and Flagstones 140 - -Book Support and Candlestick Molds 145 - -Color Cement Tiles for Interior Decoration 154 - -Color Cement Tiles for the Fireplace 155 - -Tile Patterns for Wall or Floor 156 - -The Unit Tile and Application 157 - -Cement Tiles and Woodwork 158 - -A Surface Finish for Cement Handicraft 164 - -Decorations Painted with Color Cement 171 - -Cement Color Painted Decorations Applied 172 - -The Making of Magnesite Cement 177 - -Magnesite Objects Cast from Molds 178 - -Schoolroom Projects in Cement 185 - -A Tile in Cement made in the Grammar Grades 186 - -A Tile made in the Intermediate Grades 187 - -Color Cement Tiles and Pottery made by the Students of a High School 188 - -Problems in Cement by Students of an Art School 189 - -Helpful Design Principles for Color Cement Work 198 - -Outline Patterns for Color Cement Handicraft 199 - -Tone Patterns for Color Cement Handicraft 200 - -Egyptian, Roman, and Aztec Relief Decorations 201 - - - - -FOREWORD - - -It is evident to the most casual observer that the use of cement -and concrete has developed into a most important building -material--undoubtedly the most important of the age. Industrial and -vocational educators have recognized this importance and thousands of -school children have received instruction in its use and application to -objects of utility. Its use has been the subject of many books, and the -reason for the issuing of this book is to present in printed form the -use of color cement for the decoration or surface enrichment of cement -and concrete objects. We heretofore have thought of cement in terms of -rough surfaces and crude retaining walls, little thinking that beautiful -patterns and textures are possible with proper combinations of color -with cement, presenting possibilities for producing art tiles, pottery, -and decorations of a high art quality. - -After a study some years ago of the various forms of producing clay -pottery and its possible relation to school arts and industrial -education, the handicap of necessary firing to give permanency loomed -large against its general adaptation by schools. This resulted in -considerable research and experimenting by the authors with cement and -the use of color in the endeavor to parallel in some measure each of the -methods employed in the making of fired tiles and pottery. Particular -attention was given to simplifying the process of securing permanent -form to many of the plastic forms of schoolroom art, which have been -presented in clay and other perishable mediums. With the projects -presented in the following chapters permanent useful objects can be -secured by students in their school art subjects. Attention was also -given to the enriching or refining by decoration the many objects -heretofore made in cement and concrete by vocational classes. The -problems and methods explained in the following description solve this -need. - -Craftsmen or amateur home-workers who delight in creating and building -objects of beauty around them can find in color cement a medium which -will appeal to their needs, in that the necessary working equipment is -simple and the work can be done within small space. - -The following chapters by no means complete the story of color cement. -They record the results of the work of the authors and it is hoped that -it will stimulate interested readers to carry this delightful handicraft -to even greater achievements. - -The results achieved have been accomplished through several years’ -patient experimenting by the authors, but the realization that many -other teachers, craftsmen and students will be aided in continuing this -delightful, durable handicraft, is in itself an enjoyable reward to the -authors for their efforts. - -Reta A. Lemos - -Pedro J. Lemos - - - - -[Illustration] - -CHAPTER 1 - -Materials and Equipment - -[Illustration] - - -IN THE MAKING OF COLOR CEMENT HANDICRAFT the chief material used is -Portland cement. While this material has assumed a most important part -in the building history of our present time, there are not many who know -its history and source, and as every craftsman is a better craftsman if -he knows something of the story of the material with which he works, -here is the brief story of Portland cement. - -PORTLAND CEMENT DERIVES ITS NAME because of resemblance in color to a -stone quarried near Portland, England, and it was named by its inventor, -Joseph Aspdin in 1824. It is a manufactured product produced by a -scientific process. At the beginning of the Christian era the Romans -used a natural cement very extensively, and many fragments of color -frescoes and friezes remain from the work of the ancients, showing that -they used color with their work. - -THE PRINCIPAL INGREDIENTS OF PORTLAND CEMENT are lime, silica, iron, and -alumina. These materials are mixed in definite proportions and then -subjected to a degree of heat that almost causes them to melt, forming a -clinker or slag. This clinker is ground until it is reduced to a powder, -and this is the Portland cement. Portland cement is generally mixed with -an aggregate to produce strength and this aggregate is usually stone, -gravel or sand. The third material needed to complete the combination is -water. - -SUCCESS IN THE USE OF CEMENT depends largely upon cement that is fresh. -Cement is very sensitive to moisture and if kept where fogs, dew or -moisture of any nature is absorbed into it, the first set or “hydration” -takes place and destroys its use for fine handicraft. - -TO TEST FRESH CEMENT when the cement sack is open, thrust the hand into -it and see that no hard lumps are in it. Fresh cement will feel -slippery and soapy when rubbed between the finger tips. If it feels -gritty and sandy it may do for the rough parts or body of vases and -tiles, but only fresh cement should be used to mix with color and for -surfacing purposes. - -THE PROPER CARE OF CEMENT requires that it be kept in a covered -receptacle and kept in a dry place, preferably up from the floor if the -floor is near the ground. It should be kept in a dry, tight work-shop -and the doors should be kept closed at night to avoid any moisture from -the night air reaching it. Nothing can restore spoiled cement and it -should not be used as the results will be discouraging. - -GOOD GRADES OF AGGREGATES SHOULD BE USED in cement work. Clean sand -should be used and a sand that is not too fine is preferable. Gravel and -crushed rock used in large work such as garden seats, large bowls and -outdoor problems should be of a good grade to form a good mixture. - -THE WATER USED IN CEMENT WORK should be free from all impurities. -Moderately warmed water will hasten the setting or hardening of cement -while very cold water retards the hardening. - -THERE ARE TWO COLORS OF CEMENT, gray and white. Portland cement is gray -in color and a white cement is also made that is a refined form of -cement. White cement is not as hard or durable as gray cement, but gives -a smooth surface and sets as satisfactorily as the gray cement. It is -more expensive than the gray cement and should not be used later than -six months after the sack is opened. - -WHEN CEMENT IS USED ALONE IT IS TERMED “NEAT.” When it is mixed with -rock, gravel or sand it is termed “concrete.” Concrete produces strength -and the neat cement produces a smooth texture and surface. When concrete -is used the cement and water will rise to the top and if the surface is -worked and pressed with a trowel the cement is “flowed” to the top, -producing a smooth surface. - -MOLDS ARE USED FOR FORMING CEMENT AND CONCRETE, and are made from wood, -metal or plaster-of-Paris. The forms in all instances should be tied or -braced together to prevent the moisture of the mixture from running out, -as the water is essential to the successful hardening of the cement. In -the making of cement pottery and tiles, plaster-of-Paris molds or forms -are generally used and plaster-of-Paris therefore forms an important -material in the making of color cement handicraft. - -Plaster-of-Paris is made in different degrees of setting periods. These -are quick-setting, medium-setting, and slow-setting. Casting plaster or -sculptor’s plaster should be asked for and a medium-or slow-setting -plaster is preferable for the beginner. - -CEMENT, AGGREGATES, WATER AND PLASTER FORM THE MAIN PARTS of our working -materials excepting the color, which is especially described in the -chapter on Color. - -THE EQUIPMENT for concrete pottery is simple, and much of it may be -pressed into service from material to be found about the house or -workshop. Inventive ingenuity on the part of the worker will find clever -uses for many discarded kitchen utensils and unused tools. - -Following is a list of convenient things needed to produce pottery. -These may be added to or elaborated through personal requirements. - -WORKING EQUIPMENT. - - galvanized iron pans about 2 x 3 feet - 2 large spoons - 4 or 5 pans - 2 ladles - 1 large file or rasp - 2 table knives - 3 pieces of ordinary glass about 12 x 18 inches - 1 palette knife - 1 lb. modeling wax - 1 bristle brush ½ inch wide - 2 small sable oil brushes, No. 1 or 2 - 1 small clay-modeling tool - 2 pieces of thin wood for mixing paddles - ½ doz. small saucers or butter dishes - strips of thin metal - thin soft wire - 1 sifter - 2 pails - muller and pestle - several pieces of surfaced wood about 12 inches square. - -With a flat table to work on, running water or a pail of water handy, a -box to receive waste plaster-of-Paris and cement, the proper environment -for color cement is set. - -GALVANIZED IRON WATER TRAYS can be made by taking a three-inch by -seven-inch sheet and cutting a two-inch strip off of one end, reserve -for making scrapers and other useful tools. Cut the remaining metal into -three rectangular sections for trays. - -To make the trays, lay one of these pieces over a strong box with an -even edge and hammer into tray shape as shown in the accompanying plate. -The corners should be bent so as to make the trays waterproof without -soldering. A wooden mallet should be used for hammering the metal as a -metal hammer may cut the metal. - -MOLDING CASE. Several pieces of board hinged together with one series of -edges coming so that they will rest evenly on a flat surface, will -produce an adjustable case to use in making molds. A strong cord will -keep it in place. A strip of metal (tin, brass or iron) may be used as -a cylinder, the circumference being pressed in and tied to conform to -the dimensions of the object to be molded. - -MIXING PADDLES. Paddles for mixing plaster or cement can be made out of -firm wood strips and handles shaped to fit the hand. - -INCISING TOOLS. A nail hammered into a piece of firm wood and the head -snipped off with nippers then sharpened with a file or emery stone until -it is a tapering wedge point. Nut picks may be filed down slightly for -this purpose. Two or three points of varying widths will be handy to -have, particularly when some of them disappear occasionally as all small -tools will. - -SCRAPER. A piece of barrel stave or heavy wire bent like a croquet -wicket with a wire fastened from end to end is particularly convenient -where a number of clay or plasticene tiles are to be produced. For class -use two strips of wood are fastened to the bench, the desired width -separating the strips. Between these strips a piece of strong paper -should be laid and the clay or plasticene pressed firmly onto it between -the strips. The scraper will shave the surplus clay if it is moved along -so that the wire rests on the wooden strips. Measure off the six-inch or -eight-inch squares, cut across with a knife from strip to strip and -remove the squares by sliding the paper out. This will give a smooth, -even surface on which to model or incise designs. - -THE OTHER ITEMS OF EQUIPMENT all have their part to play as follows: - - 2 large spoons--For handling plaster and cement. - 1 large file or rasp--For occasional use on the tile edge. - 3 pieces of glass--On which to cast tiles. - 2 table knives--For paring molds, etc. - 1 palette knife--For working color into cement. - 1 bristle brush--With which to oil molds. - Small modeling tool--To use on clay and plasticene. - Nut picks--For incising. - ½ doz. small saucers--In which to mix colors. - Thin soft wire--For cutting molds. - Sifter--To sift cement and color for glazes. - 2 pails--In which to mix cement and plaster. - Muller and pestle--Grinding mineral colors with cement. - -It may be unnecessary to add that the old axiom “A place for everything -and everything in its place,” will do wonders toward keeping the temper -sweet, and a good temper is a most necessary ingredient for producing -good cement handicraft. - -[Illustration: Tools for Color Cement Handicraft] - -[Illustration: The Mixing of Plaster-of-Paris] - -[Illustration: Helpful Material for Color Cement Handicraft] - - - - -[Illustration] - -CHAPTER 2 - -The Making of - -Plaster Molds - -[Illustration] - - -THE SUCCESSFUL USE OF PLASTER is such an important part in the making of -color cement tiles and pottery that as a preliminary step or auxiliary -to the cement craft it should be well accomplished by the student before -using the cement. It is not at all difficult and for those who have not -used plaster, there awaits an interesting medium for all forms of -plastic applications or adaptations. Our concern with it will be in the -making of successful molds for the producing or reproducing of our -cement tiles and pottery, but a whole book could be written upon the -making of plaster objects. The uses of plaster form a large industry and -many art objects are produced in plaster for many forms of applied art. - -PLASTER IS SENSITIVE to moisture, and should be kept in a dry place. If -plaster does not set within a short time it probably is old and even if -it does set in time it will have a tendency to pulverize. It is always -safer to purchase an entire sack than to purchase a small lot from the -hardware dealer, grocer, or druggist, for the chances are that his -plaster has been exposed in a bin so long that its strength has -vanished. This is mentioned because instances have been known where -trouble in cast making was traced to just such conditions. - -ON RECEIVING THE SACKS OF PLASTER AND CEMENT the tendency will be to let -contents remain in the sacks. It will be found much more convenient and -economical to empty the sacks into a small barrel or box to which a -cover has been made. A tin tray under the box or barrel will catch all -waste that may drop around the edge, preventing the material from being -tracked over the floor. A nail or hook on the side of the barrel for -holding the ladle or spoon used for taking out the plaster will enable -you to find it when you need it. - -THERE ARE VARIOUS GRADES OF PLASTER, but the best for this purpose is -molding plaster. The plaster should always be kept in a good dry -location. - -TO MIX PLASTER SUCCESSFULLY for molds observe the following directions: -A bucket or pan large enough to contain the required amount of plaster -needed should be used. Then half the water for the amount of plaster -used should be poured into the bucket. Sift the plaster-of-Paris through -the fingers into the water, until the water absorbs it no longer. This -can be determined by small portions of the plaster remaining on the -surface. Then stir the whole mass slowly with the mixing paddle until -the passage of the paddle through the plaster leaves a channel which -closes up slowly. - -IT IS THEN POURED PROMPTLY into the center of the space on the glass -prepared for the plaster tile so that the poured plaster gradually -spreads from the center toward the corners and edges filling up the -spaces and coming up the sides to about one-half inch height. Jarring -the table or a slight shaking of the glass will cause the plaster to -settle very level as well as causing any bubbles in the plaster to rise -to the surface and break. Care should be taken that the plaster is not -too thick before being poured. This stage of the proceedings requires -one having their wits alert, and discussing Futurist art or any other -topic may result in “try, try again.” If the plaster appears too thin -more plaster should be added until it is the proper consistency. - -After the plaster is poured it should set for about half an hour -(varying according to the dryness of the atmosphere) before any attempt -is made to remove it. Meanwhile all buckets, paddles, ladles, etc., -containing plaster should be cleaned while the plaster is soft and easy -to remove. - -WHEN THE PLASTER MOLD IS READY TO REMOVE, a table knife slightly -inserted between partitions and carefully pryed will cause the parts to -separate. A most important part of casting molds and the using of the -plaster molds is the oiling. All parts of the molds to come in contact -with fresh plaster, cement or concrete must be thoroughly oiled or -greased to prevent them sticking to each other. If wood, glass or metal -is used with plaster, cement or concrete, remember to oil or grease such -surface before pouring the plaster or cement on it. If you do not, you -will have to use a chisel and with discouraging results. - -The best way to oil the surface is as follows: - -GLASS--Apply salad oil with brush or cloth removing as much as will come -with the palm of the hand. - -PLASTER BARS AND MOLD should first be soaked in water ten or fifteen -minutes to prevent drawing the moisture out of the fresh plaster or -cement. Wipe off surface moisture with soft cloth, and replace with oil, -before using for molding. If oil is left thick or in brush streaks, it -will leave its influence on the surface of the casting. - -WOOD--A smooth-surfaced wood should always be used, and oiled well. - -A good grease formula for all surfaces is as follows: Three parts -paraffin and one part tallow, melt and add one pint of kerosene. This is -applied with a brush. - -AS AN EXPERIMENT PROBLEM for the use of plaster so as to become familiar -with its use, we will proceed with the casting of a simple flat plaster -tile. - -Taking a piece of glass, smooth board, marble or oil cloth, brush the -surface with a little salad or lubricating oil, or linseed oil. There -should be no free oil on the surface or streaks of oil as such will -cause an uneven surface. When using glass it is possible to insert a -diagram or pattern of the shape underneath on a piece of paper as a -guide to the bars or retaining walls of the mold. These retaining bars -or walls may be of various materials. Strips of wood or plaster are -excellent and strips of linoleum, metal and even glass are used. If four -pieces of wood about ten or twelve inches long and one and one-half -inches wide are used they can always be adjusted to fit any dimension -from twelve inches down, by being placed as shown in the diagram. - -TO OIL THE RETAINING BARS, brush the surface to come in contact with the -plaster and then hold the wood in position over the diagram below, using -modeling wax or clay to keep it in position. The clay of course should -always be in position on the outside of the wood and should never be in -the space into which the plaster is to be poured. - -PLASTER HARDENS SLOWLY IN COLD WEATHER and hardens rapidly in a warm -temperature. Salt added to plaster will cause it to set more rapidly and -to harden more firmly. No exact proportion can be given--just a little -sprinkled in a pan of plaster will cause it to set more rapidly. - -DIFFERENT PLASTERS SET AT DIFFERENT PERIODS. As has been described -before, casting plasters can be secured in quick-setting, medium-or -slow-setting mixtures. Medium-setting or slow-setting will be found to -be good average mixtures for use. - -TO RELEASE THE PLASTER TILE after it has hardened (generally a half hour -will insure the hardening action as being completed), the bars can be -released and the tile gently lifted at one corner will cause it to come -apart from the oiled surface. If glass is used the glass can be placed -upright and the separating of the tile from the glass can be watched as -indicated by the moisture suction disappearing as the tile is gradually -separated. If oilcloth is used the tile can be turned over and the -oilcloth peeled off easily. This of course is necessary only where any -sticking occurs, for most times the tile will separate easily. If -sticking does occur it is generally some fault of the oiling for it -needs only one or two little spots overlooked to cause considerable -trouble as the plaster will stick to any part that has been skipped in -the oiling. - -Plaster dries rapidly and will dry in the sun more rapidly. When plaster -is damp it can be scraped or carved easily. Temperature and the age of -the plaster affect its drying periods. - -LARGE TILE MOLDS should be strengthened by having burlap strips or wire -imbedded into the back while the plaster is soft. This creates a -stronger layer than where plaster alone is used. Wood strips should not -be used for backing plaster unless thoroughly dried as otherwise it -causes cracking by its shrinkage, and it is best not to use it for -reinforcing. - -TO CORRECT FAULTS IN PLASTER CASTS use a little of the plaster scraped -from the back to fill in holes or defects. If a corner or portion is -broken off, gouge a hole or cavity so that a little plaster mixed and -placed on that section will become firmly connected. As it hardens, a -little of it can then be scraped with a knife to connect correctly with -the surrounding parts or surface. - -A SECOND PRACTICE PROBLEM is to take the plaster tile and incise a line -pattern in the surface. To make the incising easier, dip the tile in -water and then trace the design previously prepared onto the plaster. -Pressure alone on the paper with a pencil will make an indentation on -the plaster that can be easily followed in the incising. - -THE DESIGNS FOR INCISED PATTERNS are best where the lines enclose a -shape. The parts are more comprehensive and confusion of the lines will -not result if simple outlines are used. In the chapter on Design, line -patterns are shown that are adaptable to incised work. - -TO INCISE THE PATTERN take a nail point or nut pick or other metal point -and shape the point on a grindstone or by the use of a file so that each -incised line will have a tapering side. If any undercuts are produced -the cast or plaster that is poured into it will become locked and refuse -to separate. - -The tile is next immersed in water, taken out and after the water is -absorbed, a brushing of oil is given to it. - -A PLASTER TILE IS MADE MORE DURABLE if it is dried and given a coat or -two of shellac before it is used for molding plaster or cement. -Otherwise repeated brushing of damp plaster with the oil brush will -gradually wear the edges and details of the mold away. - -TO MAKE A CAST FROM THE PLASTER MOLD, it is surrounded with the -retaining bars after they have been oiled and held in position with the -modeling wax or clay; this time they are placed firmly against the sides -of the plaster mold. - -THE CAST OF OUR FIRST EXPERIMENT now becomes the mold for our second -practice problem as the mold is always the part that produces the cast. -The cast in turn may become a mold for another cast. - -TO SEPARATE THE CAST FROM THE MOLD the bars are removed and a knife edge -is pressed between the parts to separate them. Care should be taken not -to become too anxious and force the sections apart before the cast has -dried or they will cause it to break. If it refuses to come apart easily -when completely dry, a little wooden wedge tapped into the crevices in -one or two places will cause it to part easily. Sometimes plaster flows -over the sides of the mold and binds the edges together. On removing the -mold and cast from the retaining bars, examine it to see if any plaster -is binding it and if so remove it. - -IF THE PARTS ARE ABSOLUTELY SOLID it is because the incising was not -properly done and the lines interlock somewhere and the only thing to do -is to break them apart and correct the faults and try again. Sometimes -when interlocking tiles are separated the faulty parts have fragments of -the opposite part attached in the defective parts showing where the -faults are located. - -THE TWO PLASTER TILES SHOULD BE RETAINED for they can be used in casting -plain cement and color cement tiles in various finishes. When they have -completely dried they should be given two or three coats of thin -shellac, a day apart, on the surface only, which will make them good -durable molds for future use. - -CASTING IN THE ROUND is more difficult than flat casting or bas-relief -work and while the making of plaster molds for vases and bowls is given -particular attention in the chapter on Cement Bowls and Vases, -directions for casting objects in the round will be given here. - -AS A GOOD TEST PROBLEM take any small object or toy and, if it is wood, -oil it well. If it is porcelain or glass it will not need to be oiled. A -simple form, animal or bird, can be made in modeling wax or clay to be -used as the original or model from which to make a mold. The best -objects are those modeled in broad surfaces with but little detail. - -PREPARING FOR CASTING. The equator or half-way mark should be marked on -the surface of the object, as one-half of the mold should be made at a -time. Instead of one-half, one-third is often used on round objects to -permit easier release of the molds. Mold divisions when possible should -follow corners of objects. - -THE FIRST SECTION of the mold is made by placing a layer of clay along -the division lines on the object which have been indicated as division -lines for the sections of molds. Sometimes the object can be laid on the -table or on glass and the plaster poured around it up to the half-way -line as shown in the accompanying plate. In this method a strip of -linoleum or metal can be placed around it to make a retaining wall for -the plaster. - -AFTER THE FIRST SECTION is cast, the model is removed from the plaster -and if the plaster has risen past the equator it should be scraped back -and indentations or “keys” made in the plaster portions that are not -those producing the parts of the model. The model is replaced in its -hollow and the entire surface of the mold that is exposed is oiled, -including the sides of the metal, linoleum or whatever is used as -retaining walls. Plaster is again poured for the second half after which -it is permitted to dry before separating the mold sections. - -OILING. It must be remembered that the molds must be oiled after each -casting as each pouring absorbs the oil. All surfaces coming in contact -with the next pouring of plaster must be oiled to cause separation. - -POURING. A hole must be cut in the molds to permit the plaster to enter. -Air holes leading upward as shown in the engraving are scraped upward -out of the molds to permit the escape of the air; otherwise air bubbles -may be formed in the plaster causing defects. - -TO HOLD MOLD PARTS TOGETHER tie a cord or wire around parts. Notches cut -on corners or edges of molds to hold the tieing cord will prevent them -from slipping. Molds should fit closely together. If for any reason they -do not, the crevices can be filled with modeling wax as a temporary -filler. The best results are obtained, however, from perfect molds and -it is a saving of time to make a mold over if it is not perfect in the -first casting. - -RELEASING CAST. After the plaster has set long enough to harden, the -molds are opened by gentle prying or tapping with a wooden wedge. Often -an obstinate cast is released by placing the mold over a stove or flame -for a few seconds. This causes the steam formed in the mold to separate -the mold from the cast. - -CEMENT BOWLS AND VASES are made by pouring thin cement into the molds -and rotating the mold and pouring out the surplus cement. After a few -minutes another layer is poured in and the operation repeated. This -method is explained more fully in the chapter on Bowls and Vases. - -[Illustration: The Making of Plaster Molds] - -[Illustration: The Making of Molds] - - - - -[Illustration] - -CHAPTER 3 - -Plain and Incised - -Cement Tiles - -[Illustration] - - -A KNOWLEDGE IN MIXING CEMENT is the next step necessary in Color Cement -Handicraft. The steps necessary toward mixing cement are simple, the -main point being that the cement should be fresh. The student is -cautioned to test the freshness of cement by seeing that no caked or -hard lumps of cement are contained in the sack mixture. As formerly -explained the cement should have a smooth, slippery feeling when passed -between the fingers. - -NEAT CEMENT is the term applied to cement mixed with water without the -addition of any sand or gravel. Neat cement produces a very smooth -surface and responds to reproducing every change in the surface of the -model. It should be used on the surface only and not for the entire tile -or pottery. If used without any sand or gravel, it is termed “too fat,” -and has the fault of cracking sooner or later. Therefore neat cement is -always backed up with a concrete mixture. - -CONCRETE is a mixture of sand and cement, gravel and cement, or rock and -cement. In all instances where such a mixture is made, the two parts -should be _mixed dry_ before any water is added. Only enough should be -mixed to meet immediate needs as it is not best to use cement that has -stood so long that it has commenced to harden. - -TO SECURE A VERY FINE SMOOTH SURFACE for tiles or pottery the cement -should be used neat. It must be sifted dry through a fine sieve and -enough water added to make it of easy working consistency. Then a -mixture of two-thirds gravel or sand and one-third cement with water -added may be used on the back of the tile or the inside of a vase and -possibly again lined with a mixture of neat cement. - -Cement or concrete can stand for an hour or two and again be used by -adding more water and mixing thoroughly. This cannot be done with -plaster and should be avoided with cement or concrete. If chemical -action has commenced and the cement has partly set, it naturally will -have lost much of its strength for second use. - -A CONCRETE MIXTURE of one part cement and two parts sand or gravel will -give good strength. The sand or gravel must be clean. If it contains any -vegetable matter or other sediment, it should be avoided. To test your -sand quality put a four-inch layer in an ordinary quart jar, fill with -water within three inches of the top. Cover and shake well. Then permit -the sand to settle. If the sediment or loam which remains at the top of -the sand is one-half inch or more, the sand is not fit for use in -concrete. - -CEMENT MIXTURES ADAPTABLE TO VARIOUS USES are given below. These may be -used for backing and reinforcing large problems, in garden pottery, -garden furniture or walls. - - 1. RICH MIXTURE - 1 part cement - 2 parts sand - 5 parts gravel - - 2. STANDARD MIXTURE - 1 part cement - 2 parts sand - 4 parts gravel - - 3. MEDIUM MIXTURE - 1 part cement - 2½ parts sand - 3 parts gravel - - 4. LEAN MIXTURE - 1 part cement - 3 parts sand - 6 parts gravel - - -Cement and sand mixed dry first, then with water. The gravel is mixed -wet with other mixture and thoroughly combined. - -Builders use the Rich Mixture for columns and high stresses, and where -water tightness is necessary. - -Standard Mixture is used for arches, for tanks and sewers, and for -machine foundations. - -The Medium Mixture is used for piers, sidewalks, and heavy walls. - -The Lean Mixture is used for walls, foundations and for unimportant -work. - -THE FIRST PROBLEMS IN CEMENT should be the casting of cement tiles -without the use of color. As a beginning problem set the retaining bars -around a six-inch square space and mix a neat mixture of cement and pour -into the space so as to make about a quarter-inch layer. After this has -set for about fifteen minutes pull some of the neat cement up the sides -with a putty knife or strip of cardboard and then pour in the remainder -of the tile concrete mixture of one-third cement and two-thirds sand. -This will result in a tile with the top and sides surfaced with neat -cement. The surfaces of the bars and the glass or other under surface -have of course been properly oiled previous to the pouring. - -BEFORE PROCEEDING WITH TILE MAKING it may be necessary to make a number -of plaster bars to use as retaining walls. These are made as follows: -Two strips of wood one-half inch to an inch thick laid parallel on a -glass or other smooth surface that has been greased with oil. The -distance between the strips of wood should be about ten inches, as the -length will then serve for producing eight-inch tiles or any size under -this dimension. The edges of the wood facing inward should always be -oiled, the wood strips are held in position by small lumps of modeling -wax pressed firmly into the outer edge of the wood so that it attaches -it to the surface of the glass. This will leave a channel between the -two wooden strips into which the plaster is poured. The two ends of the -channel may be stopped with blocks of wood or blocked with wax or clay. -As soon as the plaster is poured into the mold it should be evened by -running a straight strip of wood or metal over it spanning the width of -plaster. Run this back and forth to trim off the surplus, so that the -plaster will have an even thickness when removed from its bed. - -TO REMOVE THE PLASTER first remove the wooden strips and then tap the -layer of plaster lightly on the edge with a hammer. This will loosen it. -Then with a T square and sharp nail mark off bars five-eighths inch -wide and also bars one and one-quarter inches wide. At least twelve bars -of each width should be made. After drying for three days the bars may -be sawed apart with any sharp saw, care being taken to hold the saw -within the groove made by the nail. The edges of the bars may be further -smoothed if necessary with a knife or file. - -STRIPS OF WOOD WITH SURFACED SIDES can be used in the place of plaster -bars and if oiled will release very easily from the plaster when used as -retaining walls. - -TO MAKE AN INCISED TILE in plain cement proceed as follows: Roll out -clay or modeling wax to about one-half inch thickness and cut to the -desired size of tile. Cover this smooth surface, place a design which -has been made on thin paper and trace with a pencil. The paper should be -held so as not to slip and the result should be a slight indentation of -the design on the clay. These lines are then incised over with the -incising tool to the desired depth, care being taken that no -over-hanging edges remain on the edges of the incisions. The incisions -should have sides slightly sloping inward and if the tool is correctly -shaped it will produce such lines. - -THE DESIGN should be planned to be at least one-half inch from edge and -simple in construction. Avoid a tangle of ever crossing lines. A -geometrical arrangement dividing the square into pleasing spaces will -produce the best results. - -Place the tile on a level surface and take four bars of the one and -one-fourth inch plaster strips or wood, soak in water for fifteen -minutes, wipe dry and oil. Now place the four bars so that the inside -edges are against the wax or clay tile and fasten so that they are -unmovable with modeling wax. The bars if placed with one end projecting -past the bar meeting it at right angles permits their adjustment to any -size tile under ten-inch dimensions. Onto this pour plaster-of-Paris, -pour into the center letting it run toward the edges forcing all air -ahead of it as it enters the incisions. Level off surface and remove the -plaster cast from the mold as soon as it has hardened. - -TO RELEASE THE PLASTER CAST first remove the surrounding bars and lift -the plaster tile off the clay. The plaster tile will have the design in -relief on the surface. If any clay is adhering to these relief lines, it -is evidence that there are overhanging edges and such edges should be -trimmed with a knife before the next step. The next step is as follows: -After plaster tile is dry put it in water for a few minutes, then oil -the surface well. Place back in the bars and repeat previous operations -excepting that this time a cement mixture is used instead of plaster. A -mixture of neat cement should be used half way up and permitted to -remain for five minutes before the concrete (one-third concrete, -two-thirds sand) is poured in for the remaining half. - -IN MIXING SAND AND CEMENT it should be remembered that they should be -mixed together thoroughly _while dry_ before any water is added. After -the cement has been poured into the form, if it is to be used for floor -or wall purposes, four small squares of cardboard should be pressed into -the exposed cement which is the back of the tile. This should be done -about fifteen minutes after the cement has been poured, when it is not -too soft. - -The tile may be removed after it has remained in the form for -twenty-four hours. A thin cement mixture of another color may be made -and brushed over the tile and the surplus removed, leaving the last -color only in the incisions. - -AN INTERESTING VARIATION is produced by cutting away the clay or wax -between the incisions of the pattern to the depth of one-half inch or -less, making a mold of this tile and in turn casting a concrete tile. -The result will be a surface with relief section and low spaces, the -relief being concrete and rough in texture. - -These low spaces are then filled with a colored cement of another color, -or neat cement, and brought to the level of the relief surface. Such a -tile secures a pattern adaptable to tile walks, or any surface which is -subjected to wear, in that the design is not only a thin surface layer, -but a thick portion of color that will not disappear with the wearing of -the surface layer. - -A SIMPLE METHOD OF MAKING TILE MOLDS is to cut a design from a thick -piece of cardboard or sections of a design, and glue these in proper -position to carry out a design arrangement. These pieces should be cut -with tapering sides so as to permit of proper “draught” or releasing -conditions when the plaster cast is made for mold purposes. - -The pieces of cardboard should remain glued until dried to avoid the -moisture of the soft plaster moving the parts around. - -WITHOUT THE USE OF COLOR a number of pleasing and varying textures can -be secured with plain cement, as the gray color of the cement has an -artistic quality, and it is well to become well grounded in the use of -cement before combining color with it. - -SEVERAL WAYS OF USING PLAIN CEMENT FOR TILES beside those already given -are explained in the following descriptions. These are termed Traced -Cement, Burnished Cement, Scraped Cement, Concrete Tile, Cement and -Concrete Tile, Glazed and Dull Cement Tile, Glazed Relief Line Tile. - -THE TRACED CEMENT TILE is made by pouring a half-inch mixture of -concrete (one-third cement, two-thirds sand) into a mold made with the -usual retaining bars of any desired dimensions. Over this concrete -mixture a layer of about one-quarter of an inch of sifted neat cement -mixed with water should be placed. At a certain degree of hardness this -layer of neat cement will yield to a slight indentation or traced -outline. This condition can be tested by touching the edge of the -surface with a pencil point to see whether it is too hard or too soft. -A good plan is to pour the mixture in the evening and it is generally in -right consistency to work upon on the following morning. The surface -should be nearly hard but still sensitive to pressure with a point. - -HAVING PREPARED THE DESIGN on a piece of paper about the weight of -business writing paper, the design is placed on the surface of the tile -and kept in the same location while a blunt, soft lead pencil is traced -over the pattern, pressing firmly to create a good indented line in the -cement surface. The design for this work is best where the pattern is -easily expressed in lines or outlined forms. The forms can be increased -in strength by rubbing the pencil on the outer edge of the lines to be -slightly modeled in separate appearance. When the design has been -completely gone over, the tile is placed in water for several days, -after which it is dried and a thin coating of color wash (see chapter on -Surface Finishes) may be added to it which will further the pattern by -coloring the traced lines. - -THE BURNISHED CEMENT TILE is produced by casting a similar tile to the -one made for the Traced Cement Tile and proceeding in the same manner, -excepting that the spaces between the forms are burnished smooth with -the dull pointed pencil or a smooth small stick. This results in some -parts being burnished or pressed down while others remain in slight -relief. A change in this is also produced by scraping the smooth surface -off between the lines in certain places instead of burnishing it. This -results in parts of the surface being of a different texture and also of -a little different color, as the scraped parts are different in both -these respects to the cement which has dried and remains untouched on -the surface. - -A SECOND BURNISHED TILE EFFECT is to pour a layer of neat cement first -in the mold and a concrete mixture last. When this is hard enough to -remove, and still soft enough to work upon (the neat cement layer having -been in the bottom will dry with a dull finish and not a glaze finish -as when flowed on as a top layer) it should be removed and the design -traced upon this neat cement surface. If a leather tool or smooth hard -point is used, certain parts as desired can be worked upon, smoothed -down or pressed in, through the paper which will create a change of -surface texture. - -THE SCRAPED CEMENT TILE is where either the top neat cement or bottom -cement layer has the design in line or form scraped out of the cement, -the entire design being produced without a plaster mold being used. A -sharpened nail or nut pick will make a good scraper and this scraping -and pressing is done on the cement surface direct and not through a -paper as in the two previous problems. This direct method of working -upon cement surface is considered more thoroughly and more extensive -applications made of it in the chapter on Carved and Modeled Cement. - -THE CONCRETE TILE. Varying finishes may be secured in casting any cement -tile by the kind of aggregate used with the cement. A rough irregular -small crushed rock will give one kind of texture, while a round small -white gravel will give another and each change will present different -effects. Without going into extremes of finishes or having too many -changes in the surface of a tile, pleasing effects can be secured by one -to three changes of texture secured by putting different mixtures in -different parts. This may be done by mixing and applying with a brush or -spoon the different mixtures into the mold, placing the mixtures each in -their proper section of the mold. The whole is then covered with the -backing mixture resulting in the surface pattern appearing with the -changes after the tile has been released from the mold. - -Where a concrete mixture is to appear rough in texture, the sand or -gravel and cement should be mixed dry, just enough water added to cause -it to mix up to a damp consistency so that it can be shaped with the -hand. This can then be put in the mold and tamped slightly with a block -of wood to press it in true contact with the surface of the mold. This -will result in a porous, open texture, producing good contrast with neat -cement parts that have been previously placed or are to be added. - -THE CEMENT AND CONCRETE TILE is made with plain cement producing added -interest to the design by the two textures or surface finishes that -occur between cement and concrete. The design for such a tile is best -where the parts are separated either by an incision or a relief line. -The plaster mold should therefore present separate portions, some of -which can be considered for the cement parts and others for the concrete -parts. - -By mixing neat cement until it is of a thin mixture, the mixture can be -placed on the mold wherever wanted by dripping it from a brush. Care -should be taken in the use of a brush with cement that a wiping stroke -is not used as such a stroke will remove the oil from the plaster -surface and cause parts of the cement to stick to the plaster. - -After the cement has been placed, a concrete mixture is made and poured -into the space up to the desired height to produce the necessary -thickness. This will at the same time fill in the remaining surface -spaces of the tile. - -THE GLAZED AND DULL CEMENT TILE is produced by filling in with clay or -glued cardboard bits cut to shape, those parts that are to be glazed -gray cement. Do not use modeling waxes or artificial clays for this part -as the oil or grease in them will interfere with the glazed cement -adhering to the surface in the final finishing. - -After the cardboard or clay is dry a layer of neat cement is poured in, -and backed with the usual concrete mixture. After the tile is released, -the cardboard bits or clay is removed and cleaned out, the surface under -it is roughened with scratched lines and the tile is put in water for an -hour. The spaces are then filled with a mixture of neat cement and -permitted to harden in a shallow tray of water. - -TO MAKE GLAZED CEMENT SURFACE it is important that these steps be -watched: - - 1st. That the surface be roughened wherever the glazed surface is - to appear. - - 2d. That the tile be soaked in clean water until it has fully - absorbed water. - - 3d. That a little dry neat cement be placed on the spaces to have - glazed effect. - - 4th. That the neat cement should be sifted and dripped on with a - brush and not gone over a second time. - - 5th. That the tile is taken out and dried and the glazed and dull - neat cement will create the change of surface texture as planned. - -A bloom or chalk-like powder often comes on the surface of tiles, but -will disappear within a short time and need not cause any anxiety. - -GLAZED RELIEF LINE TILE is made by casting either a neat cement tile or -a concrete tile with a relief line design and then mixing a neat gray or -color cement glaze and putting it onto the surface. The tile is shaken -in a level position until the entire surface is entirely covered leaving -a thin layer of the glaze in the spaces between the lines as well as -slightly on the lines. The tile is set in a shallow layer of water to -harden. - -OTHER VARIATIONS IN TILE EFFECTS can be made by combining these methods -and with the use of color in these different methods described, -unlimited avenues are opened to the worker in color cement. It should be -remembered also that most of these methods of surface treatment are also -possible in other forms beside flat or tile surfaces. The student should -know these methods of working with plain cement and concrete as they are -the foundation of successful Color Cement Handicraft. - -[Illustration: How to Make Color Cement Tiles] - -[Illustration: Cement Tile Textures] - -[Illustration: The Incised Tile] - - - - -[Illustration] - -CHAPTER 4 - -Making -Vases and Bowls - -[Illustration] - - -MAKING VASES AND BOWLS is a little more complicated than the making of -tiles, but by following the directions carefully it will be found that -once the process is worked out, it can be easily repeated. - -FOUR DEFINITE OPERATIONS are necessary to produce a bowl or vase and -they may be termed as follows: - - 1st. Making or preparing the original model. - 2d. Making the molding case from the model. - 3d. Pouring the concrete into the molding case. - 4th. Releasing the mold and completing the object cast. - -THE FIRST STEP, making the original model, is as follows: With clay or -modeling wax build a form of the vase or bowl desired. The inside need -not be considered; that is, do not make the form hollow but build it -solid. Care should be taken to see that the contour is even and alike -when viewed from all sides. A templet cut from metal, wood or stiff -cardboard, will help in securing perfect contour if moved around on the -outside and corrections made accordingly. A false neck should be added -onto the solid form and part of the bottom of the mold scraped so as to -leave a rim or edge on the bottom. The form is then ready to make a mold -from it. - -ANY VASE OR BOWL CAN BE DUPLICATED in cement by making a plaster mold -from it. The inside of the bowl should be filled with sand or wadded -paper and a false neck built over the mouth with clay or modeling wax. -If the surface is glazed it need not be oiled before casting, but all -dull or rough surfaces should be oiled. - -THE SECOND STEP, making the molding case, is as follows: Take the model -(clay or vase to be duplicated) and place it upon an oiled glass or -other smooth surface. Marking off about one-third of its diameter, build -a narrow strip of clay or wax on two sides from top to bottom. This -ridge or wall should extend far enough out to meet the molding case or -metal strip, and the two walls of clay and the metal or case should be -made proof against the plaster running out anywhere, when it is poured -into this well. After the plaster is set, the clay strip can be removed -from one side and the exposed plaster edge is oiled after two keys have -been bored into it with a pointed metal strip (see working plate). The -removed strip is then built along the next division of the model and the -case or metal used for retaining wall is moved into new position and a -second third of the molding case is made. To make the third or last -piece of the mold the two first sections are retained in position -(always boring keys and oiling exposed edges), the case or metal wall -again placed in position and the plaster poured into the opening. The -plaster should not be too thin and if a little is poured into the bottom -and allowed to set before pouring the whole amount, it will not be -forced out through the bottom. Of course all openings must previously -have been stopped with clay or wax. - -TO STRENGTHEN A MOLD strips of burlap or wire screening can be imbedded -in the plaster while it is soft. This makes a durable mold capable of -withstanding much handling. - -TO MAKE THE MOLD FOR THE BOTTOM the three sections are turned upside -down (the model still being in position) and the plaster parts all being -oiled, a ring of clay is placed around the bottom so as to make a cup -shape into which the plaster is poured. - -THE THIRD STEP is the most important part as the mixture or “slip” for -the pouring is important. The first mixture should be neat cement and -water and should be rather thick, for if too thin it will not adhere to -the walls of the mold. When the neat cement is ready it should be poured -into the bowl about half-way full. The bowl is then rotated in a -horizontal position gradually downward so that the surplus cement slip -will pour out of the mouth back into the pan or container in which it -was mixed. Then after a half-hour or so another mixture of slip should -be rotated. This mixture should be composed of a one-third cement and -two-thirds sand mixture and be thinner in consistency. If the bowl is -large and the walls need to be thick a third and fourth layer may be -necessary. - -THE LAST LAYER OF SLIP can be of neat cement which will finish the -inside with a smooth surface. When working with color the first rotation -and the last may have color added to the slip which will result in a -color finish on the inside and the outside of the bowl or vase. - -THE FOURTH STEP or releasing the mold, should occur the second or third -day after the pouring has taken place. This elapse of time depends all -upon weather conditions. In summer cement dries more rapidly and not so -well. In winter the hardening is more slowly accomplished but more -perfectly. - -THE DRYING OF CEMENT is best when it occurs gradually. Never place -cement in the sun or use artificial heat to force it. Checking, cracking -and breaking will surely result if this is done. - -For this reason the tiles and pottery made with cement should dry -gradually in the shade but not in a draughty location. - -To release a vase or bowl from the mold, the cords are untied and the -plaster mold parts opened. The cement cast, if successful, will separate -from the mold without trouble. The ridge that may have been formed by -the groove where the plaster parts have come together can be scraped off -and smoothed by rubbing the finger tips over the surface. The surplus -part of the neck can be carefully scraped away and after the vase has -dried out of the mold for a day it can be put in a bucket or tub of -water to harden for a few days or a week. - -TO FINISH A VASE it is removed from the water, permitted to dry well, -the surface is brushed clean and it can then be waxed or surface -finished as described in another chapter of this book. - -A RELIEF DESIGN ON A VASE SURFACE requires care in making the sections -of the mold so that the vase cast will pull out of the mold without -breaking. If the molds are made in three or four segments there is -little danger of trouble but wherever there is relief surface or lines -on the surface, a two-piece mold is sure to result in the breaking of -parts. - -DIFFERENT TEXTURES IN GRAY CEMENT can be secured on the surfaces of -bowls and vases by using almost any of the processes described in the -previous chapter for tiles. - -IN ADDING COLOR TO DIFFERENT TEXTURES of cement in Cement Pottery the -color or neat cement can be added to the oiled surfaces of the plaster -molds before they are tied together preparatory to the pouring. In this -instance, however, the divisions of the plaster molds should be planned -so as not to break through the designs. If a continuous design motif is -essential, the only way to correct the break will be to touch in the -disconnected parts with the right color or mixture after the parts of -the mold have been placed together just previous to the pouring in of -the slip for the first rotation. - -THE MAKING OF FLAT BOWLS simplifies the rotating problem and in many -shapes the slip can be placed and directed with the use of a brush. -After the last slip has been added to a bowl, a design can be added with -a brush by using a different color, placing the color slip in the center -of the inside portion of the bowl. This can also be done on the outside -surface of any bowl or vase, creating a change and surface enrichment. - -VASES WITH SQUARE SIDES should be produced from plaster molds which have -the connecting lines coming on the corners. In this way the casting -lines that always show to some extent on the cast surface when it is -removed from the mold, will occur where it will be easy to remove them -and if a little does remain it becomes a part of the corner. - -If any incised lines or relief parts are on the sides of these square -formed vases, a separate piece for each side will be necessary in the -plaster mold. - -A GLAZED FINISH can be produced by rotating a bowl or vase in a mixture -of neat cement that has been well sifted and placed in a pan in a thick -enough layer to permit the bowl or vase to be turned in it without the -sides scraping the bottom of the pan. - -WHERE LARGE RELIEF SURFACES are to be produced and undercut surfaces -molded, it is then necessary to use glue for the molds. This requires -skill in handling. For those who wish to produce molds for such work the -following is given: - -After modeling the surfaces or figures in relief, if they are to be used -on garden pottery, book-ends, vases, etc., or any design that has -undercut surfaces, it should be covered over entirely with a one-half -inch layer or blanket of wet clay or modeling wax. If the modeling has -been done in clay it should remain overnight without the usual wet cloth -over it, before placing this second clay layer. If wax is used the clay -layer can be placed over it without waiting. Deep sections should be -lightly filled with clay to reinforce the one-half inch layer. Two or -three nails should be used to hold the original firmly to a board base. -A little plaster-of-Paris should be poured around its base to help make -it firm. - -Over this clay blanket lay a strip of clay along the highest part or -equator of the surface, so that the surface is directly in line with the -equator. Place a casing around and fix so that plaster can be poured, -and a rough casing produced of one half. Remove the clay strips and with -a pointed piece of metal bore several holes or “keys” in the exposed -edge of the plaster. Oil this edge and cast the second half. - -Before pouring the plaster a clay cylinder should be placed at the top -to form a hole for pouring into and a second hole near it for an air -escape. - -After the plaster is set it will be found that a casing or shell is -produced which when placed over the original model (the one-half inch -clay blanket having been removed) will leave a space around the entire -original model. - -The next step is to prepare the casings and pour the glue into this -space to produce a mold of the object and its immediate surface. - -A few pencil marks are made on the outside of the casing and carried -onto the table or board base to check up its relation when it is -replaced. These marks are very necessary. - -The casings are then given two coatings of shellac and wood alcohol (one -part alcohol, three parts shellac), and when dry are oiled well or -greased with axle grease. Shellac is also applied to the original model -whether clay or plaster. Plasticene or similar wax need only be oiled -slightly. - -Replace the cases so that the two halves come together closely and so -that the marks on the outside lower edge correspond correctly with the -marks on the table. Stop the cracks on the casing with clay dipped in -plaster and bind over the casing in the same way (or with the use of -cords) to prevent the glue from floating the casing. - -THE GLUE IS PREPARED as follows: White fish glue or gelatine glue is -washed well in water. Put in dry can, placing it in second pan of water -and boil until creamy in consistency. When the finger can be dipped into -it without burning, the glue is poured into the casing as follows: - -A funnel of clay or wax is roughly made and the glue poured into the -opening of the casing, filling the space between the model and the -plaster casing. - -Let stand for twelve hours. Remove casing and cut the glue shell along -the half-mark made by the equator division, cutting from the under side -through at one stroke. The glue can be lifted (as it will give) so as to -permit cutting from underneath. To cut from the outside will not produce -a clean cut. - -With French chalk or talcum, chalk the inside of the plaster casing well -over the shellac and fit the glue shells back into each half. Then with -a solution of powdered alum and water (two teaspoonfuls in one-half cup -of water) brush the entire inner surface of the glue to harden the -surface. Let stand for one hour. - -IF CEMENT IS TO BE USED, the glue must receive two coats of white lead -or varnish and left to dry two days. When plaster is used no white lead -or varnish is necessary. - -Cement should be used thin and a thin layer produced by pouring into -this mold and revolving it so that a coating will stick to the surface. -After setting for twelve hours more is added and again revolved until -the desired thickness is produced. - -Where the object is not to be hollow the cement is poured in solid and -left until hard enough to remove the casing and glue shell. - -This sounds complicated but it is no harder than the usual recipe and if -you can’t follow a recipe or be interested in its result, then there is -no hope for you in Color Cement Handicraft. - -A DIAGRAM ILLUSTRATING GLUE MOLDS is shown at the end of Chapter Two, on -The Making of Plaster Molds. A little study of this with the above -directions will make the process clearer. - -[Illustration: Vase Molds] - -[Illustration: The Finishing of Cement Pottery] - - - - -[Illustration] - -CHAPTER 5 - -The Use of Color in -Cement Tiles - -[Illustration] - - -SUCCESSFUL COLOR IN CEMENT WORK is dependent entirely upon the use of -mineral pigments in dry powder form. The lime action in the cement will -nullify and disintegrate any color of a vegetable or chemical source so -that no hue remains. - -A LIMITED RANGE OF COLORS is therefore presented to the worker in Cement -with which to secure results, but the list of colors described in the -following paragraph is after all an elaborate one when compared with the -few pigments with which the primitive and aboriginal potters produce -most beautiful results in their wares. - -PICTORIAL OR REALISTIC DECORATIONS ARE NOT DESIRABLE as Color Cement -decoration and it is hoped by the authors that those who follow the -technical direction of this book will be in harmony with the applied -design principles set down in the last chapter; and that their color -cement productions will be such that it will add correct line, form and -color to this new handicraft. This will enable its growth among the art -handicrafts to be without handicap or prejudices resulting from its use -in incorrect design or application. - -THE FOLLOWING COLORS ARE POSSIBLE in mineral colors for us in Color -Cement: Black, Brown, Red, Dull Yellow, Blue, Green. - -A Color Scale and Mineral Colors are as follows: - - { Germantown Lampblack -Black or Gray { Carbon Black - { Black Oxide of Manganese - { Black Oxide of Copper - -Blue { Ultramarine Blue - { Oxide of Cobalt - -Yellow { Yellow Ochre - { Chromate of Lead - -Orange Mineral Orange - -Green { Chrome Oxide of Copper - { Carbonate of Copper - { Roasted Oxide of Iron -Brown { Burnt Umber - { Metallic Brown - - { Indian Red -Red { Venetian Red - { Mineral Turkey Red - { Raw Iron Oxide - -THE SUCCESSFUL USE OF COLOR IN CEMENT depends entirely upon the true -proportion of color to the cement. No exact rule can be quoted as colors -vary in quality in different localities. Experimenting only can solve -the correct proportions. Also, anything that will nullify the action of -disintegration upon the color by the lime in the cement is desirable. -The Petroma Cement Colors made by the American Crayon Company of -Sandusky, Ohio, fulfill these requirements for the craftsman, and will -aid in successful schoolroom results, avoiding loss of time and waste of -material. - -COLORS MAY BE GLAZED, MAT OR DULL FINISH according to how and when it is -placed on the cement tile. Each finish requires different treatment and -the easiest is the Dull Finish. - -THE DULL COLOR FINISH is produced when the color is dropped or placed -into the mold and concrete or cement is used as a backing. This results -in the color drying in the mold with a dull finish next to the plaster -mold surface and is exposed when the cement casting is released from the -plaster mold. - -THE GLAZED COLOR FINISH is more difficult to produce successfully and is -secured only in that color that is placed onto tile or pottery surfaces -after the cement surface has partially hardened. A tile design or -pattern may be cast in a mold and after it has come out of the mold it -is dried for an hour and then placed in water. If the surface to receive -color has been roughened or lines scraped into it when first released -from the mold and the cement slightly soft, the color will adhere even -more surely. We know that metal craftsmen often roughen the surface of -metal where enamels are to be placed and fired in, to insure more -perfect attachment, and a similar treatment to the cement will do -likewise for the cement color. When the cement tile has been removed -from the water and surplus moisture shaken off a little plain neat -cement is placed on the surfaces to be colored and to this the color in -thin paste form is dripped from a brush. No back stroke is possible -without injuring the finish. Finish each section and then leave it -alone. - -A SAFE WORKING METHOD is to place the tile in shallow water to avoid any -part becoming dry while the color is being applied. A pan or shallow -dish will serve the purpose. - -THE MAT FINISH is produced the same as for the Glazed Finish excepting -that the tile is placed in water immediately after it is removed from -the mold and placed there for a few minutes only. The surface is treated -otherwise similarly to the glazed process and this results in the color -being dull in finish. - -HARDENING IN WATER should be done with all tiles and the dull and glazed -finished tiles should be set in a pan of water without letting the water -reach the decorated surfaces. - -A COLORED SKETCH should be made in every instance where color is to be -applied to cement. - -MATERIALS FOR MIXING COLORS are as follows: Two sizes of small -sable-hair brushes, a palette knife (or putty knife), several small -dishes, a spoon, a fine-mesh sieve, and a piece of glass. - -TO MIX THE COLORS proceed as follows: Place a little of the desired -color on the glass, to this add dry cement reducing the color intensity -to the desired strength. Portland cement being gray will do this -harmoniously. To this add a few drops of water until the color is of the -desired consistency. - -The color should always be tested on a tile surface and dried in the sun -to determine final color, adding color or cement to the wet mixture to -correct the color. Where a tint of color is wanted a white cement should -be added instead of Portland cement. - -To produce a plain surface color on tiles, the desired quantity of color -is mixed and strained, to eliminate all coarse particles. The mixture -may be sifted while dry or strained after the cement has been added. - -THE USE OF WHITE CEMENT should be limited because white cement is not as -durable as gray cement and because its setting qualities disappear as it -becomes older more rapidly than gray cement. If perfectly fresh it can -be used with good results and produces a more brilliant color when mixed -with the colors than when gray cement is used. - -TO APPLY THE COLOR either in the mold or to the surface of the object -after it is removed from the mold, the color should be applied with a -brush. - -AS A TEST COLOR PROBLEM use an incised pattern plaster mold and the -colors may be planned for the incised tile as follows: Working from a -color sketch, mix up colors to match and after the plaster mold has been -water soaked it should be oiled by dabbing the brush up and down on the -surface. If the brush is stroked it will not leave enough oil on the -surface and the color will stick to the tile. Next drip the cement color -from a brush with a shaking motion. The various colors are thus placed -in each of the partitions of the mold and after drying for fifteen -minutes is backed with a layer of plain cement and sand and allowed to -set. - -When the tile is released it will contain different colors between the -incisions and a thin wash of an additional color may be added to fill -the incisions. - -COLORS CAN BE MIXED one with another while dry or when wet to produce -other shades. Violet will be produced by the mixture of mineral orange -and ultramarine blue. - -PLAIN SURFACED TILES MAY BE COLORED by pouring in a thin layer of color -combined with neat cement and then backed up with a concrete mixture. -Mottled and variegated color surfaces may be secured by first spattering -or dropping drops of another color into the mold before the color -mixture is poured in. Or the plain cement or concrete tile can be -removed and covered with a color layer which will be dull or glazed in -finish. - -A PLAIN TILE TO BE APPLIED WITH COLOR should be placed in water -immediately on being removed from the mold, and allowed to remain there -for a quarter of an hour, before applying the color. When taking the -tile out of the water do not let the fingers come in contact with the -surface to be colored. Let the tile stand a few minutes to drain, before -applying the color. Then a thin layer of neat cement mixed with water is -applied. Next place a spoonful of the color upon the surface of the -tile, slightly shaking the tile while level, then pour off the surplus -color as it overflows the edges. If bubbles occur the surface should be -recoated for the bubbles will break in the drying, producing a defect. -To prevent bubbles, the color should be stirred with the spoon slowly so -as to avoid the arresting of air which produces the bubbles. The point -of a pin will often help to dissolute the bubbles if used immediately -after the surface is coated. When satisfactorily coated, place the tile -carefully in a tray and add water until it reaches a little more than -half way up the side of the tile. Be careful that water is not splashed -or dropped on the newly coated tile, for this will ruin the surface and -necessitate doing the tile again. The tile should remain in this water -for four or five days, water being added when it has become absorbed or -evaporated. - -TO COLOR AN INCISED DESIGN the plaster cast from the original becomes -the mold for the color cement tile. The plaster, having become -thoroughly dry, is shellaced with one or two thin layers of shellac and -after drying for one or two days is ready for use with color cement. - -It is then oiled well but not so that surplus oil remains on the -surface. A dry brush will be good to use for removing surplus oil. The -color having been mixed to harmonize with the previously prepared color -sketch, one of the color mixtures is taken up with a brush and dripped -with a shaking motion onto the correct area, which in an incised design -is divided into spaces. If a drop of color falls where it is not wanted, -take a clean brush and pick the color out of the space, after which a -little oil should be brushed carefully into the space to renew that -which was removed with the misplaced color. If any color falls onto the -back of color already placed do not worry over it as it will not appear -on the finished surface. - -ANY COLOR NEXT TO A FILLED SPACE may overlap the previously filled space -as only that color touching the plaster surface will be visible when the -tile is removed from the mold and is finished. - -AFTER COVERING THE ENTIRE SURFACE WITH COLOR let it remain for half an -hour before backing it up with the concrete mixture, as otherwise the -weight of the concrete may force gravel particles through the thin color -deposits and mar the face of the color design. - -TO COMPLETE THE TILE remove after two days, and place in water after the -edges and slight faults have been corrected. It should harden in water -for several days and then dry in a cool place after which it can be -waxed or finished in other ways. - -ANY OF THE PREVIOUS PROBLEMS described in the methods for producing -tiles in plain cement can be carried over into this chapter and color -added to the texture finishes in cement and concrete and many -interesting finishes developed. - -OLD COLOR AND CEMENT or dried cement color should not be used. Mix up -only enough color for immediate use as any color not used fresh after -mixed with cement cannot be used again and should be discarded. - -[Illustration: Use of Color in Cement Tiles] - -[Illustration: Color Tile Methods - - 1. Relief Tile. - 2. Persian Relief. - 3. Relief Line with Mold Color. - 4. Relief Line, Majolica Color. - 5. Intaglio Tile. - 6. Sgraffito Tile.] - - - - -[Illustration] - -CHAPTER 6 - -Color Cement Relief -Tiles - -[Illustration] - - -TO BEGIN A RELIEF TILE, a model should first be planned on clay or -modeling wax. A pencil pattern is first made on paper and this paper is -placed over the layer of clay or wax and a pencil tracing will produce -an indented pattern of the subject on the clay or wax underneath. - -TO MODEL THE SURFACE a wooden modeling tool, such as is used by -sculptors, or a leather modeling tool or even small whittled pieces of -wood can be used. In producing raised portions the clay or wax scraped -to produce low parts can be used and care should be taken not to produce -too great a relief as a tile design should not appear detached. - -AVOID UNDERCUT SURFACES or overhanging edges on the finished model as -this will result in locking of the cement cast with the plaster mold and -breaking of the tile before it can be removed. A general checking over -of the different parts before the plaster cast is made will avoid many -of the overhanging parts going through as they can be easily located and -corrected. - -TO CAST THE PLASTER MOLD the clay or modeling wax is surrounded with the -retaining bars and as the clay or wax needs no oiling the plaster can be -mixed and poured into this mold. A slight jarring of the table or -surface on which the mold is placed will cause the plaster to settle, -producing a level surface and also cause any bubbles to break or come to -the surface. - -TO AVOID BUBBLE DEFECTS IN CASTING either with plaster or cement the -plaster or cement mixture should be poured into the center location of -the mold allowing it to spread gradually toward the sides and corners -carrying the air in the grooves and low spaces, forcing it toward the -edges. Once the surface is covered in this way the remainder of the -mixture can be poured in more rapidly. - -TO CORRECT BUBBLE DEFECTS that appear on the finished plaster or cement -casting, scrape some of the plaster or cement from the back or sides -where it does not matter and repair the flaws by pressing it into the -holes. Where cement is repaired this way it should be permitted to dry -for another day before it is placed into water to harden. - -TO MAKE THE CEMENT RELIEF TILE in color the plaster cast made from the -clay or wax model should be oiled after it has been shellaced and -surrounded with the retaining bars. The color should be then mixed with -the cement and water added to make it of a pouring consistency, it is -then poured into the mold. After this color has set for awhile the back -layer is added of concrete after the color of the first pouring has been -carried up so as to produce color on the sides as well as on the face. - -WHERE A NUMBER OF COLORS ARE USED the colors are mixed and dripped upon -the oiled surface of the plaster mold before it is enclosed with the -retaining bars, as the retaining bars would prevent free access to the -surface with the brush. After the various colors have been placed, the -plaster cast is then placed within the bars and the color being -permitted to set, it is then backed with a layer of concrete. - -THE CONCRETE BACKING MAY BE COLORED either with color throughout or with -a topping of color to give it a finish. If corners are to be rounded or -the edges trimmed in any way this color layer should be thick enough to -permit trimming without exposing the under layer. - -TO AVOID THE COLOR FALLING OUT in color relief work, the following -should be observed. When preparing to pour in the backing, observe -whether any of the color cement placed on the tile has become too dry. -If so, it should be sprayed with a light coating of water or brushed -with a brush full of water, and its upper exposed surface slightly -roughened so that the backing will adhere firmly. If it becomes dry and -smooth the second layer of cement poured onto it will come in close -contact but not adhere, and later a change in temperature or jar of the -tile may shake a portion of the design loose so that a color fragment -will fall out. - -TO AVOID COLOR PREMATURELY DRYING, the plaster cast should be placed in -water for fifteen minutes at least before the color is placed into it. -To permit free absorption of water the plaster tile should never be -shellaced on the bottom but only on the sides and the top. - -ANOTHER WAY TO MODEL A RELIEF DESIGN is to carve it on plaster direct -without making the relief on clay or modeling wax. This method has the -advantage of being proof against overhanging edges, though some care -must be taken against undercut surfaces. - -TO MAKE THE PLASTER CARVED MODEL trace the design onto a smooth slab of -plaster of the right size that has been cast on a smooth surface. If a -larger piece of plaster than the desired size is used it can be cut -down. - -TO CUT PLASTER SECTIONS an old saw can be used or several strokes of a -knife on the surface until about one-quarter of the thickness has been -cut, and a similar cutting on the reverse side, just opposite to the -cutting on the first side will enable the plaster to be broken easily. -Or by laying it on a straight edge with the line of cutting over the -edge, a quick pressure with the hand will snap the two pieces apart. - -AFTER THE DESIGN IS TRACED a chiseled nail point, nut pick or other hard -edged point is used for scraping the surface of the plaster, modeling it -or carving it to the desired shapes. Naturally it will be found that -plaster can only be taken off and not added on and that all reliefs -must be produced from the surface downward, that is the natural surface -will be the maximum height and all variations in the surface produced -below that. - -BACKGROUND TREATMENTS are produced where a design appears in low relief -against a background. The background may be stippled with the tool point -or lines scraped or crossed lines used to create interesting background -qualities. - -TO BUILD UP PLASTER SURFACES, roughen the surface onto which more -plaster is to be placed and mix fresh plaster and place it on with a -small spoon or with the brush. After this is dry it can be carved or -scraped with the tools used in the modeling of plaster. - -TO FINISH THE PLASTER CARVING, it is dried, shellaced, and used for -casting just the same as the other relief forms described. To preserve -casts from receiving injuries to their surfaces they should be wrapped -in paper with a card against their face and placed with face toward the -wall in a cupboard or shelf, when not in use. Where a mold has been -repeatedly used and the shellac become worn, the mold should be -carefully dried and the shellac coating renewed. - -A CONVENIENT CLAY TO USE for relief work is the powdered fire clay -secured in most hardware stores and is the clay used for lining grates, -furnaces and similar purposes. This clay is convenient in that only the -amount needed may be mixed up for use, leaving the balance of the -powdered fire clay always in good condition. - -RELIEF TILES DESIGNED FOR FLOOR SURFACES or for wall surfaces are best -where they do not contain deep relief as they will not catch dust or -dirt and will be better unified with the remaining surfaces. - -SPECIAL TREATMENT FOR RELIEF FLOOR TILES is required in that the cement -should be compact and clean sand should be used mixed with just enough -water to cause the two to adhere to each other and this should be -tamped into the mold well up against the face of the plaster tile to -pack the mixture firmly and cause it to form into a durable surface. - -TO HARDEN CEMENT TILES or pottery they should be placed in water so that -the water will complete the chemical action producing the stone-like -quality of successful cement work. If the tile is removed and dried and -again placed in water it will increase the hardness. - -AFTER THE TILE IS HARDENED it is dried thoroughly and brushed well with -a brush. It may be waxed or first given a thin coat of shellac and then -waxed. Shellac should never be applied until the cement tile is -thoroughly dry, as otherwise the shellac will remain sticky. - -[Illustration: Plaster and Clay Modeled Cement Tiles] - -[Illustration: Color Cement Tiles and Pottery by Art School Students] - - - - -[Illustration] - -CHAPTER 7 - -The Majolica Tile - -[Illustration] - - -MAJOLICA POTTERY derived its name from the island of Majorca, Italy, -where during the sixteenth century glazed pottery reached its highest -perfection. - -Glazed color may be placed in hollows in the surface of pottery or on -the surface. A better method is to produce a raised line or rim to -retain the glaze, and this is the method we will use in the cement or -concrete pottery. - -THE CEMENT MAJOLICA TILE is made as follows: First design a subject that -will have each motif, part or section defined with lines. These lines -must be part of the design and used much as lines are used in stained -glass work. The design should be simply planned. A confusing -overcrossing tangle of lines is to be avoided. A few geometrical forms -rightly related will be most pleasing. Keep the design at least one-half -inch within the edge of the space. Then oil a piece of glass as -directed, place over a card that has the tile dimensions squared off on -it as a guide for placing the casting bars on the glass. Clay or wax -should always be used to hold the casting bars in place. Into this now -pour plaster-of-Paris, pouring into the center, letting it flow to the -outer edge. Level off evenly and remove after fifteen minutes. On -releasing this plaster tile a smooth surface will be found on the side -which came next to the glass. - -THE DESIGN is then transferred to the plaster tile by tracing with a -carbon paper. The paper should be thumbtacked onto the sides of the -plaster tile to prevent it from slipping while tracing. The design -should also be traced on backwards so that the completed majolica tile -will be in the same position as the design. The design is then incised -with the incising tool, care being taken that at whatever depth the line -is made the incision has sides sloping upward. If these grooves have -overhanging edges the cement to be poured in will flow under these edges -and lock the tile, causing these lines to break before the cement tile -can be released. - -WHEN INCISING, see that the bottom of the groove is sufficiently wide, -as this bottom is to be the surface of the line on the completed -surface. A line one-sixteenth or one-eighteenth of an inch is not too -wide. The plaster should not be too soft or too hard to secure the best -incision and avoid crumbly lines. When the incising is completed oil the -surface and surround the tile with four retaining bars. The bars should -be soaked in water and be of double width as they extend above the -plaster cast. This extension above the tile represents the thickness of -the tile to be made. Clay or wax is pressed on the outer edges of the -bars and plain neat cement or a mixture of the desired color is made and -poured onto the mold. Pour in the center steadily, for cement poured on -the “installment plan” will show a mark wherever each installment -occurred. - -When the cement in the mold has dried for twenty-four hours remove by -slightly prying, after the retaining bars have been removed. If parts of -the lines are not on the surface it is because air was arrested in -pouring the cement or the oil settling in the grooves. If lines are -broken and remain in the mold it is because the grooves have overhanging -edges and locked the cement line. To repair these lines, soak the tile -for a few minutes and mix a small portion of cement to match that used -and build the missing section by dripping the cement from a brush. - -AFTER DRYING for an hour put the whole tile in water for a day or -overnight and it is then ready to add the color. Meanwhile the plaster -mold with the defective grooves should have the grooves cleared by -scraping the overhanging edge with an incising tool. - -The tile as it has been produced by the mold appears with a number of -relief lines dividing the whole surface into a number of partitions or -cells. It is into these that we are to place the color and it should be -worked as follows: - -While the surface of the tile is moist, drip in the color with a brush, -spreading it to fill the required space. Thin pieces of metal (or -material that will not absorb the moisture) may be used to spread the -color, producing a smooth, even surface. The color after once commencing -to set should not be touched, and for this reason should be rather -liquid so as to permit handling without too rapid drying. - -THE COLOR SURFACE appears better when the lines of the design remain -uncovered with color. If the color is thickest in the center of the -spaces and then bevels down as it comes in contact with the lines, the -whole tile or surface will appear more professional. - -If color becomes blurred or disturbed, it is better to wash the whole -out under the faucet and begin anew, or remove the section at fault and -work over. No amount of patching or rubbing will perfect the surface -after it is partly dry or completed. - -After the coloring is finished put in a tray, carefully pour water into -the tray without dropping any onto the tile and let harden for five -days. The water should reach a little more than half-way up the side. -After removing it from the water let stand until dry, polish with a soft -flannel slightly waxed to remove white sediment on surface. - -ANOTHER METHOD WITHOUT THE LINES is to use the color directly onto -cement or concrete surface without any retaining lines. The colors may -be placed so that they intermingle or so that they just touch, or the -color spots may be separated one from another similar to stencil work. -The color for this method is mixed thoroughly with cement and water -until the mixture is a fine thick liquid or “slip.” - -SLIP PAINTING is a method of painting a design in one or several colors -over a cement or concrete surface. The color may be slightly in relief -or if done at the proper time it can be made to become a flat stain of -color sinking into the first surface. - -THE TWO WAYS OF SLIP PAINTING must be handled a little differently and -the best way to become familiar with these methods is to do the work. -Therefore let us work out the first method of producing a design slip -painted in slight relief as follows: - -FIRST: Make a design for a six-inch square, the design to denote the -colors to be used. Second: on a glass place retaining bars which have -been soaked in water and oiled, leaving space six inches square into -which a half layer of neat cement is poured and then a layer of one-half -sand and one-half cement. Third: after standing for twelve hours, -release this cement tile and it will be a plain, smooth surface. This is -placed in water for an hour and the design traced upon its surface. - -Chalk of any visible color should be rubbed on the back of the drawing -to act as a tracing medium. Carbon paper or graphite should not be used -as any greasy substance will prevent the slip painting from adhering to -the cement tile surface. - -THE COLORS FOR THE SLIP PAINTING should be mixed so as to match the -colors of the color sketch. When matching the colors, dry a small dab of -each color on a glass to see the dried color effect. - -TO MIX THE COLORS PROPERLY, select the color you wish, emptying a little -upon a glass or marble slab. Take a little clean water and mix with a -palette or putty knife and grind the color until it becomes a thin -liquid paste. Having ground this color thoroughly, scrape it up and -place on one side of the glass, then proceed with the next color until -you have mixed the complete palette of colors to match those on the -sketch. - -VARYING COLORS CAN BE SECURED by mixing the mineral colors and where -hues different than those in the set are wanted they should be mixed the -same as in water colors. There is one exception to this rule and that is -in using the orange. The orange in the mineral colors when mixed with -blue will produce a violet. - -To gray the colors add gray cement, and to lighten the colors add some -of the white cement. - -TO PLACE THE COLOR ON THE TILE, take it up with the brush and drip onto -the cement surface, being guided by the tracing previously made. The -color should be thin enough to flow from the brush easily and not so -thick that it drips in lumps. More water should be added if too thick -and more color is added if too thin. In both instances, whether water or -color is added it must be ground in thoroughly. If the color settles on -the glass it should be stirred again to keep the mixture uniform. - -THE RELIEF OF THE COLORS can be regulated by how much color is flowed -from the brush, and surfaces can be built up by repeating the strokes of -color. Avoid repeating a stroke after the color has commenced to set, as -a second stroke in such an instance will destroy the surface lustre. -Where colors run over the boundaries they may be scraped back or taken -off with a moist, clean brush. - -The direct clean stroke will produce the best final results, and if -preceding each stroke a little thought is given, mistakes will be -avoided. - -The tile surface should not be permitted to dry while working upon it -and if kept in a shallow tray of water there will be less risk of it -doing so. Water should never be permitted to fall upon or touch the -surface of the slip painting or tile as the color will be destroyed. The -tile is placed carefully into shallow water to continue hardening and in -four or five days will be hard enough to remove. After drying out of -water several days it is ready to use or it may be given a gasoline wash -or wax rub if needed. - -Tiles will harden as they age. Those that appear to be partly chalky -when completed will harden in a month’s time, when the moisture from the -center of the tile has completely evaporated. - -THE SECOND METHOD OF SLIP PAINTING is used where three different planes -or heights of color are wanted. For instance we will suppose that the -subject is to be a decorative design of trees and distance landscape in -three colors. This would be worked out as follows: First, cast a plain -cement tile and after removing it and while damp pour a spoonful of -color on the surface coating it with plain color as desired. This color -should be the background color of the sketch. Second, while this coating -is soft, take the lightest color (for clouds, water, boats, flowers, -etc.) and with a full brush place the color onto this soft coating. It -will blend and sink into the background color and remain equally flat. -Third, after these colors have commenced to set, with a full brush paint -in the foreground part of the design (trees, etc.), working in large -masses and building up the color by repeated strokes until the right -relief is secured. Avoid shading the parts and keep all parts flat in -tone, even though they may be in relief. It will be found that the later -color is added to the first coating the less it will sink into the -background. Any design can be worked out accordingly either in relief or -flat. A little experimenting will solve many questions, and reveal -greater possibilities. To complete the tile it is placed in shallow -water until it hardens, then let dry for several days after which it may -be given a toning wash, or gasoline wash, and a wax rub. - -A THIRD METHOD is to take a flat surface and slip-paint a design onto it -in relief. After the color has set for a short time it can be trimmed -carefully with a knife so that the sides are nearly vertical. This will -give the slip-painting a decidedly different appearance and it may be -left this way or other color may be added so that it comes nearly up to -these trimmed sides. - -AVOID LEAVING ANY PART OF THE SURFACE DRYING or setting when painting on -the surface; or the tile hardening in the water too long before being -painted upon, as it will prevent it from becoming durable. Surfaces can -be covered smoothly when slip-painted if the color is used very thin. -First cover the surface with a coating of the color to be used, -immediately adding more of the color and it will flow and settle evenly. - -A slip-painted color will dry dull if placed upon a tile shortly after -it has come out of the mold. To secure a glaze to a color the tile -should remain in the water for two days before the color is placed onto -it. - -FOR LARGE SURFACES on which color is to be slip-painted, the surface on -which the color is to go should be roughened, so that the color will -become anchored. - -THREE DEGREES OF SURFACE can be secured by different treatment. These -finishes are, first, Dull Surface; second, Mat Surface; third, Glazed -Surface. - -DULL FINISH is secured by putting the color into the mold. The mold -absorbing the water from the surface causes it to dry dull. - -MAT FINISH is secured by placing the color onto the tile or vase surface -after the surface has come out of the mold and moistened in water for a -few minutes. - -GLAZED SURFACE is secured by letting the tile or other object harden in -water for several days and then draining off the surplus water, after -which the color is slip-painted onto the desired surfaces. - -TILE SHOULD NOT BE PERMITTED TO DRY at any time before color is added, -as the color will not become attached to the surface. - -DO NOT FORGET to roughen the surfaces of the spaces and to add neat -cement also before dripping the color onto either the mat finish or -glaze finish tiles as described in chapter five in the paragraph on The -Glazed Color Finish. - -[Illustration: The Majolica Tile] - -[Illustration: Slip-Painted Tiles] - -[Illustration: Slip-Painted Tile Methods] - - - - -[Illustration] - -CHAPTER 8 - -Sgraffito -Color Cement Work - -[Illustration] - - -SGRAFFITO is the name applied to the incised ware of the Italians, and -used by them from a very early period dating as far back as the twelfth -and thirteenth centuries. The ware was made by covering the clay body -with a layer of slip of another color, and this was then scratched -through with a tool showing the color of the ware beneath against the -superimposed surface, after which it was fired. This process has been -used from the most primitive times, but it remained for the Italians of -the fifteenth century to dignify it as an art. - -COLOR CEMENT SGRAFFITO is produced with a layer of cement and color -being used instead of colored clay and the cement is hardened without -firing, water only being used to finish the surface to a durable -quality. - -THERE ARE TWO WAYS to produce a sgraffito surface on a tile and these -are, the glazed surface and the dull surface tile. No mold is needed for -the design as a sgraffito design must necessarily be a freehand -production, though molds may be used for duplicating the sgraffito -effect after the original one has been made, if no undercut edges are -left. - -TO PRODUCE A SGRAFFITO TILE, the retaining bars are set to give the -desired shape and dimensions, after which the space is filled with a -half inch layer of concrete, either of sand and cement mixture or of -gravel and cement. When this layer has dried so that the top section is -moist but firm in surface, a thin layer of color and cement should be -poured onto the cement so that it forms a thin layer not more than an -eighth of an inch thick. - -TO SMOOTH THE LAYERS after the color has been poured in, shake the glass -or table or whatever surface the mold is resting upon and if this is -done gently it will cause the color to become level and even in surface -finish. - -TO CAUSE TILES TO BE EQUAL IN THICKNESS the surface of the glass or -table upon which the mold rests should be level when the cement is -poured in. Otherwise the tile when finished will be found to be thicker -on one side than on the other. A glass or pan of water or a spirit level -will quickly show whether or not the surface is level. - -AFTER THE FIRST COLOR LAYER IS POURED into the mold it is permitted to -stand just long enough to settle firmly and then a second layer of -another color is poured over the first layer so that it also forms a -thin layer of even color. This second layer should be even thinner than -the first. A layer one-sixteenth of an inch is a good dimension to plan -on, though these dimensions need not be accurately adhered to. If the -first layer is permitted to dry too long before the second layer is -added the result will be that as the finished sgraffito tile is drying -it will split in layers, the split coming between the layers of colors -that were permitted to dry too long. - -A THIRD LAYER OF COLOR may be added over the second layer if the design -being planned calls for three divisions of colors. These layers are to -respond to the next step in the process, which is to expose portions of -each layer by tooling the surfaces so as to produce different colors at -the same time that the different depths are produced. - -THE TOP LAYER WILL DRY WITH A SMOOTH SURFACE which will produce a -sgraffito tile with a glazed or partly polished surface while the other -layers will have a surface with dull texture. - -TO PRODUCE A TILE WITH A DULL SURFACE throughout, the pouring stages -should be reversed in their steps. That is, the color that is to be the -top surface should be poured first and the other colors in their proper -relation, the last layer being the cement and sand or other concrete -mixture. This will result in the layer first poured in coming next to -the glass, having a dull finish when it is released from the mold. - -TO PRODUCE THE SGRAFFITO DESIGN on the sgraffito tile, the tile should -be permitted to dry for about ten to twelve hours or if it remains -overnight the surface will be about right to work upon. The paper with -the design is then placed and retained in the correct position on the -cement tile and a dull pencil is used to trace the pattern, without the -use of carbon paper or other transfer medium. This will result in an -indented or embossed guide line on the cement surface of the tile which -can be used in scratching away through the first layer to the under -color. - -THE TOP LAYER OF COLOR should be used to tell the main part of the -design story. If the subject is to be that of a bird or a ship, the top -layer design should be the bird or ship or other motif and the motif -should be so designed as to reach the boundaries of the tile surface so -as to produce a strengthening border arrangement all around the edge. - -THE SECOND COLOR LAYER can then play a secondary part in both the color -scheme and the design arrangement, giving with its color placing a -contrast to the upper main layer used for the design. - -THE BACKGROUND COLOR should be brilliant or dull depending upon the -surface color. If the surface color is brilliant, the bottom color -should be duller. If the upper color is dull, the background color can -then be the bright intenser color. - -WHERE THREE LAYERS OF COLOR ARE USED the middle layer can be a color -harmonizing with both the background layer and the top layer and can be -used either for a pattern part to the design or it may be used simply as -a blending strata or layer appearing in the cut sides of the sgraffito -work. - -COLOR HARMONY is essential in producing sgraffito color cement and a -color sketch will be a good safe preliminary in doing sgraffito work as -false steps or errors cannot be remedied in sgraffito and each step -should be carefully thought out before the tooling commences. - -TO DO THE TOOLING, a scratch point should be used for incising or -scraping down along the line of the portion to be scraped out. The -portion within this boundary should then be scraped out down to the next -layer of color, care being taken not to gouge or cut deeply into the -under color. If the design is one of three layers, the center layer can -be included in the scraping out if the bottom color or layer is to -appear in that portion of the design. Do not attempt in the scraping to -take out large portions at a time as it will result in the breaking out -of sections that are wanted as part of the remaining design. It will be -found that the layers of color as scratched into retain their separate -layers and that the thin layer of the upper color separates easily from -the layer on which it rests. If a slight portion of the upper color is -inclined to remain attached to the background color or under layer let -it remain as it will give an interesting color quality and harmonize the -two colors. - -THE SIDES OF THE SGRAFFITO LAYERS should gradually slope outward, and -after the layers have been tooled clear the sides of the layers should -be gone over and evened up in slant as well as in general finish. If the -corners are to be sharp or rounded in finish, see that the treatment is -carried out similarly in all parts so that a general unity of finish -will remain. - -THE LAST STEP IN FINISH is to place the sgraffito tile in water so that -it is entirely immersed, and it is left in the water for several days -after which it is dried by being placed flat in a cool but not draughty -place to dry. - -TO PRODUCE SGRAFFITO SURFACE on bowls or other round surfaces the layers -are produced by rotating the bowl in colors or spraying the colors on -with a sprayer such as is described in the chapter on coloring of bowls -and vases. The color can also be placed on with a brush if it is mixed -to the right consistency and the successive layers put on at the right -intervals. - -SGRAFFITO FOR ARCHITECTURAL WORK holds great possibilities, and is being -gradually recognized by those builders who desire the charm of hand -wrought enrichment that graces so many of the Old World buildings. -Sgraffito decorative pillars and panels for buildings, homes and courts -is an assured possibility by the use of color cement and can be produced -with less cost than by the fired clay method as well as in larger, more -unified sections in that there are no kiln limitations to be considered -in doing the color cement. A plate is shown illustrating the use of -sgraffito in the making of an entrance to a college building designed in -the Italian Renaissance style and the sgraffito and ornamentation being -of Italian source, both combined in perfect harmony with the building as -a whole. - -SGRAFFITO CAN BE APPLIED TO MANY FORMS such as book ends, fern boxes, -garden bowls, the requirement for success being mainly the placing of -the successive layers of color on each other when neither too dry or too -wet, and the scraping away of those parts desired when the cement is in -the proper condition. - -[Illustration: Sgraffito Tile and Sgraffito in Architecture] - - - - -[Illustration] - -CHAPTER 9 - -Modeled and Carved -Color Cement - -[Illustration] - - -FROM A STANDPOINT OF GOOD DESIGN modeling, when applied to a flat -surface or any other surface, should not be high in relief. - -Any time that a modeled design appears to have been added onto or is in -such relation to the surface that it appears to be an independent, -detachable ornament to that surface, then it is not truly decorating the -surface, but detracting from the object decorated. - -At all times keep the principles of unity and subordination in mind when -producing modeling so that the design will be a related development to -the material and the surface used. - -CEMENT TILES WITH A MODELED SURFACE are produced as follows: Take a -flat, smooth piece of clay or modeling wax, cut to the size of the tile -to be produced. Such a surface may be made by rolling clay or wax with a -rolling pin or other rounded surface. Having drawn the design to be -modeled on a piece of thin paper, place this over the clay and trace -lightly. This will produce a slight indication on the surface sufficient -to guide the modeling. If there are sections that are to be low, these -parts are outlined with an incision in the surface and scraped out to -the desired level. - -Do this over the entire surface, bearing in mind that the edges of the -tile should generally have a border or other parts retained of the -original surface. Too much elimination on the tile edge will thin the -tile and weaken its construction and design. - -Having scraped out all the low parts, then clay or wax may be added to -such parts that are to be higher than the first surface. With the -modeling tool shape the parts, finishing them so that there are no -overhanging edges. - -When this is completed surround with the plaster bars and produce a mold -in plaster which in turn is oiled in the usual way and a cement tile -cast from it. Neat cement should be poured first, and after a few -minutes setting, a concrete mixture is poured in until the desired -thickness is secured. In this way a cement tile is secured, duplicating -in form the original clay or plaster hand-made modeled tile. The color -of the surface can be any color according to the color added to the neat -cement mixture. - -DIFFERENT COLORS on different parts of the surface can be produced as -follows: Mix cement colors with equal parts of cement. Grind these -colors with the putty knife or pestle and place each color in a small -saucer or pan. Oil the surface of the mold with a brush, dabbing it on -in short strokes. The colors are next dripped from a brush onto their -right location. This layer of color should be about a quarter of an inch -thick and left to stand until firm on the surface. It is then covered -with a layer of concrete and smoothed off to a level. - -TEA TILES OR LARGE TILES for inserts into garden furniture or for -architectural use can be strengthened by a reinforcement. A -reinforcement may be made from the ordinary window screening or any wire -fence mesh or so-called hardware cloths used in building construction. - -This wire should be cut a little smaller than the tile and sunk into the -concrete layer while soft. It should be pressed down with the fingers -until the concrete closes over it. This will add a considerable strength -to the tile. - -After the tile has set for several days, it is removed by inserting the -knife between the edges and carefully prying it apart, or steaming apart -by placing over a low flame for a few seconds. If part of the color -remains sticking to the plaster mold it is because there was not enough -oil on that particular spot. Therefore remember that a mold surface -should be well oiled before placing the color into it, and care being -taken that there is not so much oil that it settles in the hollows and -grooves. - -The tile after drying thoroughly may be polished with wax and used. - -FOR MODELING LARGER OBJECTS such as flower pots, urns or similar forms, -it is best to form some means of reinforcement to approximate fairly -closely the final form of the object. Close meshed wire can be used -successfully for this purpose. It should be tied and braced firmly so -that the concrete or cement weight will not destroy its shape. The -concrete mixture should be made with one part cement and two parts clean -sand. - -TO HASTEN THE SETTING OF CEMENT add a very small quantity of common -washing soda to the water used in mixing the cement. This will cause the -cement to set up rapidly so that the work can be done more quickly. - -AFTER THE MIXTURE HAS BEEN APPLIED over the wire reinforcement and -shaped and modeled until completed, it should be put in some covered -place or in a moist location for the first two or three days so that the -moisture in it will not evaporate. - -TO HARDEN THE CEMENT OBJECT immerse it well in the water for four or -five days. If it stays longer in the water it will not hurt the object. -The water will harden or complete the action of hydration necessary to -make cement durable. - -TO SECURE BISYMMETRIC SHAPES to forms or to secure true circular shapes, -a templet of sheet metal can be cut and rotated from a centrally located -axis. This is used while the mortar or concrete is in plastic condition -so that the templet will cut or model the right contour. - -CARVED CEMENT is made possible by scraping or carving out the cement -when it is in the right condition. This condition can be determined by -scraping the cement to see whether it is hard enough to carve. If it is -too hard, it cannot be carved successfully. About sixteen to twenty -hours setting will produce about the right condition but this will vary -according to the mixture and climatic conditions, as temperature will be -an important thing to consider in all color cement work. Very hot -weather is not a good time to do color cement, the winter days or gray -cool days are best to work with cement for perfect hardening results. -Avoid freezing weather. - -TO CARVE CEMENT, the tools may be of metal or nails shaped with cutting -points and the work done similarly to the carving of the sgraffito tile -described in the previous chapter. No adding or building of parts is -possible, the whole subject being a process of taking out parts and -shaping the parts that are left. Backgrounds and portions can be varied -in texture and different results will be secured with a little -experimenting. - -DIFFERENT TEXTURES are possible in the carved tile. A glazed surface to -the carved tile is secured by carving on the upper side of the tile; -while the dull under surface, the side molded against the glass or under -surface, will be used if a dull surface for the carved tile is desired. - -A GLAZED OR MAT FINISH BACKGROUND in the carved tile can be secured by -immersing the tile in water for a day or two for glazed finish or an -hour for a mat finish and then applying neat cement, plain or with color -as described in the chapter on Color Work for Tiles. - -CARVING ON BOWLS AND VASES and other forms can be done, care being taken -that the carving does not go so deep as to weaken the surfaces. Motifs -or spaces can be carved out of cement bowls and vases and bits of -stained glass or mosaics, or color cement can be put into the spaces and -neat color cement used to bind the additions into the spaces. - -SLIP-PAINTED PORTIONS MAY BE ADDED to the carved tile. After the tile is -carved and properly moistened in preparation for the cement to be added, -the color cement is mixed to a thin slip and a background pattern or -decorations can be added to the surfaces of the carved tile. The tile is -then placed in shallow water without permitting the water to reach the -surface of the tile, and permitted to remain for four to six days before -removing. It should then be placed in a cool location until completely -dried. - -THE UNIT TILE or the small tiles made to be assembled in patterns, may -have modeled or carved cement surfaces combined with the units to -complete the pattern. For instance a number of tiles representing leaf -forms may be combined with others representing flower motifs. These may -be imbedded into a panel of cement or concrete, the units grouped in -some form of design growth, the stems and other related portions being -modeled in the cement, or carved in the surface after the cement is -somewhat hardened. The units can be in color or mat finish, the -background remaining in dull finish. - -MODELED CEMENT TILES differ from the cement tile with a modeled surface. -In the first the modeling is done on wax or clay and the cement tile is -made by duplicating the effect by the use of plaster molds. The modeled -cement tile is a modeling of the cement by hand while it is still in a -plastic stage. - -TO PREPARE CEMENT FOR MODELING, pour a concrete mixture into the mold so -as to allow for a second added layer of about one quarter inch of neat -cement. This last layer of neat cement is the part which is to be -modeled and can be made into a color by the addition of color to it. -This color should be added in the dry form to the dry cement, mulled or -ground well into the cement and then mixed with water until it becomes a -thick cement paste that will pour slowly onto the concrete mixture first -placed in the mold, until it covers the entire surface. A gentle jarring -of the mold will settle the color evenly and it should then be permitted -to stand until of a good modeling consistency. - -A GOOD MODELING CONSISTENCY for cement is determined by testing it with -a tool or small pointed stick making a small incision or trying a small -section to see if the mixture holds its form. If the cement as laid up -on edge stays in position and does not have the tendency to fall or -settle, it is then ready to model, as it will hold its form when built -in relief. - -PROMPT ACTION IS NECESSARY when the mixture is at this point and the -tool should be promptly used scraping or sketching the subject by -incised lines in the surface. Then parts of the cement are scraped from -the low portions and placed on the parts to be in higher relief until -the general rough forms are massed in. The smaller parts are then -detailed in and the different parts finished just as one would in -working with clay or modeling wax. If it is found that parts do not hold -up, it is because under sections of the cement have not dried -sufficiently and it will be necessary to wait until it hardens a little -more. - -THE FINISHED RESULT may be complete with the strokes of the tool or the -modeling instrument showing over the entire surface. - -If the technique is shown in this way, care should be taken that the -strokes are pleasing in direction and not carelessly left. As the tile -hardens it will be found that the surfaces or edges can be shaped, and -even when the surface is almost hard, it can be slightly indented or -carved to produce different textures and varying qualities. - -GOOD MODELING TOOLS are those that are made from pear wood for sculptors -use. Metal modeling tools also can be used. Good home-made modeling -tools can be made from manicure sticks, pencils, dowel sticks or -ordinary small hardwood pieces shaped with a knife. These pieces should -be smoothed down very evenly with fine sandpaper and then rubbed with -beeswax or paraffin to avoid any rough surfaces. Rough surfaces will -cause the cement to stick to the tool. Experience will be a good guide -to the worker in color cement for determining the best shape to make the -modeling tool, as individual needs and ways of working will determine -the best form for each person. - -[Illustration: Modeled and Carved Cement Tile Methods] - - - - -[Illustration] - -CHAPTER 10 - -Color Cement -for Bowls and Vases - -[Illustration] - - -THE COLOR FOR BOWLS AND VASES is mixed the same as for the tiles and it -will be found that the use of the muller to grind the color is necessary -to secure a good mixture. The color should be of the right consistency -for rotating inside of the molds, which can be best determined by a -trial. It will fall off the sides if too thin and if it is too heavy it -will fail to roll evenly. - -TO PREPARE A VASE OR BOWL MOLD for color, the parts to come in contact -with the color should be oiled after they have been immersed in water. -The parts are then assembled and tied together. Corresponding marks or -figures can be placed on the molds so that there can be no mistake in -combining the correct sections. Such marks will avoid confusion, -particularly where the mold may be composed of a number of sections. -Molds for vases are not shellaced. - -THE FIRST ROTATION is then made by taking a quantity of the color cement -or slip, mixed only with neat cement of thick quality, and pouring it -into the mouth of the mold into the bottom. A spoon may be used to place -the color if the mouth of the mold is large enough. The color is then -rotated by turning the mold gradually until the color covers all the -inside of the walls and the surplus is poured out into a pan. If the -color at first refuses to attach to the inside, a few slow revolutions -of the mold will generally overcome the trouble as the oil is causing -the separation and is overcome by a few turnings of the color. - -THE SECOND ROTATION is accomplished in the same way that the first -rotation was but not until the first layer has fairly set. The surplus -from the first mixture may be used. It is placed or poured carefully in -and the rotating done and the surplus again poured out, excepting that -it is poured out from the opposite side so as to equalize the thickness -of the neck section of the vase or bowl. - -A THIRD ROTATION may be necessary if the bowl is a large surface or if -the slip used has been very thin. After each rotation the mold with its -layer of inside color should be covered over with a damp cloth to -prevent too rapid drying of the color. The second and third mixtures -should be thinner than the first. - -THE WALL MIXTURE is then rotated over the color stratas and is made of -one part of cement and two parts sand. This mixture is necessary to give -the bowl or vase strength and to make it waterproof. If neat cement -alone is used the vase will check and crack in time, particularly if -water is ever poured into it. - -FOR SMALL VASES only one rotation of color is necessary and the second -and third may be of cement and sand with a fourth finishing layer in -color. This finish layer may be of any color desired within the range of -color cements or of neat gray cement only. - -THE FINISH ROTATION is the layer that will appear as the inside lining. -This is made of color and neat cement and is rotated so as to cover the -cement and sand mixture. This mixture may be placed in the mold after -the vase or bowl has been removed from the mold, and this permits the -possibility of carrying the inside color over the edge of the mouth and -partly down the side as a decoration. - -AFTER THE ROTATED COLORS HAVE DRIED, which generally takes from two to -five days, the mold is carefully opened and the vase removed. Flaws or -bubbles on the surface, if any, are corrected by scraping with a -moistened knife parts of the neck that are not to remain and others -filled in. The false neck or that portion that extends above the actual -vase is now carefully trimmed away, leaving only the actual bowl or -vase. - -CARVING AND SCRAPING of the surface can be done while the surface is -slightly soft which is soon after the bowl or vase has been removed from -the mold. Glazed color may be placed into the spaces carved or scraped -from the surface if the surface is moistened well with water, then -adding neat cement over which the color is dripped following the -instructions as given for the tiles. - -TO HARDEN THE OBJECT molded it is immersed in a bucket of water and left -for several days. If the surface has had color added to it after it has -come from the mold, it cannot be immersed in water as the color would be -floated off. It should have water poured on the inside and left to dry -in a cool place. - -TONING WASHES can be made of thin color and brushed onto the surface -after the bowl has been well dampened. This will permeate the fine pores -of the cement as well as gather into the crevices particularly of a -carved or relief surface and if a contrasting color is used, it gives -pleasing effects. - -GLAZING BOWLS AND VASES is much more difficult than coloring tiles. The -curved surface requires careful application. Prepare a quantity of -desired color to be applied. Then spread it out in a pan or dish (a -platter will do very well), revolve the bowl on the fingers so that the -surface comes in contact with the color. The color will adhere and the -bowl should be kept slowly revolving until the color sets. The bowl can -then be filled with water and left to dry. If the bowl is kept in one -position before the color is set, the moisture will cause it to run and -mar the surface. After the first color has set an additional color can -be dripped on at the top or other colors added into or onto this -surface. Different effects will be possible, depending upon how soon the -color is added to the first coating. - -Dry color can be sprinkled onto the wet color and permitted to become -absorbed, giving an interesting effect. The color may be applied with a -brush or palette knife, and other ways of producing variations on the -surface may be produced by experimenting. - -A VASE FORM WITH MAJOLICA SURFACE will need to have the surface turned -as it is worked upon. This can be done by revolving with the hand inside -of it, or if too small turned on a right angle support, padded so that -it will not injure the neck of the vase. The vase may have one end -supported on something to keep the worked part from coming in contact -with the surface. After a part has been filled in, it should be left to -set for a minute before turning the surface, otherwise the color will -drop out. - -After the color is all in position, stand the vase upright and with a -funnel fill with water and let it harden for several days. The water -will supply the color surface with moisture preventing it from drying -too rapidly. - -Any cement surface (tile or vase) before it is very hard can have motifs -scraped into it so that the design is a series of shallow openings in -the surface. The color cement can then be dripped into these openings -similar to majolica work and completed in the same way. - -A vase with a plain surface can be made exceedingly attractive by adding -a few simple motifs well chosen and placed on the surface in this way. - -FOR SLIP PAINTING tile or pottery surface, various colors to be used -should be mixed and ground on glass or marble with palette or putty -knife until thoroughly smooth. The colors should be placed in order on a -glass or enamel palette. Other hues may be produced by the mixture of -these colors or lightened by adding a white cement. A small brush is -used to apply the color. The surface to which they are being applied -should always be damp and the complete surface to be colored should be -done at one sitting. The tile or vase is then placed in water as -previously explained. - -It is best that the color be thin rather than thick, and avoid going -over a surface a second time. A second stroke will destroy the lustre -which will otherwise remain on the surface. - -A VASE OR BOWL FORM to be used for slip-painted color will have to set a -few minutes to prevent the color running when the bowl is turned for new -working surface. The bowl or vase is carefully filled with water and -left to set for several days, care being taken that no water drops onto -the slip painting. The object worked upon must be set in the shade to -dry, where nothing will come in contact with it. - -[Illustration: Color Cement Vases] - -[Illustration: Color Cement Vases] - - - - -[Illustration] - -CHAPTER 11 - -Glass Mosaic Tiles - -[Illustration] - - -FRAGMENTS OF STAINED GLASS can be secured from almost any stained glass -works without cost, as much of the odds and ends of glass are thrown -away. These fragments can be used in making Glass Mosaic Tiles, and used -correctly will produce charming and interesting results. - -Mother-of-pearl or abalone flakes can also be used as small bits here -and there in designs and will be found to give an additional rich -effect. - -Semi-precious stones or glass beads can be used in many ways such as -handles and tops or as rests for tea tiles, etc. The beads can be sunk -into the cement until the hole through the bead is concealed. - -TO MAKE A GLASS MOSAIC TILE there are four steps as follows: - - 1st. Making and tracing the design. - 2nd. Cutting the glass. - 3rd. Pouring the cement backing. - 4th. Releasing the tiles and finishing. - -FIRST STEP: MAKING AND TRACING THE DESIGN. To make a design for glass -mosaic, plan a very simple design for the first problem. A few squares -joined by simple bars, composed in a simple pleasing arrangement will be -hard enough. Objects such as flowers, birds, trees, etc., must be -planned in simple forms. Remember that each piece is to be cut from -glass and intricate outlines, etc., must be abbreviated. Decide what -direction of line will tell the most in the shortest length. It will be -found that designing for glass mosaics or for stained glass is one of -the best influences for recording large masses, for producing the -maximum amount of subject with the minimum means of line. - -After the design has been drawn out on paper it should be colored to -correspond with the stained glass fragments that have been secured. -Right here it may be well to state that the glass mosaic need not be -entirely covered with glass sections. Much of the background may be -cement and the colored portions (stained glass and mother-of-pearl) may -be only a certain portion or design running across the tile surface. - -After the design has been colored, make a firm tracing from it and place -the tracing upside down on the table and a glass over this large enough -to cover it fully. The stained glass sections are assembled upon this -glass as they are cut. - -SECOND STEP: CUTTING THE GLASS. A small glass cutter with a wheel can be -purchased at any hardware store and with a little practice glass can be -easily cut. Once the wheel is placed upon the glass it should be pressed -slightly so that it grips the surface. Then draw the cutter firmly -toward you without changing the angle of the handle and without turning -the handle to one side or another. A few taps with the tip of the handle -on the under side of the glass and a “bending and pulling apart” motion -of the glass with the fingers will cause it to come apart after the -cutting. Some glass cuts much easier than others and a good cut with the -cutter will cause it to come apart upon the slightest bending in the -fingers. Do not run the cutter wheel over a cut line in the glass a -second time, as it will injure the wheel. Practice cutting clear glass -as well as stained glass. The glass cutter should be placed with the -wheel in turpentine to preserve the cutting edge. - -To cut the glass in the right shape use either of the following methods: -Trace the design upon stiff paper and number each section of the design -to correspond with numbers on the original sketch. Cut these sections -apart and use them as patterns to lay on the glass. The glass cutter is -then run around the edge of the pattern in cutting the glass. The second -method is to trace the sections to be cut directly onto the glass. If -carbon paper is used, the line will be definite enough to follow. - -SMALL SECTIONS OF GLASS can be better separated after the glass cutter -has been used if small pliers or dull nippers are used to grip the -glass. Hold the largest piece of glass firmly between the fingers and -with the nippers grip the glass close up to the line of division and -with a quick downward turn of the nippers it will divide the glass along -the line produced by the cutter. - -The sections of glass when all cut may be trimmed to truer forms by -using a corborundum stone or file. - -AFTER THE GLASS HAS BEEN CUT, place a tracing upside down on the table -and a glass over the tracing. The tracing on the underside of the paper -should be visible through the glass, and of course is reverse in -position. Take each piece of glass and touch the right side with glue -and place it onto the glass over its location defined by the tracing. -Assemble all the glass in this way, all the pieces being glued face -downward onto the glass. Mother-of-pearl, metals, etc., can be assembled -the same way, and the fact that they are thinner than the glass need -make no difference as their surfaces all resting upon the glass will -result in their being all the same level on the completed tile. - -THIRD STEP: POURING THE CEMENT. After the glass has been glued and left -remaining for several hours (to permit the glue to dry) the retaining -bars are placed on the glass, at the proper distance from the cut -sections and cement is then poured into and over the glass mosaics until -the required thickness of tile is secured. This mixture may be color -cement or the neat Portland cement, care being taken to pour it in -slowly from the center to avoid formation of bubbles. - -FOURTH STEP: FINISHING THE TILE. When the tile has set for several days -it may be removed and an incised line made around the edge of each glass -mosaic. Place the tile in water to harden for several days. Remove and -let dry, then give the entire surface a gasoline wash of gray or other -color. A slight polishing of the surface will finish the tile. It will -be found that the moisture has softened the glue so that the whole tile -releases from the glass surface. The cement should be rubbed off of any -of the glass parts if it has encroached until the entire edges of the -glass mosaics are visible. This should be done before the tile is placed -in the water to harden. - -[Illustration: Mosaic Tile Method] - -[Illustration: Mosaic Tiles] - -[Illustration: Mosaic Stone Tiles] - - - - -[Illustration] - -CHAPTER 12 - -Flower Boxes and -Other Straight Forms - -[Illustration] - - -THERE ARE THREE WAYS TO PRODUCE FLOWER BOXES in color cement and the -methods equally apply to other straight-sided objects that are to be -hollow or act as containers. - -MOLDS MADE FOR STRAIGHT-SIDED OBJECTS have the advantage of permitting -the joints of the molds to come on the corners or junctures of the -straight sides; thereby making the entire elimination of any joints -remaining on the object (from where the molds come together) an easy -matter of removal. - -ONE OF THE WAYS TO PROCEED IN THE MAKING OF A FLOWER BOX is as follows: -Take any ordinary good proportioned small wooden box, or block of wood -of the right shape, and place a thin layer of modeling wax over the -surface until it is smooth and evenly coated. Model the design desired -on the four sides, avoiding, as has been before cautioned, having -undercut or overhanging portions. - -THE DESIGN MAY BE SECURED WITHOUT MODELING by taking the box and -covering the sides with cut cardboard designs, the cut sections -producing the motifs or the spaces between the cut and applied portions -being the motifs. In either case the cut sides of the portions applied -should slant so that the widest portion of any opening formed where two -applied pieces come together will be widest at the top. The reason for -this is to prevent locking of the plaster which will be poured over the -surfaces to produce the molds. - -IF THE CARDBOARD IS USED FOR THE DESIGN after the glue is dry, the -entire surfaces of the portions to come in contact with the plaster is -given two coats of shellac, the second coat to be given after the first -coat is dry. The shellac should be permitted to dry well. - -TO MAKE THE MOLDS the box with the design is turned upside-down and a -mold is made of the bottom first. This is done by surrounding the four -sides with wooden retaining walls so that the sides extend at least an -inch above the edges. Into the space formed by the four projecting -walls, plaster is poured and permitted to dry. This will result in a -slab of plaster to reproduce the bottom of the flower box in the final -cement casting. If legs or irregular portions are on the bottom, the -mold should include these portions. - -As soon as this bottom section is hard, the keys are bored into it and -one of the sides is next molded. When molding the sides, turn the model -so that the plaster is poured onto the sides and not so that it is -poured alongside the surface. This is done by turning each side to be -molded so that it is horizontal or flat. - -WHEN ALL THE MOLDS ARE MADE and dried they are ready for casting the -cement box. They should be placed in water until all parts have absorbed -moisture. Next they are oiled well and assembled. If more than one color -is to be used, the molds for those sides to have color should have the -color cement placed on the molds while the surfaces are flat. When this -color has set sufficiently to permit the sides to be placed upright, -without the color running, the sides should be assembled with the bottom -mold and the whole set tied together ready for the pouring of the -cement. - -THE FIRST MIXTURE OF CEMENT should be a thick mixture, just as thick as -will run easily when the mold is rotated. The first mixture of cement -should be of neat cement and may have color mixed with it. It is poured -into the mold or placed in with a spoon, and the mold is rotated slowly -until the mixture has covered all the inside surfaces. The surplus, if -any remains, is poured out from one of the corners. - -THE SECOND MIXTURE OF CEMENT should be poured in after the first layer -has set. This usually takes from an hour to half a day depending on -climatic conditions. The second mixture should be of sand and cement and -of a thinner mixture than the first. This is necessary as the first -layer will absorb moisture very rapidly from the second layer and -therefore it should be very thin. - -THE LAST LAYER OR MIXTURE should have color in it also and is added in -the same manner as the second mixture, after the previous layer has set. -This is the finishing layer and the color should be arranged to be in -harmony with the outside color. A harmonious color will be one that is a -lighter value of the outside color or it may be color that is -complementary to the outside color. - -THERE ARE TWO IMPORTANT THINGS TO REMEMBER in making pottery or boxes -where the molds are rotated. One is that the mold to be rotated should -not be shellaced. The reason for this is that the plaster molds must -absorb some water from the cement mixture to produce the thin lining or -inside coating. The second thing to remember is to pour the surplus -mixture in the second rotation from the side opposite that the first -surplus mixture was poured. As the lining is inclined to be thicker -where the pouring out occurs, using an opposite side for the second -pouring out will equalize the lining of color. - -THE SECOND METHOD TO PRODUCE A FLOWER BOX is by spreading the color in -the mold with a knife, pressing it up against the sides with a palette -knife or small trowel. This is possible because the opening is large -enough to permit seeing the sides. Where the opening is small such as -that in a vase or jar with tapering sides it cannot be done this way and -the method of rotation must be relied upon. - -WHEN SPREADING THE COLOR CEMENT or lining, the mold should be turned so -that as the mixture is placed and spread a flat surface is being worked -upon. This makes it easier to work and insures the cement adhering to -the mold. After the sides are fully covered, a thin mixture may be -poured into the bottom and this whole mixture (the bottom and walls) -permitted to harden. - -IF DRAIN HOLES ARE NEEDED in the bottom of the flower box, two cylinders -of clay or modeling wax may be placed upright in the bottom of the mold. -These cylinders should be long enough to protrude above the bottom layer -of cement that is poured in, and after the cement layer has hardened, -they may be removed. This is preferable to endeavoring to drill the -holes out of the bottom after the box is removed from the mold which -might result in breaking the entire box. - -AFTER THE BOX IS ENTIRELY DRY it may be given a gasoline color wash or -rubbed with a thin color cement wash and after the color has become -partly dry, the surplus rubbed off with a cloth. A wax rub given with a -soft cloth and floor wax afterwards will smoothen up the entire surface -producing a velvety surface. - -THE THIRD WAY TO PRODUCE A BOX in color cement is by pouring, and the -method is as follows: When making the molds instead of making the parts -as usual, make a mold part for the top instead of the bottom, as the -pouring mold is made upside down. - -When the four sides and top portion of mold are ready, they are -assembled and the metal inside mold is placed inside of the plaster -mold. - -THE METAL INSIDE MOLD is a metal pattern which when folded together -represents the inside space of the box. Within this metal pattern or -box, strips of wood or plaster should be placed to keep the metal or tin -form in shape when the pouring of the cement commences. A good way to -secure a perfect fitting brace inside of the metal form is shown in the -working plate accompanying this chapter. - -When this metal box with enclosed bars is placed in the right position -within the plaster mold, the cement mixture is then poured into the -spaces between the outside mold and the metal box until the space is -filled. Then the cement pouring is continued until the top of the metal -box is covered adding enough more to form the bottom. It will be thus -seen that the metal box must be planned low enough so as to permit of a -bottom space. - -TO FINISH THE BOX, it is turned over after the cement has sufficiently -hardened and the plaster, or wooden bar, is removed. The sides of the -metal box are folded inward and the entire box removed. This will leave -the inside of the box free for the smoothing or scraping of faults or -filling in of bubble holes which can easily be accomplished before the -cement has entirely hardened. The outside portion of the plaster mold is -then removed and the flower box appears complete except for the surface -coloring or finishing as may be desired. - -OTHER SQUARE-SIDED OBJECTS may be similarly treated, in some instances -the shapes or proportions requiring different handling. For instance, a -very long narrow box could not be easily produced by rotating and should -be made by the spreading or pouring method. Large surfaces or very long -surfaces should be reinforced by the placing of wire cloth in the walls -when the cement is poured in. - -TAMPING OR PRESSING OF CEMENT is done by using cement and sand of a -consistency like wet sand. This is placed into the mold and pressed -firmly with a blunt stick, and a mallet can be used to tap these wooden -chisels so as to press the cement well into the apertures. This results -in a very firm surface and is particularly good for large boxes and -containers. Care should be taken that the molds are firmly fastened -together and the molds should be watched occasionally while the tamping -is taking place to see that they do not spread. - -TILES, STAINED GLASS AND MOSAICS may be included in the decoration of -flower boxes. They should be glued firmly into position on the molds or -boards forming the mold for the box. After a day or two drying the molds -are assembled and the cement is poured in the usual way. The moisture -in the cement will be found to soften the glue so that on removal of the -molds the tiles, glass or mosaics will remain with the cement. - -TO INCLUDE HANGING CHAINS, RINGS OR HOOKS in a cement box, the mold -should be arranged so as to accommodate the chain or metal through it. -The part or opening through which the metal passes is filled with clay -or wax to avoid the running out of the cement. The molds can be held up -from the table surface by a few blocks of wood or worked upon after -being placed on a trestle. - -COVERS TO BOXES can be made in the same manner as boxes. A single flat -lid may have fewer molded parts but should have enough to permit easy -release of the cement. - -[Illustration: Three Cement Box Methods] - -[Illustration: The Making of a Cement Box] - - - - -[Illustration] - -CHAPTER 13 - -Color Cement for the -Garden - -[Illustration] - - -ARTISTIC GARDEN WORK can be enhanced by the use of color cement. While -ordinary cement and concrete construction has been much used, there are -still greater possibilities with the use of color cement. The use of -color in the open permits the use of bright colors, in key with the -flowers and foliage; and with color cement the formal or Italian garden -scheme or the informal or Japanese manner of garden arrangement is -delightfully possible. Pottery, garden furniture, fountains, walls, -chimneys, pools and walks are a few of the possibilities with color -cement. - -LARGE GARDEN POTTERY is produced by the same principles as vases and -bowls, but as the proportions are much larger, the methods of working -are different. - -Where a large jardinière is to be made, the form should first be built -up from clay and be formed upside down. Bricks or any other solid -material may be used for the main body of this form, and the clay built -over it as it will not then require so much clay. If a long nail or rod -or strong stick is placed in the center of this mass, it can serve the -purpose as an axis to a templet which will form the contour of the -jardinière when moved around in a circular direction. The metal must be -good and heavy and sometimes it is necessary to reinforce the templet -with wood. - -After the clay form is built, cases are made in several sections from -the plaster the same as for small forms; and cement and concrete used in -large quantities after the same method as for small forms. - -Large dish-pans, pails, etc., may be used for securing the inside form -for garden pottery. Oil the outside and bottom of the pail or pan used -and place it upside down on a table. If only a certain part of the -bottom is wanted, clay should be built up around it, so that only the -part wanted is exposed. With a strip of tin or linoleum for a moulding -case surround the inverted utensil and then pour the concrete around and -over it. - -TO FORM THE GARDEN POTTERY more accurately on the outside, take it out -from the mold in two or three days and trim with a knife to the desired -form (in winter let the form stay in the mold four or five days). If -extensions or additions are wanted the vase, bowl or jardinière, should -be soaked in water for an hour or two and the form made from tin or -other material placed in position and the cement poured into the forms. - -To secure smaller parts independent from the larger parts such as fishes -or cup forms for fountains, etc., the smaller part should be made -separate from the large form but a pin or extension should be arranged -so that it will fit into a groove on the larger form. This can then be -built together by the addition of a little cement. - -GARDEN SEATS. The seat and ends can be made by using wooden forms which -can be released easily. Openings in the ends can be arranged by either -the use of wooden blocks or clay bars placed in the right location. -These blocks or bars should be taken out after the cement has dried -three or four days. A few nails in the blocks will make it easier to -lift them out. - -Tiles made as previously explained can be inserted into the ends by -scraping an opening to accommodate them while the cement is still soft. -A little cement poured into the back and around the edge will fasten the -two together. - -GARDEN FOUNTAINS. The bowl for fountains should be made independent of -the base or pedestal, but arranged so that the two groove together. This -can be planned by taking a clay impression or a plaster casting from the -surface. For instance, in making a bowl to rest on a pedestal, the -bottom of the bowl should have keys or projections planned. Now -supposing the bowl is finished, a pedestal should have depressions in it -to correspond with the projections on the bottom of the bowl. To secure -these the bowl itself or an equivalent surface in clay or plaster must -be made to combine with the other parts of the molding case when the -pedestal is made. These keys or grooves can be scraped out of the -pedestal top when soft if care is taken to secure the right location. By -resting the bowl upon the top a slight indentation will be made so that -the indentation can be increased to the proper depth to secure complete -“register” between the two parts. - -When making plaster mold cases for large pieces, burlap, coarse cloth, -etc., should be dipped rapidly into the plaster and used to build up the -molding case. This produces greater strength in the plaster case. - -A DESIGN UNIT used on large pottery or as a border to any large surface -can be planned and modeled in modeling wax. From this model a mold is -made in plaster. The clay can be pressed into this mold, lifted out and -placed upon the surface to receive it. A slight pressure and joining of -the edges will make it conform to the surface. - -TO REINFORCE LARGE PIECES, wire, iron rods, wire mesh, or any such -material will serve the purpose. Any narrow junction point or narrow -part connecting two large parts should be reinforced. - -PIPE CONNECTIONS FOR WATER, GAS, OR ELECTRIC WIRES must be planned for -often in garden furniture. A round wooden rod with a smooth surface and -oiled, having a larger diameter than the pipe to be used should be used -in the mold. This is then withdrawn to make room for the iron pipe. A -pipe can be used in place of the wooden rod, but of course it is then -held firmly in place, becoming part of the mass. All pipe should be -threaded for proper connections, and it is very advisable that you -confer with a plumber or electrician so that no mistakes will be made. - -Straight-sided forms can be made from tiles as follows: Take four tiles, -soaked in water, afterwards imbed them on edge upside down in a layer of -clay. They should be placed vertical and at right angles to each other. -It is also better that the corners do not meet. Within these four tiles -a clay cube is placed leaving a certain space all around for the wall. -The cube should also be lower than the height of the tile to allow for -the bottom as the box is made upside down. With clay or cardboard stop -the corners and then pour in cement to the top of the tiles. Let harden -for a few days; then remove clay, smooth up corners, and set in water to -harden. Fern dishes, plant holders, etc., can be made in this way with -as many sides as desired. The accompanying chart further explains this -problem. - -GARDEN WALKS can be made with large irregular cement slabs or stones -formed with concrete. This will produce all the beauty that comes from -natural flagstones and enables anyone to secure the effect even when -flagstones are not securable. Flat tile or irregular tile can be -produced as a finish surface to the concrete base underneath, the whole -being one solid mass, eliminating much of the breaking up and loosening -that comes when separate tiles are placed in a surface. - -COLOR CEMENT FLAGSTONES are made as follows: First prepare a solid earth -under-foundation. To do this the surface is pressed with an iron roller -or tamped with an iron tamper or heavy wooden block. If the surface has -been previously walked upon for some time, it will be good and solid. On -this surface indicate by scraping with a stick or trowel the shapes of -the flagstones desired, and scrape the earth out of these areas to a -depth of one to two inches. This surface is then sprayed with water -until it remains damp and is ready for placing the concrete mixture. - -THE CONCRETE PROPORTIONS should be one part cement to two parts or three -parts gravel. These parts are mixed well together dry and then water is -added while it is mixed again. The best way to add the water is to have -one person spray the water from a hose while a second person uses a hoe -to mix the wet portions and expose the dry sections. - -A MIXING TRAY can be made from wood and should hold water fairly well as -it is important that there be no leaks while the mixing is proceeding as -the leaking water may carry off much of the cement. After a box has been -used several times, the cracks and crevices will become filled and the -mixing tray will become more waterproof. - -WHEN THE CONCRETE IS THOROUGHLY MIXED a portion is then taken and placed -in one of the scraped areas and shaped with a trowel. The sides should -be left thick and preferably tapering slightly upward. This prevents -breaking edges later when in use such as occurs if the edges overhang. - -THE TOP LAYER should be of colored cement and may be a very thin layer, -but in order to be durable it should be composed of one-half part of -cement and one-half part of gravel or sand. This is mixed with color -sufficiently to tint it, but the color should not be too great in -quantity for it will weaken the strength of the mixture. - -THE COLORS FOR THE CEMENT FLAGSTONES is dry color and may be Venetian -red, yellow, ochre, Indian red, lamp black, burnt umber, or burnt -sienna. This mineral color should be mixed in well with the dry concrete -before water is added. Colors can be changed by mixing one color into -another. For instance, the red can be made less intense by the addition -of burnt umber or with the addition of a little lamp black. When adding -another color to a cement mixture to which water has been combined, do -not add the color dry but mix it with water first until it is a paste -before mixing it into the first mixture. - -TO FINISH THE FLAGSTONES the color mixture is spread over the first -portion placed in the scraped area and spread with the trowel until it -covers all the surface of the first pouring. When this strata has -partly set, it can be surfaced with trowel marks or a few twigs or weeds -can be held in the hand and whipped over the cement surface, producing a -roughened texture. The stone should then be covered so as to protect it -from being walked upon and after the second day it should be sprayed -with water to help its hardening process while drying. Do not permit the -sun to prematurely dry the stones as the slower a cement dries the more -durable it will be. - -BRIDGE WORK FOR THE GARDEN can be constructed with cement, and the use -of color combined with cement will enhance the project if used -reservedly and in good arrangement. Iron posts or supports can be used -as under parts of the bridge or a temporary support of wood can be used. -A wooden barrel has been used successfully to form the opening under a -cement garden bridge, the staves being knocked in to remove the barrel -after the bridge was completed. - -Stones and tree limbs can be combined with the cement bridge toward -creating informal effects. The Japanese garden is delightfully arranged -with many surprise effects of stone work and pools, all of which can be -duplicated with cement. - -NATURAL EFFECTS can be secured with the proper use of cement and the -possibilities are only limited by the time and interest of the worker. -It must be remembered that cement and concrete is a process of creating -stone and the stones can be formed in pleasing shapes and finishes and -colors according to the wish of the worker. There is great opportunity -for the worker with color cement to create garden ideas either for -pleasure or for remuneration and any enthusiastic worker can plan and -direct such work for neighboring needs or for those who are always -anxious for the different but pleasing garden creation. - -A TILE EFFECT for walks or courts in regular pattern can be made by -pouring a color layer over a concrete solid layer. Previous to the -pouring thin strips of wood are placed so as to divide the space into -the tile shapes. These strips are afterwards taken out and the tile -edges scraped round, and the spaces where the wood was placed is then -filled with gray cement. This produces at considerable less expense the -same result as the inlaid tile surface. - -THE DECORATED GARDEN TILE is where the color cement is poured onto the -square or rectangular concrete stones and while it is semi-moist other -color is dripped on or stroked into the surface with a brush, forming a -design motif. These motifs may appear at regular or irregular intervals -depending upon the pattern arrangement of the stones, and can be of -flowers, quaint birds or animals, preferably in abstract arrangements. - -CHIMNEY STONES or flat stones for surfacing fireplaces or stone walls -can be made by pouring out the concrete mixture to which color has been -added. These should be poured onto a fairly hard ground surface which -has been previously watered. The stones can be of varying shapes and -sizes and with varying tints of colors. Gray cement alone will give a -good color to which may be added those made of Venetian red, Indian red, -and lamp black or yellow ochre. - -When dry they should be immersed in water and then added to the brick -undersurface of the chimney or mantel by using a mortar made of a -mixture of lime and clean sand with water. To this add one-fourth to -one-sixth part Portland cement. The lime should be prepared previously -to combining with the sand by adding water to it, letting it remain for -a half day to two days in order that it will become slackened. Lime -gives adhesiveness to the plaster, and the brick surface to which the -stones are placed should be moistened with water before adding the -plaster layer into which the color cement stones are to be pressed. - -Many other fascinating uses of color cement will develop into successful -applications in the hands of the craftsman who is interested in -beautifying the garden. - -[Illustration: Helps in Cement Garden Pottery] - -[Illustration: Application of Cement Tiles to Architectural Use] - -[Illustration: Color Cement Flagstones Used for a Bridge, Garden -Pathway, and Entrance.] - -[Illustration: Color Cement Used for Chimney Stones and Flagstones] - - - - -[Illustration] - -CHAPTER 14 - -The Making -of Candlesticks and -Book Supports - -[Illustration] - - -TO MAKE A CANDLESTICK WITH STRAIGHT SIDES the molds should be made in -sections, the divisions occurring where the corners come. This results -in the object coming from the mold with the mold lines where they can be -easily removed. - -THE MOLD FOR A CIRCULAR CANDLESTICK or round base can be made in three -divisions similar to the making of a mold for a round vase. The mold -lines occurring on the surface can be obliterated as soon as the object -is removed from the mold. - -A MOLD FOR A CANDLESTICK DIFFERS FROM A VASE MOLD in that it is made -upside down. As a candlestick is made solid instead of hollow like a -vase, the mold is filled from the bottom, the open part to hold the -candle being a projecting section into the space of the mold into which -the cement is poured. - -TO MAKE THE MOLD SECTIONS the small section to reproduce the hole for -the candlestick is first made. The original model, made either from clay -or modeling wax, is placed upright and a strip of oiled cardboard or -metal fastened around the top and plaster poured into the candlestick -hole and up above the top to the level of the cardboard or metal which -should extend at least an inch above the top of the candlestick. - -AFTER THE MOLD FOR THE TOP IS MADE each side should have a key space -bored into it and then the mold is placed back into the model, the -exposed portions of the plaster are oiled and the side section (round or -straight section) is next made, leaving the bottom open. The completed -parts of the mold are assembled and dried before using them for the -cement cast. - -TO POUR THE CANDLESTICK CAST, assemble the molds after they have been -immersed in water and oiled and after tying them firmly together turn -them upside down and pour the cement into the opening. If a color is to -be used, the color should be poured in and the mold rotated until the -color covers the inner surface. Surplus color should be mixed and kept -to use later in completing the bottom. After the lining has set, a -mixture of sand and coarse cement should be poured into it and permitted -to settle. Jarring or tapping the mold will help the cement to settle. -If it settles, more cement should be poured in. After it has settled, -the color surplus similar to the surface lining is poured on to finish -the bottom. - -WHEN THE MOLD IS OPENED the sides are opened first and the small mold -section forming the candlestick hole is carefully twisted out. If when -making this part of the mold, a T shape wire has been inserted it will -strengthen the mold. - -TO MAKE THE BOOK SUPPORT, a model should first be designed and modeled -in clay or modeling wax. This design must be considered from its -practicability and the structural design therefore must be carefully -planned. The base on the book support should be heavy enough to -overbalance the upright portion so as to prevent the book support from -falling over. The upright portion may be of any simple shape and -enriched in any of the methods previously described for the decorating -of tiles. - -A WOODEN BASE OR BACK FOR THE MODEL may be used on which to place the -modeling wax. A thin layer of the modeling wax may be placed over the -entire surface, and variations to the shape also can be made with the -modeling wax. A panel of plaster or a tile design can be incorporated -into the model instead of modeling. This method has been often used and -found to give good results. - -GESSO OR RELIEFO MODELED PANELS CAN BE USED for book support designs by -attaching them to the surface of the model. If the gesso or reliefo is -first shellaced it will be found to be an excellent material with which -to produce modeled designs for color cement handicraft. - - -AFTER THE MODEL IS COMPLETED the first part of the mold to be made -should be the portion with the design. The triangular shape of the -design and base portion should be placed in position and supported so -that a single pouring of plaster will produce a mold of the design and -the upper surface of the base. Different shaped bases or irregular -shaped bases will require individual consideration when planning the -molds. The main thing to consider is that the parts of the molds must be -made so that the cast will release easily from the molds. - - -THE SIDES OF THE BOOK SUPPORT are next made, casting the sides while the -first piece cast is kept in close position over the model and drilling -keys in the sides to produce locking holds in the mold sections. The top -of the model is also cast, the bottom being the only portion not made, -as the book support like the candle is cast upside down. - - -PRECEDING THE POURING OF CEMENT the mold sections are soaked in water, -taken out and oiled, assembled and put closely together, and tied firmly -in position. The colored cement slip is then poured in, the mold is -rotated and the concrete or cement filler is poured in and permitted to -settle. The bottom or last layer is then poured on in the same color as -that used for the lining. - - -TO INSURE QUICK ASSEMBLY OF MOLD PARTS when working, the molds should be -marked with corresponding numbers so that the correct parts can be put -together rapidly. - - -TO FINISH THE BOOK SUPPORT it is removed from the mold, trimmed as -needed, placed in water to harden for several days, taken out and -permitted to dry slowly and then brushed well and waxed. A thin coating -of shellac may precede the wax. Two sets of molds for book supports will -enable two book supports to be made at one time and in this way the -color of both can be made to match each other. - -[Illustration: Book Support and Candlestick Molds] - - - - -[Illustration] - -CHAPTER 15 - -Color Cement for -Interior Decoration - -[Illustration] - - -PRACTICAL USE FOR COLOR CEMENT inside the home is one of the greatest -possibilities with color cement as a handicraft. It enables the home -builder, the art student, or the busy housewife who has some idea of -decoration, to plan and execute durable tiles or panels for the floor, -walls or fireplaces, and to execute them with but little space and -equipment. - -TO MAKE TILES FOR THE FLOOR, the tiles should be made in flat surfaces -and without relief parts that will project so as to become worn from -being walked upon. For floor surfaces pressed tiles are better than -poured tiles. Manufacturers of common cement tiles for architectural -purposes produce them in presses with several tons pressure. The -craftsman can secure very good pressed effects by using backing cement -that has very little moisture in it and tapping it in well, using a -block of wood and a mallet. The retaining sides of the mold should be of -wood or of some durable material that will withstand the pressure, and -hold together firmly. - -POURED TILES FOR FLOOR USE made from a strong mixture of sand and cement -and with a small proportion of color will be found to be durable. One or -two coatings of shellac and a covering of floor wax will further -increase the durability of the wearing surface. - -PLAIN TILES FOR FLOOR USE can be used with decorated tile and various -interesting patterns can be made (a few of which are shown) by -interspersing the tile in different arrangements. A glazed tile can be -made and used as a variation in combination with mat finish or dull -finish tiles. Several small tiles may be used to fill a space and -produce patterns in contrast to larger tiles. It will be found that with -a little design arrangement many interesting floor arrangements can be -made with tiles. - -WHERE A LARGE NUMBER OF TILES ARE TO BE MADE several molds in -plaster-of-Paris should be made and a large quantity of color mixed at -once, and the first color placed in each tile consecutively and then -the next color, until all the colors have been placed in the six, eight, -ten or whatever number of molds is being made at the same operation. -After the color has set, the backing mixture of concrete is made and -poured into all the tiles. - -A TEMPLET PATTERN MOLD for floor tiles is made by cutting templets from -either cardboard or linoleum with slightly tapering sides and gluing -these into position to produce the design. The templets should duplicate -the portions of a design and the design should be the first step in the -problem to be solved. - -THE DESIGN FOR TEMPLET PATTERNS should be simple in form and division. -Geometric patterns and straight line forms are the best for use. Good -divisions of squares and rectangles and these divisions changed slightly -to floral or leaf shapes should be as far as any elaboration should go. - -AFTER THE TEMPLET PATTERN IS CUT it is assembled and glued into position -on another card or glass surface and given two coats of shellac. It is -then placed within the retaining bars and a cast is made in plaster. -This cast in plaster is afterwards shellaced and becomes the mold for -casting the cement tile. - -TO CAST THE CEMENT TILE the colors selected from parts of the design are -first mixed and placed into the mold. After the colors have been all -placed and permitted to harden, they are backed with a mixture of neat -cement and color which is next backed up with a concrete mixture and -then permitted to dry for three days. After being hardened in water for -several days after its removal from the mold, it is then ready to be -cemented in position for floor use. - -THE BACK FINISH OF WALL TILES should have countersunk spaces to permit a -good grip or hold of the mortar that will be used to hold the tile in -position. These grip holds can be made by cutting four small rectangular -sections of cardboard and pressing them closely together into the back -of the tile after the last layer of cement has been poured. After the -cement has dried thoroughly and the tile is ready to be removed from its -mold, these cards can be easily removed. - -TO USE WALL TILES they should always be immersed in water before the -mortar is applied. This prevents the moisture being absorbed out of the -mortar by a dry tile and assures better sticking of the tile to a -perpendicular surface. - -TO MAKE GOOD MORTAR, building lime is placed in a mixing box or bucket -and water poured over it. Next day it can be taken and mixed with sand -until a rich, thick plaster results. To this add one-quarter or -one-eighth part of Portland cement to make it strong. - -TO APPLY TILES TO AN UPRIGHT SURFACE, spray the brick or rock surface -with water. This can be done with a whisk broom or a large brush. A -cloth immersed into water and dabbed onto the surface will serve very -well. The tile which has been placed in a bucket of water to absorb -moisture is then covered with mortar on the reverse side. The surface of -the wall or fire mantel to receive the tile is also covered with a layer -of mortar and the tile is pressed into the mortar, causing the two -layers (the one on the tile and the one on the wall) to adhere to each -other. - -TO CONNECT TILES ONTO AN OLD CEMENT SURFACE the following method should -be used: Clean the old cement surface well with a brush and water, -removing the dirt and dust. Sprinkle a thin layer of neat cement onto -this surface while the floor is still moist. Work this neat cement into -the surface well, pressing it and working it with a flat trowel. Onto -this add a layer of strong mixture cement into which the tiles are -pressed. - -TO FINISH A TILE FLOOR the spaces between the tiles are filled with -cement; a small narrow cement trowel or strip of metal is passed over -the strip to smooth the cement in between the tiles. After the first day -the tiles and entire surface should be sprinkled with water to insure -good hardening of the cement. - -THE SPACES BETWEEN THE TILES can vary in width, depending upon the size -of the tiles. A half-inch space of cement between six-inch tiles is a -good average. A tile surface either upright or flat looks better with a -liberal space between the tiles than where too close a connection is -attempted. The tiles also look more interesting if the cement in between -is left a little lower than the surface of the tile. - -A color may be added to the cement used between the tiles, creating a -pleasing contrast in color and values. This color may be a thin coating -of color cement and need not be used throughout the entire cement -section. - -TO SECURE A LEVEL TILE FLOOR with the color cement tiles, the under -layer of cement into which the tiles are placed should not be a wet -mixture of cement but a mixture of cement and sand that is a little more -moist than wet sand. The tiles are then pressed onto this layer, more of -the moist cement being pressed under the tiles until the tiles are level -with each other. To test the level surface a straight edged board is -placed straight edge downward along the surface. If it rocks on any part -of the surface, that part should be pressed downward or lowered by the -removal of some of the cement. If parts are too low, they will show a -light opening underneath the leveling edge and should be built up. - -After the tiles are all level, the spaces between are filled with a soft -mixture of cement and finished smooth. - -TILES FOR INSERTS IN WALL PANELS can be made in the same way as -described in the chapter on Tiles, excepting that they may be made -thinner to conform with the thickness of the wood or other surface to -which they will be added. - -Where the wood or wall surface is grayed or toned with a paint wash or -tint, the tint can be carried over the tile insert which will help the -unity of the tile with the wall. - -COLOR CEMENT TILES FOR FURNITURE INSERTS can be made in colors to -harmonize with the wood background. The surface finish given the wood, -whether wax or gray tone, can be also applied to the tile. The tiles may -be applied to boxes, chairbacks, flower stands so that they become the -bright spot of color motif to a design produced by the pattern of the -wood, or a carved or relief enrichment on the surface. - -UNIT TILES FOR WALL SURFACES can be made and planned so that various -arrangements can be made by using the same motifs or elements. These -elements can be combined into a group that may be inserted into an over -mantel or into a wall or corridor space. Unit tiles admit of arranging a -vertical or a horizontal border or of combining both borders each -produced with the same motifs. - -COLOR TILE BORDERS for plain cement floors will make an otherwise plain -floor a thing of beauty. A series of tiles for the border can be made -and special tiles for the corner arranged. The whole series can then be -set at the same time that the center plain gray or tinted portion of -cement is spread. - -CEMENT FLOOR ABRASION CAN BE AVOIDED by dampening the cement as it -hardens and spraying water onto it regularly once or twice a day after -the first day for a period of five to seven days. - -Abrasion or powdering of cement floors indoors often occurs because of -prematurely drying when constructed. Where walks out-of-doors are -benefited by the dew or moisture at night, inside floors do not receive -this moisture and often dry too rapidly. - -To remedy the abrasion, or powdering of cement floors, wash the floor -thoroughly with clean water removing all dirt and particles with a -stiff scrub brush. After the surface has dried, apply a solution of one -part water-glass (sodium silicate) of 40 degrees Baumé and three to five -parts water, the water depending upon the absorbing quality of the -cement. This mixture is applied with a large brush and should be mixed -well and used within an hour. When this has dried mop the surface with -clean water and repeat the wash of water-glass three times, letting the -floor dry after each operation. - -The silicate penetrates the pores, comes in contact with the other -alkalies in the concrete, forming an insoluble and very hard material, -preventing dusting and makes a better wearing floor. - -[Illustration: Color Cement Tiles for Interior Decoration] - -[Illustration: Color Cement Tiles for the Fireplace] - -[Illustration: Tile Patterns for Wall or Floor] - -[Illustration: The Unit Tile and Application] - -[Illustration: Cement Tiles and Woodwork] - - - - -[Illustration] - -CHAPTER 16 - -Surface Finishes - -[Illustration] - - -COLOR CEMENT TILES ARE SURFACE FINISHED generally after they are dry. As -the tiles or pottery dry a lime or white powder dries on the surface and -the colors appear to become dull. To bring out the colors and remove -this powder, a soft cloth or soft brush is used to brush or dust off the -tile surface thoroughly. - -AN OIL RUB can be given to the surface of the tile with raw linseed oil -on a soft cloth, and a brisk rubbing of the cloth will give a soft dull -polish. This should be done only on the cast and dull finish tiles and -not on the slip-painted or glazed surfaces. - -A THIN SHELLAC COATING may be given a color cement tile or pottery as a -preliminary to a wax polish or a gasoline wash. White cement tiles or -pottery are very porous and a thin coating of clear white shellac will -prevent over absorption of surface coloring if the shellac is permitted -to dry thoroughly. Shellac should be applied after the surface is -thoroughly dried to prevent a sticky surface. - -THE GASOLINE WASH is made by mixing white oil paint (flake white or zinc -white) with black paint (ivory black or lamp black) until a gray tone is -secured. This mixture should be made in a cup or bowl so that gasoline -can then be added until the paint is almost as thin as water. To this -mixture green or blue paint or other color should be added until the -right hue is secured. This is then brushed onto the tile surface and -brushed well into the crevices and countersunk sections as it is -important that the low sections be well filled. After the wash has dried -thoroughly, a soft cloth is used to rub off all the surplus. This will -leave the gasoline wash remaining only in the bottom or lower portions -giving a pleasing finish. After this has dried a wax rub may be placed -over it. - -A WAX RUB is produced by taking either wax tan shoe polish or floor wax -and rubbing it onto the cement with a soft cloth. The cement should be -thoroughly dry before the wax is placed upon the surface. After a few -minutes a soft brush or woolen cloth should be used to polish the waxed -surface. - -A wax rub can be applied over a gasoline wash, but only after the wash -has been given time to thoroughly dry. If the gasoline wash is not dry, -the wax will remove it in parts and destroy the effect produced by the -gasoline wash. - -A COLOR CEMENT SURFACE FINISH is made by mixing a thin mixture of color -and cement which is then brushed onto the tile. The tile or surface to -be finished with cement should not be dry or be permitted to dry after -it has been removed from the mold. Previous to the application of the -cement color, the tile should be well moistened. After the color has -dried for several hours upon the surface, a cloth balled or gathered so -as to form a padded surface should be used to remove the color from the -high parts. - -A SLIP SURFACE FINISH is where the tile or surface has been completed in -single or several colors and when hardened sufficiently in water, a thin -slip of color cement is placed over the entire surface and permitted to -settle into the hollows, leaving the higher portions to appear more -clearly through the colored slip. If the surface is a tile, it should -then be permitted to harden in shallow water placed in a tray with the -tile placed carefully into it so that the water does not reach the color -slip portions. If the object is a vase, it may be filled with water to -harden the outer surface properly. If the color has been used as a layer -on the inside, the bowl or vase should be placed in a pail and water -poured into the pail so that the object is surrounded with water. A -weight or board can be placed so as to prevent the object from floating -if it commences to do so. - -COLOR MAY BE SPRAYED by mixing a thin mixture of color and cement and -spraying it onto the tile or pottery surface with a fixitive blower such -as may be obtained at artists’ supply stores and which is used by -artists for spraying a solution of shellac (termed fixitive) onto -charcoal or pencil drawings. - -The color should be repeatedly stirred to keep it well mixed and if the -sprayer becomes clogged, it should be rinsed in water. - -Too much color should not be sprayed at a time as it will fail to be -absorbed and run on the surface, resulting in streaks. - -SPATTERED COLOR FOR SURFACES is secured by dipping a short-haired -bristle brush (the bristles are best when they are about one inch long) -into color cement and causing the color to spatter onto the surface by -rubbing a knife edge or straight edge of a stick along the brush. This -will cause the bristles to release suddenly, throwing pigment in the -opposite direction onto the object. A trial should first be made on -paper surface before the actual surface is used to avoid too much color, -such as would come from an overcharged brush or too vigorous rubbing. -The surface of the object should be moist or dampened well previous to -the spattering. - -SPRINKLED DRY COLOR can be applied to surfaces. This will give a -pleasing effect in certain places where an antique or scattering of dry -color will enter into the nature of the design. The dry pigment can be -sprinkled onto the surface only where the surface has been covered with -a layer of other color that is still moist. This is necessary in order -that the dry color will absorb sufficient moisture from the other color -to amalgamate with the first color. - -TEXTURE SURFACES are produced by working on the surfaces while they are -still moist or soft enough to admit the use of a tool or edge to press -or model the surface. Even when a surface might have become quite hard -it may be tooled or chipped and a cement wash or gasoline wash used to -give the tooled parts a unifying color. - -REPEATED SURFACE COLORING may be done where the first coloring is not -satisfactory. It will be found that a more pleasing effect is often -produced by the second surface coloring being placed over the first. -Care should be taken that so much rubbing does not occur that it wears -parts of the tile or pottery surface that are soft. - -SURFACE FINISHES PERMIT OF EXPERIMENTING and the craftsworker in color -cement must test out different combinations in order to achieve the most -desirable quality to respond to personal choice. A brilliant color wash -will often bring out the pattern in pleasing contrast, and at other -times it may be over absorbed and produce a mottled undesirable quality. -The condition of the molds and the amount of sand in the mixture all -influence the surface of the object and in turn influence the result of -the surface finishes. - -[Illustration: A Surface Finish for Cement Handicraft] - - - - -[Illustration] - -CHAPTER 17 - -Decorations in the -Open - -[Illustration] - - -COLOR AS OUTER ARCHITECTURAL DECORATION was much used on the buildings -of Egypt and Assyria. The winged sphere in gold and amber against a -background of dark blue was commonly used on the outer walls of Egyptian -buildings and the processions of warriors and ancient kings decorated -the walls of the Assyrian cities. - -THE GRECIANS USED COLOR ALSO and the beautiful Parthenon was decorated -with color and the restored model in the Metropolitan Museum of Art in -New York shows their use of color architecturally. The great Acropolis -was resplendent in bas-reliefs on the outer walls in color, gold and -silver. - -THE ROMANS USED COLOR OUT OF DOORS on their buildings and the Etruscans -built in terra cotta coloring the outer walls with gorgeous decorations. -They recognized that architecture could be dignified and noble with -proper use of color decorations to enrich the building as a whole. - -MURAL DECORATIONS IN THE OPEN were used by the Egyptians, examples of -which remain in our museums today, and so permanent were their colors -that the color schemes are apparent even at this day thousands of years -after their artists applied them. - -Pompeians with their house-tops massed against their blue skies were -prompted to use orange-red largely in their decorations which were -lavishly applied in their gardens and other surroundings. - -THE CHINESE USED COLORS SIMILAR TO THE POMPEIANS and their decorations -give brilliant notes to their buildings creating pleasing effects. The -Chinese medium has been one largely of lacquer which has been used over -their gold and painted color, producing transparent qualities making it -difficult to know where the actual surface begins. - -COLOR ON OUTSIDE BUILDING SURFACES exists on many of the Italian -cathedrals and enriched color facades were used on many houses during -the Gothic period of which there remains examples at Heldesheim and -Nurenberg and other cities. - -COLOR IN AMERICAN ARCHITECTURE IS POSSIBLE with the use of color cement -and with careful analysis of the colors used and methods of hardening, -the patient worker can accomplish much toward realizing this much sought -possibility. - -THE FIRST STEP TOWARD SUCCESSFUL USE OF COLOR CEMENT in the open is to -realize that color used at all times must be protected from drying too -rapidly. If it does so, it will disintegrate and chalk away gradually. -The drying of color cement should be retarded as much as possible and -kept moist as long as the hardening process has not completed. It is -impossible, of course, to apply water to the face of a working surface -without destroying the glaze of the color, or the surface setting layer -once the surface commences to dry. Water applied at this time will cause -the surface to float in sections and ruin the entire surface. Therefore -the best way is to arrange for the water to be absorbed from the back -and this can be done easily where the panel or mural decoration is a -separate section to be applied to the building surface afterwards. - -WHERE THE MURAL IS TO BE APPLIED TO THE WALL the surface must be first -roughened, next thoroughly dampened with water, then a layer of wet neat -cement placed upon it. The bed of cement or sand and cement is next -applied and the subject then applied onto this surface all at one -sitting. This is necessary to avoid any part drying, as it will be -impossible to dampen the surface for postponed work. - -BETTER RESULT ON WALL DECORATION is possible where the color cement can -be applied before the wall mass has dried out. If the forms or board -walls can be removed before the cement has thoroughly set, whatever -color cement or cement underlayers necessary to the color surfacing are -placed upon it, will stand greater chances of remaining as a permanent -part of the whole structure. - -TO PROCEED WITH A MURAL PANEL a pan of metal two inches larger each way -than the panel dimensions should be made from galvanized sheet metal. -This is to hold the mural cement slab onto which the subject is to be -painted. - -THE CEMENT SLAB IS MADE by surrounding an oiled surface (wood or glass) -with wooden retaining walls similar to those used in making tiles. These -walls should be oiled and otherwise made proof against leakage of water -as it is necessary that all water in the cement be retained to perfect -the hardening. The mixture of sand and cement (one part cement and two -parts sand or gravel) is next poured into this space and permitted to -set for several hours. Over this surface a thin layer of neat cement may -be spread or dry neat cement sprinkled through a sieve and worked into -the moist surface with the flat side of a palette or other knife. - -THE COLOR IS THEN APPLIED by mixing up the colors to be used into a -paste form and these can be applied with a brush or with a palette knife -shaping and forming the subject as if painting in ordinary colors. - -If the color sinks in too rapidly and becomes lost, the under surface is -too wet and the painting should be delayed for several hours or until -the color applied lays upon the surface properly. - -THE CEMENT SLAB IS TRANSFERRED TO THE METAL TRAY as soon as it is -removable from its surface. In fact, a good way is to move the wood or -glass under support with the cement slab upon it and place the whole -combination into the tray. If the sides are well set the retaining walls -can be removed, and as soon as the whole layer is set enough so as not -to be dissolved by water, water is poured in the tray until it comes -half-way up the side of the cement slab. This will prevent the whole -slab drying prematurely as the water will supply all that is needed. If -the water becomes absorbed more should be poured in. After it has -remained in the tray for a week, it may be withdrawn and permitted to -dry gradually. Wet cloths around it will prevent too rapid drying. - -WHEN WORKING UPON THE SURFACE, the surface should be completed as the -space is covered, avoiding returning to work upon any part after it has -commenced to set. If the surface has formed a shell or thin layer and -reworking breaks this shell, the color in that section will not harden -properly. It requires direct, confident handling of the subject, and -reworking of the surface such as the painter in oils is accustomed to is -not possible with color cement. - -A WHITE CEMENT SURFACE can be formed over a cement layer and when this -is nearly dry thin washes of color cement may be used onto the surface -similar to working with water color. The white cement will absorb the -color easily and parts of the design may be worked in opaque or solid -colors. - -A DARK WORKING BACKGROUND may be used by mixing a layer of dark blue, -brown or green. A layer of black can also be used. Brilliant colors can -be brushed or dripped into this so that they sink and become a part of -the dark surface without being in relief. A slight shaking of the -surface or the tray will produce this amalgamation of colors. - -WATER SHOULD NOT REACH THE COLOR SURFACE until after it is entirely dry. -To avoid water splashing onto the surface from the tray it is the best -policy not to pour water into the tray before the painting is completed -and only when the tray is to be left undisturbed. - -TO CONNECT THE COLOR CEMENT MURAL with the building wall, the space to -receive it should be well moistened and covered with neat cement which -is well worked into the surface. The back of the cement mural is -similarly treated and the two cement surfaces are pressed together and -held in position by a brace or support until thoroughly dried. The space -or border edge around the panel should be filled in with cement at the -same time. - -[Illustration: Decorations Painted with Color Cement] - -[Illustration: Cement Color Painted Decorations Applied] - - - - -[Illustration] - -CHAPTER 18 - -Tiles and Pottery -with Color Magnesite -Cement Work - -[Illustration] - - -MAGNESITE CEMENT WORK is a mixture medium producing a hard marble-like -quality and does not contain any Portland cement, but is given in this -book in order to complete the possible plastic mediums for the worker -wishing to mold objects with permanent durable mediums. - -MAGNESITE CEMENT IS A SUCCESSFUL INDUSTRIAL MATERIAL and is used by -builders in interior trimmings for floor tiles, in making of bath-room -surfaces and recently used in coating stairways and hallways, producing -a pleasing texture and durable surface. The material is fireproof, -cleanly and better than marble. - -MAGNESITE IS A FORM OF LIMESTONE and is a carbonate of magnesia which is -produced by burning until all gases have been eliminated, leaving only -the oxide in the form of a pure white powder. It comes from Europe and -is found in Maryland, Massachusetts, New York, Vermont, California, and -Washington. It has been used extensively in Europe and when better known -will be used more generally in America. - -MAGNESITE CEMENT AS AN ENAMEL has been used as a hardening surface on -concrete and cement surfaces and also on clay brick. The concrete or -cement or brick surfaces should be thoroughly moistened before the -magnesite mixture is placed upon it to avoid the moisture from the -magnesite being absorbed and improperly drying. - -THE MATERIALS FOR PRODUCING MAGNESITE are calcined powdered magnesite, -chloride of magnesia, sulphate of magnesia, white sand, white talc and -fine sawdust. - -The magnesite should be kept in a container, proof against exposure to -air and dampness, in order to preserve its full setting qualities. - -Chloride of magnesia has the appearance of ice or alum and when exposed -has the tendency to dissolve but does not deteriorate. It is the -chemical which when united with the magnesite produces the binding or -cement qualities. - -Sulphate of magnesia or epsom salts is an easily secured material and is -used in very small quantities in the formulae for producing magnesite -cement and which is given later in this chapter. - -The white talc or soapstone used for giving a smooth and polished white -background is used as a filler. - -White sand and the fine sawdust should be absolutely clean and are mixed -with the other ingredients to produce the composite mixture to produce -Magnesite Cement. - -TO COMBINE THE INGREDIENTS proceed as follows: - -FIRST MIXTURE. Two and one-half pounds of powdered magnesite and one -pound of white talc are mixed thoroughly with one quart of fine sawdust. -To this mineral, dry color similar to that used and described for color -cement should be added if a color tone is desired. About one-half as -much color should be used as there is magnesite. In other words, one -pound of color should be used with two and a half pounds of powdered -magnesite. A stone mortar should be used to grind the entire mixture -well together. - -This first combination is a dry mixture and is then mixed with the -second mixture which is liquid. - -SECOND MIXTURE. Take five parts by weight of chloride of magnesia -solution with a density of 25 tested with a Baumé hydrometer which is a -simple glass tube secured at any druggist for registering solutions. To -the chloride of magnesia solution add one-half part by weight of -sulphate of magnesia which is epsom salts and test with the hydrometer -until it records 15. - -TO USE THE HYDROMETER, place water in a container and if the hydrometer -is placed in it, it will register “0” and when the chloride is placed in -it, and dissolves the hydrometer will commence registering the density -of the solution. When it records 25 no more chemical should be added. -More water should be added to correct the density if needed. The same -procedure is followed for registering the 15 for the epsom salts. - -Chloride of magnesia will dissolve more rapidly if it is broken up, and -distilled water may be used if the usual available water contains lime, -iron or other injurious minerals. Some workers use rain water for many -purposes. - -THE FINAL MIXTURE, or third step in the mixing, is to take the first dry -mixture and add enough of the second liquid combination to produce a -thick creamy mixture of the two. Strain this after it has been well -mixed. - -TO PRODUCE TILES OR OTHER OBJECTS, THE MATERIAL is quickly poured into -the molds. A brush may be used for brushing the material well into the -edges and corners. A gentle jarring of the mold will remove the air -bubbles and the molds with the magnesite is permitted to dry for seven -to ten hours before the cast is removed from the mold. - -FOR VARIOUS COLORS in the same design, the dry mixture can be mixed with -color and the liquid, or second mixture, added to it. This can be -applied to the mold in the same way as the color was used with cement, -and after it has set, can be backed with a general color of magnesite -cement or with plain magnesite mixture. - -TO FINISH MAGNESITE let it remain drying for two or three days after -which it can be washed with slightly warmed water to remove the thin -scum on the surface. A thin coating of beeswax or floor wax well -polished will finish the article. - -[Illustration: The Making of Magnesite Cement] - -[Illustration: Magnesite Objects Cast from Molds] - - - - -[Illustration] - -CHAPTER 19 - -Color Cement -Projects -for the Schoolroom - -[Illustration] - - -CEMENT TILES simple in form may be made in any grade where tiles are -made in clay or the modeling waxes. Many times clay is used in making -tiles and the coloring is done with colored chalks or paints. These can -be but temporary in effect and are broken easily, being impractical for -use. The child’s interest will be much greater where he knows that with -cement the results will be durable as well as to know that he is working -with the same materials that the “grown-ups” use. - -COMMENCING WITH SMALL TILES IS THE BEST PLAN. Have the class plan from -nature a rosette design for a two-inch tile. An excellent way to secure -interesting patterns is to fold a two-inch square paper into four folds -and cut a design in the four folds. Opening out these folds will often -reveal a very interesting design. When the student has completed the -design, it can be traced with a pencil onto a flat layer of modeling -wax, and a pencil, stick or nail used to cut away portions of the -design. The pattern designed may be the part taken out or the background -may be the part to be removed. In either case the part removed should be -scraped out about a quarter of an inch deep and the sides should not -slope in but rather outward. If the design is to be simply produced by -incised lines only (and charming results can be thus secured), the -stick, nail or instrument used should be sharpened so that it scrapes a -groove in the clay that remains widest at the surface. The design being -completed in the clay or wax, a few strips of thick cardboard or heavy -oiled paper is cut so as to project above the clay or wax tile. This -projection must equal the thickness of the mold to be made in -plaster-of-Paris. These strips may then be placed up against the tile so -as to surround it, and are to be retained in position with nails or pins -or heavy objects. - -When the pupils have all reached this stage of the tile, the teacher -then may mix up the plaster and pour it into the molds, illustrating the -correct method for the students to afterwards follow. - -AFTER THE PLASTER TILE IS RELEASED, it is brushed well with oil and -again surrounded with the strips of paper. Cement with any desired color -added to it is then poured in and after two or three days the completed -tile can be removed. - -To secure color effects it is only necessary for the teacher to mix two -colors of cement sufficient for the student’s use. The student then -places a thin layer of the color on the plaster mold, keeping it within -a certain portion of the design. The second color is placed on the -spaces left, and after the color has set for a short time it is backed -with ordinary neat cement and the whole tile permitted to dry several -days. - -TILES WITH THE DESIGN IN A RELIEF LINE can be made as follows: The -teacher should have previously made a number of plaster tiles with a -smooth surface. These can be easily made by flowing the plaster onto -glass or other hard, smooth surface, the plaster being retained between -two strips of wood 4 × 4 inches. Cutting these bars of plaster into -squares, one is given to each student. A simple design is made on paper -first and traced onto the plaster tile. A nail or hard pencil is then -used to incise the design in the plaster, after which it is brushed well -with oil and surrounded with cardboard strips and cement poured into it. -This will result in a tile with the design in relief. Within these -relief lines cement with color added to it may be placed and the tiles -placed in a tray of water with the water coming half-way up the side of -the tile. The tile will be hard enough to remove in five days. - -SIMPLE ROUND PAPER WEIGHTS and tiles that are not square can be made by -the same method. A little ingenuity in arranging the retaining cardboard -strips around the plaster or wax model will solve the producing of -irregular forms. - -FLOWER AND PLANT HOLDERS, FISH PONDS, AND BOOK SUPPORTS can be made by -using the tiles as the principle part. Take four tiles that have not -been permitted to dry and place them face against the inside wall of a -rough box form without the bottom, the size of the box to conform to the -tiles. Pour about an inch of cement into the bottom of the box to form a -bottom. When this has partly set, place strips of wood across the inside -covers to hold the cement which is then poured in so as to connect the -tiles where the corners meet. The cement should be poured also into the -outside corner spaces. After the complete form has dried for a day, pour -water inside and let it remain for three days or more. Release and trim -corners and inside as desired. A thin mixture of colored cement placed -inside and then poured out will give an inside lining, producing a -finished effect. - -SAND BOX ANIMALS AND TOYS can be made in a very durable form by the use -of cement. The method to follow in class should be as follows: Have the -pupils outline an animal in simple form on paper. No intricate or small -details should be attempted in this outline and the feet or lower -portions of the animal must be planned so that it will stand up easily. - -After the outline is made then secure thin strips of tin or other sheet -metal and have the pupils bend it with their fingers and with the use of -a ruler to conform to the outline. The metal should be about two inches -wide. The outline need not be made entirely of one piece of metal but -perhaps of several. When the outline is completed in metal, it should -conform fairly closely to the outline on the paper. This metal rim is -then pressed slightly into wax or clay, or it may be placed on glass or -on an oiled card. If clay is used, the eyes, wings, or other parts may -be incised in the clay within the metal rim. A one-inch layer of cement -is then poured in the metal rim, and after several days, the metal rim -is removed and the cement around it is evened where necessary and -colored if desired. By making the feet of birds or animals first, -combining wire legs with them, the body can then be cast, combining the -body and the legs through the wire connection. - -MOSAIC CEMENT TILES can be easily produced as follows: Secure a number -of the small mosaic stone squares used by masons and tile setters for -inlaying floors. These come in many colors and different geometric -forms. Plan a four-inch tea tile arranging a design with the use of two -or three different colors of mosaics. When the arrangement or design is -decided upon, the mosaics should be glued face downward to a piece of -cardboard or glass. If glass is used, it should be brushed with oil -after the mosaics have been glued into position and before the cement is -poured. Where glass is used the design arrangement on paper can be -slipped underneath the glass to show the location and correct position -for gluing the mosaics onto the glass surface. The mosaic pattern is -then surrounded with retaining bars or slips of wood or surrounded with -metal and the cement poured over the mosaics until the right thickness -is secured. It is then left for several days to dry, after which it is -removed from the glass or the cardboard is peeled away from the cement -surface. The tile is then finished after being placed in water for a -week to harden. Glue a piece of soft leather or felt on the bottom when -the cement has thoroughly dried. - -CEMENT BOXES AND BOOK SUPPORTS can be made by the use of mosaics, gluing -them onto sections of boards and then assembling the boards and tying -them so that they will hold the cement that is poured in to finish the -object. Where cement is removed from the mold before it has thoroughly -hardened, it can be shaped with a knife, and mosaic book supports or -boxes made in general form can be shaped easily this way. - -VASES AND BOWLS as a problem for the schoolroom can be simplified if the -teacher produces previously several vase molds so that the pupils can -make their casts in individually selected colors, after which they can -scrape or slip paint the shapes as they are removed from the molds. - -THE POSSIBILITIES OF COLOR CEMENT for schoolroom applied arts are many -and the interested teacher can arrange working equipment and methods of -presentation according to space and class size. One ingenious teacher -placed building paper on the floor of a schoolroom corner section, -covered several old tables with oil-cloth and secured excellent results -with her class room problems by permitting a small group of students to -work at a time on account of the limited equipment. - -Another teacher had her students design and make tiles for a new school -building and today they are used as part of the enrichment of the -school. This correlation of the student’s work with every day utility is -one of the attractions of color cement for the school student, and -innumerable practical applications can be found for color cement. The -various problems for which directions have been given in the chapters of -this book can be arranged in more or less simple form for the various -school classes; and as a vocational subject it combines design with -construction in a sensible proportion. - -[Illustration: Schoolroom Projects in Cement] - -[Illustration: A Tile in Cement Made in the Grammar Grades] - -[Illustration: A Tile Made in the Intermediate Grades] - -[Illustration: Color Cement Tiles and Pottery Made by the Students of a -High School.] - -[Illustration: Problems in Cement by Students of an Art School. 1 to 3 -are Elementary Problems. 4 to 13 are Secondary Problems. 14 is a Palette -Knife Painting in Colored Cement. 15 is a Fish Bowl and Sun-Dial Made in -Cement by the Use of a Glue Mold.] - - - - -[Illustration] - -CHAPTER 20 - -Designing for Tiles -and Pottery - -[Illustration] - - -PRINCIPLES OF PATTERN DESIGN are important for the craftsman to be -familiar with, for the reason that it gives points with which to “check -up” drawings before they are applied, as well as to permit greater -facility in designing. - -MANY DESIGN WELL without having learned the theories of design, having a -natural sense of good arrangement of details and spaces. However, -natural designers, as well as those who do not find it easy, will profit -by becoming well grounded in the design principles. - -NATURAL FORMS afford excellent examples of principles, giving beauty in -line, form and color; and the more the designer refers to nature for -these ever occurring lines of grace and beauty, the greater will be his -development as a designer. - -SUCH STUDY FROM NATURE should be intelligently pursued. To study nature -for design motifs does not mean that “photographic” arrangement or -life-like sprays should be applied onto surfaces. The most deplorable -forms applied to pottery or other handicrafts are those that have been -made with no thought of the surface influence upon the pattern designed. -The designer should refer to nature only as a reference from which -inspiration is received for motifs to be used. In every instance the -forms in nature should be interpreted into design and so transposed that -they beautify the surface irrespective to resemblance to the natural -source. Nature uses patterns in all her kingdoms correctly. The patterns -on petals and leaves, the pattern on bird plumage and animal skins, as -well as nature’s designs on minerals are all beautifully arranged to -conform to the contours of the surface. It would have been just as easy -for the Great Creator to produce forget-me-nots and violets in natural -splendor upon the leopard, but the ringed spots varying and converging -to the lithe, graceful lines of the surface without any appearance of -being in relief upon the skin are much more beautiful. Those who state -that “Nature cannot be improved upon” as an excuse for natural -representation in designing are overlooking nature’s real poetic -opportunities to the designer. No true artist or designer ever hopes to -actually represent nature. It is impossible. The best that can be done -is each individual artist’s interpretation of nature forms founded upon -governing principles. These principles have been tested by centuries of -scrutiny and all beautiful forms of historic ornament are governed by -principles which, as has been stated, originated in nature’s design -forms. - -RADIATION, SYMMETRY, UNITY, SUBORDINATION, MEASURE, ETC., are all -principles of importance, but the three that are of great value to the -craftsman are Measure, Balance and Unity. - -THESE THREE PRINCIPLES can be used to test the line, form and color of -the design before it is applied. - -MEASURE is the principle that requires a consistent varying of areas, -line directions or colors. Measure creates interest. It does not mean -that large and small parts are to be designed without any further -consideration. There must be a right proportion of one to the other and -balanced as regards their location. Measure will control the contours or -forms of vases and motifs for if the widest part of the form comes above -or below center of the axis, it will be more interesting than if located -in the center. The working plate illustrates this. - -BALANCE is the principle which creates harmony by contrasting measures. -If we have a heavy spot on one side of a design, the eye requires -satisfaction by seeing another spot or several parts equal in weight to -the large spot on the opposite side of the design. Balance is also -secured by locating a unit or design spot in the proper location of a -space, without necessarily having a second opposite spot. Nevertheless, -it is balance in relation to its background. Balance may be secured by -Symmetry, making parts like-sided or balance may be secured by equal -amounts of form on two sides of an axis, even though not symmetrically -placed. (See working plate.) - -Balance in color requires that if a color is used in a single spot that -its location be pleasingly balanced within the space decorated. Where a -color is to be used in several places in the design, these different -spots should balance each other. - -UNITY is the principle which brings harmony into design by similarity of -parts, by keeping lines of a design parallel to the space outline within -which they are designed. Again the main lines of a design if radiating -from a point or axis within or without the design space produces unity. -Unity is produced by harmonious values and by harmonious color. - -A DESIGN WITHOUT UNITY may be one where the parts are too varied in -form, where they do not pertain or group with each other, but appear -“explosive.” Different finishes to the motifs in a design destroy unity. -Avoid mixing naturalistic or conventional and geometrical motifs in the -same design, and using lines or forms which are not pleasing in -direction, or harmonious with the space in which they are placed. - -UNITY requires that all parts of a design be of similar expression. To -have one part of a design based upon a poppy or bird with a section -drawn naturalistic and another part conventionalized and possibly a -third section in geometric arrangement is to produce disorder or -dissimilarity, and yet such fault is apparent in a large proportion of -designs. - -ALL DESIGN FORMS CAN BE DIVIDED INTO FOUR DIVISIONS and these divisions -can be defined as Naturalistic, Conventional, Geometric, and Abstract. -If any design motif for a tile or any application is started in a -Naturalistic manner, then all parts should be expressed in the same -manner. - -THE NATURALISTIC DIVISION OF DESIGN is where natural forms and growth -arrangements are planned or designed within a given or arbitrary space. -The decorative arrangement comes from carefully planning the subject so -that it composes in a pleasing way within the space. The Japanese -designs are good examples of this kind of decoration. It will be found -that careful attention is given to the background spaces as well as to -the parts of the subject being drawn. Strong outlines, double outlines -and individual techniques or renderings further increase the decorative -quality of a naturalistic design. - -THE CONVENTIONAL DIVISION OF DESIGN is where a typical form from a -nature growth is taken and repeated in regular repetition, or a general -shape formed from a plant form and used to interpret the subject. For -instance, a flower with several petals will have each petal different in -contour, but in conventional design, one shape is chosen and this shape -is repeated. While no two leaves are alike on the plant, one or two -conventionalized shapes are determined and these shapes are then used -throughout the design. The veins and stems of the flowers may be -elaborated or the leaves may have their centers designed or “inhabited” -so that added interest may be created in the subject. - -THE GEOMETRICAL DIVISION OF DESIGN is when the subject is designed -entirely with triangular, rectangular, square, oval, elliptical, or -circular shapes, or where the outlines follow straight lines which may -go at right angles to each other or in oblique directions. Such straight -line designs are technically required for rug or textile designs and due -to the ruggedness and strength or interest achieved through a straight -line rendering are often adapted for decorating many other forms of -applied art. - -THE ABSTRACT DIVISION OF DESIGN is represented by that form of design -which may have little direct representation of the natural forms, but -has been developed from it. We find that the wave border of the -Egyptians and the Greek fret are abstract designs of the water. The -Peruvian Inca, the Aztec and North American Indian used abstract designs -of the bird and other nature forms in their textiles and pottery. The -abstract design requires a careful arrangement of line and form spaces, -depending as it does on good design for interest rather than its -identity to nature forms. - -LINE UNITY is that principle which appeals to the eye by the relation of -lines in the design to the space decorated. Curved lines for curved -forms and straight lines in the designs decorating straight lined forms -will do much toward making all parts consistent. A line not too curved -and with a blending of straight lines with the curved direction produces -a line of character and strength for design rendering. - -A TEST OF GOOD DESIGN is to see if the main lines or “frame lines” are -pleasing in direction, decorating the space, whether any more details -are added or not. No amount of filling in and adding of motifs will -perfect an imperfect beginning. - -BLOCKING IN of general forms is considered essential in freehand drawing -and it cannot be discarded in designing. First plan the main lines of -growth of the design. Then block in the masses or motifs to be used. The -details and connections as well as the technique of the design will then -be a simple matter to solve. - -THE GREATEST ENJOYMENT to the craftsman in any line of endeavor lies -only through working out of Good Design. - -WHEN MODELING FOR COLOR CEMENT HANDICRAFT or for any applied art it will -be found that three forms that are least modeled will be most pleasing -in the years of usage. High relief is not refined or deservable in -applied modeling. Sculptors everywhere are studying and returning to the -chaste, quiet forms of flat bas-reliefs of which we find excellent -examples among the early work of the Egyptians, Byzantines, the early -Indian and Chinese carvings, as well as the work of the Aztecs and Maya -Indians of early America. A few examples of these types are shown and -workers in color cement will find ultimately that they have chosen a -good influence if they will work their projects in color cement -handicraft in this manner. - -High projecting parts and naturalistic representation of flower or -foliage masses are neither pleasing nor artistic and a visit by anyone -to the good museums will fail to find any such productions from the art -ages of the past recorded as good examples of the era. - -Keep all parts applied to the curved or flat surface of the bowl, vase, -box or tile so that it appears to have been always a part of it rather -than an afterthought and detachable in relation. - -[Illustration: Helpful Design Principles for Color Cement Work] - -[Illustration: Outline Patterns for Color Cement Handicraft] - -[Illustration: Tone Patterns for Color Cement Handicraft] - -[Illustration: Egyptian, Roman and Aztec Relief Decorations] - - -Typographical errors corrected by the etext transcriber: - -tested with a Beaume=> tested with a Baumé {pg 175} - -40 degrees Baume=> 40 degrees Baumé {pg 153} - - - - - - - - - - -End of the Project Gutenberg EBook of Color Cement Handicraft, by -Pedro J. 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Lemos and Reta A. Lemos - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Color Cement Handicraft - -Author: Pedro J. Lemos - Reta A. Lemos - -Release Date: September 17, 2016 [EBook #53067] -[Last updated: September 5, 2017] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK COLOR CEMENT HANDICRAFT *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - -</pre> - -<hr class="full" /> - -<p class="figcenter"> -<img src="images/cover.jpg" width="361" height="500" alt="cover" title="" /> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td> - -<p class="c"><a href="#TABLE_OF_CONTENTS">Contents.</a></p> -<p class="c">Some typographical errors have been corrected; -<a href="#transcrib">a list follows the text</a>.</p> - -<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image -will bring up a larger version.)</span></p> - -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - -<p><span class="pagenum"><a name="page_2" id="page_2"></a>{2}</span></p> - -<p><a name="front" id="front"></a></p> - -<div class="figcenter"> -<a href="images/front.jpg"> -<img src="images/front_sml.jpg" alt="Image unavailable: COLOR CEMENT TILES AND POTTERY" /></a> -<br /> -<span class="caption">COLOR CEMENT TILES AND POTTERY</span> -</div> - -<p><span class="pagenum"><a name="page_3" id="page_3"></a>{3}</span></p> - -<table border="1" cellpadding="1" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb"><big>C O L O R<br /> -CEMENT<br /> -HANDICRAFT</big> -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/colophon2.png" -width="125" -height="210" -alt="Image unavailable: COLOR -CEMENT -HANDICRAFT - -PEDRO·J·LEMOS -RETA·A·LEMOS - -THE DAVIS PRE -WORCESTER -MASSACHUSETTS" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_4" id="page_4"></a>{4}</span></p> - -<p class="c"><small> -Copyright, 1922<br /> -by The Davis Press, Inc.<br /> -Worcester, Mass.<br /> -<br /> -Printed in the<br /> -United States of America</small> -<span class="pagenum"><a name="page_5" id="page_5"></a>{5}</span> - -<br /><br /><br /> -<small>Dedicated to</small><br /> - -ROBERT B. HARSHE<br /> - -<small>Director of the<br /> -Chicago Art Institute<br /> -for his early recognition<br /> -and encouragement<br /> -of Color Cement<br /> -Handicraft</small> -</p> - -<p><span class="pagenum"><a name="page_6" id="page_6"></a>{6}</span></p> - -<h2><a name="TABLE_OF_CONTENTS" id="TABLE_OF_CONTENTS"></a>TABLE OF CONTENTS</h2> - -<table border="0" cellpadding="1" cellspacing="0" summary=""> - -<tr><td> </td><td align="right">Page</td></tr> - -<tr><td valign="top"><a href="#FOREWORD">Foreword</a></td><td> </td><td align="right" valign="bottom"><a href="#page_9">9</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_1">Chapter 1.</a></td><td valign="top"> Materials and Equipment</td><td align="right" valign="bottom"><a href="#page_11">11</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_2">Chapter 2.</a></td><td valign="top"> The Making of Plaster Molds</td><td align="right" valign="bottom"><a href="#page_21">21</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_3">Chapter 3.</a></td><td valign="top"> Plain and Incised Cement Tiles</td><td align="right" valign="bottom"><a href="#page_33">33</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_4">Chapter 4.</a></td><td valign="top"> Making Vases and Bowls</td><td align="right" valign="bottom"><a href="#page_47">47</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_5">Chapter 5.</a></td><td valign="top"> The Use of Color in Cement Tiles</td><td align="right" valign="bottom"><a href="#page_57">57</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_6">Chapter 6.</a></td><td valign="top"> Color Cement Relief Tiles</td><td align="right" valign="bottom"><a href="#page_67">67</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_7">Chapter 7.</a></td><td valign="top"> The Majolica Tile</td><td align="right" valign="bottom"><a href="#page_75">75</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_8">Chapter 8.</a></td><td valign="top"> Sgraffito Color Cement Work</td><td align="right" valign="bottom"><a href="#page_87">87</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_9">Chapter 9.</a></td><td valign="top"> Modeled and Carved Color Cement</td><td align="right" valign="bottom"><a href="#page_95">95</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_10">Chapter 10.</a></td><td valign="top"> Color Cement for Bowls and Vases</td><td align="right" valign="bottom"><a href="#page_103">103</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_11">Chapter 11.</a></td><td valign="top"> Glass Mosaic Tiles</td><td align="right" valign="bottom"><a href="#page_111">111</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_12">Chapter 12.</a></td><td valign="top"> Flower Boxes and Other Straight Forms</td><td align="right" valign="bottom"><a href="#page_119">119</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_13">Chapter 13.</a></td><td valign="top"> Color Cement for the Garden</td><td align="right" valign="bottom"><a href="#page_129">129</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_14">Chapter 14.</a></td><td valign="top"> The Making of Candlesticks and Book Supports</td><td align="right" valign="bottom"><a href="#page_141">141</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_15">Chapter 15.</a></td><td valign="top"> Color Cement for Interior Decoration</td><td align="right" valign="bottom"><a href="#page_147">147</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_16">Chapter 16.</a></td><td valign="top"> Surface Finishes</td><td align="right" valign="bottom"><a href="#page_159">159</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_17">Chapter 17.</a></td><td valign="top"> Decorations in the Open</td><td align="right" valign="bottom"><a href="#page_165">165</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_18">Chapter 18.</a></td><td valign="top"> Tile and Pottery with Color Magnesite Cement Work</td><td align="right" valign="bottom"><a href="#page_173">173</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_19">Chapter 19.</a></td><td valign="top"> Color Cement Projects for the Schoolroom</td><td align="right" valign="bottom"><a href="#page_179">179</a></td></tr> - -<tr><td valign="top"><a href="#CHAPTER_20">Chapter 20.</a></td><td valign="top"> Designing for Tiles and Pottery</td><td align="right" valign="bottom"><a href="#page_191">191</a></td></tr> - -</table> - -<p><span class="pagenum"><a name="page_7" id="page_7"></a>{7}</span></p> - -<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2> - -<table border="0" cellpadding="1" cellspacing="0" summary=""> - -<tr><td> </td><td align="right"><small>Page</small></td></tr> - -<tr><td valign="top"><a href="#front">Color Cement Tiles and Vases. Frontispiece in color</a></td></tr> - -<tr><td valign="top"><a href="#TOOLS_FOR_COLOR_CEMENT_HANDICRAFT">Tools for Color Cement Handicraft</a></td><td align="right" valign="bottom"><a href="#page_18">18</a></td></tr> - -<tr><td valign="top"><a href="#THE_MIXING_OF_PLASTER-OF-PARIS">The Mixing of Plaster-of-Paris</a></td><td align="right" valign="bottom"><a href="#page_19">19</a></td></tr> - -<tr><td valign="top"><a href="#HELPFUL_MATERIAL_FOR_COLOR_CEMENT_HANDICRAFT">Helpful Material for Color Cement Handicraft</a></td><td align="right" valign="bottom"><a href="#page_20">20</a></td></tr> - -<tr><td valign="top"><a href="#THE_MAKING_OF_PLASTER_MOLDS">The Making of Plaster Molds</a></td><td align="right" valign="bottom"><a href="#page_30">30</a></td></tr> - -<tr><td valign="top"><a href="#THE_MAKING_OF_MOLDS">The Making of Molds</a></td><td align="right" valign="bottom"><a href="#page_31">31</a></td></tr> - -<tr><td valign="top"><a href="#HOW_TO_MAKE_COLOR_CEMENT_TILES">How to Make Color Cement Tiles</a></td><td align="right" valign="bottom"><a href="#page_44">44</a></td></tr> - -<tr><td valign="top"><a href="#CEMENT_TILE_TEXTURES">Cement Tile Textures</a></td><td align="right" valign="bottom"><a href="#page_45">45</a></td></tr> - -<tr><td valign="top"><a href="#THE_INCISED_TILE">The Incised Tile</a></td><td align="right" valign="bottom"><a href="#page_46">46</a></td></tr> - -<tr><td valign="top"><a href="#VASE_MOLDS">Vase Molds</a></td><td align="right" valign="bottom"><a href="#page_55">55</a></td></tr> - -<tr><td valign="top"><a href="#THE_FINISHING_OF_CEMENT_POTTERY">The Finishing of Cement Pottery</a></td><td align="right" valign="bottom"><a href="#page_56">56</a></td></tr> - -<tr><td valign="top"><a href="#USE_OF_COLOR_IN_CEMENT_TILES">Use of Color in Cement Tiles</a></td><td align="right" valign="bottom"><a href="#page_64">64</a></td></tr> - -<tr><td valign="top"><a href="#Color_Tile_Methods">Color Tile Methods</a></td><td align="right" valign="bottom"><a href="#page_65">65</a></td></tr> - -<tr><td valign="top"><a href="#PLASTER_AND_CLAY_MODELED_CEMENT_TILES">Plaster and Clay Modeled Cement Tiles</a></td><td align="right" valign="bottom"><a href="#page_73">73</a></td></tr> - -<tr><td valign="top"><a href="#COLOR_CEMENT_TILES_AND_POTTERY_BY_ART_SCHOOL_STUDENTS">Color Cement Tiles and Pottery by Art School Students</a></td><td align="right" valign="bottom"><a href="#page_74">74</a></td></tr> - -<tr><td valign="top"><a href="#THE_MAJOLICA_TILE">The Majolica Tile</a></td><td align="right" valign="bottom"><a href="#page_83">83</a></td></tr> - -<tr><td valign="top"><a href="#SLIP-PAINTED_TILES">Slip Painted Tiles</a></td><td align="right" valign="bottom"><a href="#page_84">84</a></td></tr> - -<tr><td valign="top"><a href="#SLIP-PAINTED_TILE_METHODS">Slip Painted Tile Methods</a></td><td align="right" valign="bottom"><a href="#page_85">85</a></td></tr> - -<tr><td valign="top"><a href="#SGRAFFITO_TILE_AND_SGRAFFITO_IN_ARCHITECTURE">Sgraffito Tile and Sgraffito in Architecture</a></td><td align="right" valign="bottom"><a href="#page_93">93</a></td></tr> - -<tr><td valign="top"><a href="#MODELED_AND_CARVED_CEMENT_TILE_METHODS">Modeled and Carved Cement Tile Methods</a></td><td align="right" valign="bottom"><a href="#page_102">102</a></td></tr> - -<tr><td valign="top"><a href="#COLOR_CEMENT_VASES1">Color Cement Vases</a></td><td align="right" valign="bottom"><a href="#page_108">108</a></td></tr> - -<tr><td valign="top"><a href="#COLOR_CEMENT_VASES2">Color Cement Vases</a></td><td align="right" valign="bottom"><a href="#page_109">109</a></td></tr> - -<tr><td valign="top"><a href="#MOSAIC_TILE_METHOD">Mosaic Tile Method</a></td><td align="right" valign="bottom"><a href="#page_116">116</a></td></tr> - -<tr><td valign="top"><a href="#MOSAIC_TILES">Mosaic Tiles</a></td><td align="right" valign="bottom"><a href="#page_117">117</a></td></tr> - -<tr><td valign="top"><a href="#MOSAIC_STONE_TILES">Mosaic Stone Tiles</a></td><td align="right" valign="bottom"><a href="#page_118">118</a></td></tr> - -<tr><td valign="top"><a href="#THREE_CEMENT_BOX_METHODS">Three Cement Box Methods</a></td><td align="right" valign="bottom"><a href="#page_126">126</a></td></tr> - -<tr><td valign="top"><a href="#THE_MAKING_OF_A_CEMENT_BOX">The Making of a Cement Box</a></td><td align="right" valign="bottom"><a href="#page_127">127</a></td></tr> - -<tr><td valign="top"><a href="#HELPS_IN_CEMENT_GARDEN_POTTERY">Helps in Cement Garden Pottery</a></td><td align="right" valign="bottom"><a href="#page_137">137</a></td></tr> - -<tr><td valign="top"><a href="#Application_of_Cement_Tiles_to_Architectural_Use">Application of Cement Tiles to Architectural Use</a><span class="pagenum"><a name="page_8" id="page_8"></a>{8}</span> </td><td align="right" valign="bottom"><a href="#page_138">138</a></td></tr> - -<tr><td valign="top"><a href="#Color_Cement_Flagstones_Used_for_a_Bridge_Garden_Pathway_and_Entrance">Color Cement Flagstones used for a Bridge, Garden Pathway and Entrance</a></td><td align="right" valign="bottom"><a href="#page_139">139</a></td></tr> - -<tr><td valign="top"><a href="#COLOR_CEMENT_USED_FOR_CHIMNEY_STONES_AND_FLAGSTONES">Color Cement Used for Chimney Stones and Flagstones</a></td><td align="right" valign="bottom"><a href="#page_140">140</a></td></tr> - -<tr><td valign="top"><a href="#BOOK_SUPPORT_AND_CANDLESTICK_MOLDS">Book Support and Candlestick Molds</a></td><td align="right" valign="bottom"><a href="#page_145">145</a></td></tr> - -<tr><td valign="top"><a href="#COLOR_CEMENT_TILES_FOR_INTERIOR_DECORATION">Color Cement Tiles for Interior Decoration</a></td><td align="right" valign="bottom"><a href="#page_154">154</a></td></tr> - -<tr><td valign="top"><a href="#COLOR_CEMENT_TILES_FOR_THE_FIREPLACE">Color Cement Tiles for the Fireplace</a></td><td align="right" valign="bottom"><a href="#page_155">155</a></td></tr> - -<tr><td valign="top"><a href="#TILE_PATTERNS_FOR_WALL_OR_FLOOR">Tile Patterns for Wall or Floor</a></td><td align="right" valign="bottom"><a href="#page_156">156</a></td></tr> - -<tr><td valign="top"><a href="#THE_UNIT_TILE_AND_APPLICATION">The Unit Tile and Application</a></td><td align="right" valign="bottom"><a href="#page_157">157</a></td></tr> - -<tr><td valign="top"><a href="#CEMENT_TILES_AND_WOODWORK">Cement Tiles and Woodwork</a></td><td align="right" valign="bottom"><a href="#page_158">158</a></td></tr> - -<tr><td valign="top"><a href="#A_SURFACE_FINISH_FOR_CEMENT_HANDICRAFT">A Surface Finish for Cement Handicraft</a></td><td align="right" valign="bottom"><a href="#page_164">164</a></td></tr> - -<tr><td valign="top"><a href="#DECORATIONS_PAINTED_WITH_COLOR_CEMENT">Decorations Painted with Color Cement</a></td><td align="right" valign="bottom"><a href="#page_171">171</a></td></tr> - -<tr><td valign="top"><a href="#CEMENT_COLOR_PAINTED_DECORATIONS_APPLIED">Cement Color Painted Decorations Applied</a></td><td align="right" valign="bottom"><a href="#page_172">172</a></td></tr> - -<tr><td valign="top"><a href="#THE_MAKING_OF_MAGNESITE_CEMENT">The Making of Magnesite Cement</a></td><td align="right" valign="bottom"><a href="#page_177">177</a></td></tr> - -<tr><td valign="top"><a href="#MAGNESITE_OBJECTS_CAST_FROM_MOLDS">Magnesite Objects Cast from Molds</a></td><td align="right" valign="bottom"><a href="#page_178">178</a></td></tr> - -<tr><td valign="top"><a href="#SCHOOLROOM_PROJECTS_IN_CEMENT">Schoolroom Projects in Cement</a></td><td align="right" valign="bottom"><a href="#page_185">185</a></td></tr> - -<tr><td valign="top"><a href="#A_TILE_IN_CEMENT_MADE_IN_THE_GRAMMAR_GRADES">A Tile in Cement made in the Grammar Grades</a></td><td align="right" valign="bottom"><a href="#page_186">186</a></td></tr> - -<tr><td valign="top"><a href="#A_TILE_MADE_IN_THE_INTERMEDIATE_GRADES">A Tile made in the Intermediate Grades</a></td><td align="right" valign="bottom"><a href="#page_187">187</a></td></tr> - -<tr><td valign="top"><a href="#Color_Cement_Tiles_and_Pottery_Made_by_the_Students_of_a_High_School">Color Cement Tiles and Pottery made by the Students of a High School</a></td><td align="right" valign="bottom"><a href="#page_188">188</a></td></tr> - -<tr><td valign="top"><a href="#Problems_in_Cement_by_Students">Problems in Cement by Students of an Art School</a></td><td align="right" valign="bottom"><a href="#page_189">189</a></td></tr> - -<tr><td valign="top"><a href="#HELPFUL_DESIGN_PRINCIPLES_FOR_COLOR_CEMENT_WORK">Helpful Design Principles for Color Cement Work</a></td><td align="right" valign="bottom"><a href="#page_198">198</a></td></tr> - -<tr><td valign="top"><a href="#OUTLINE_PATTERNS_FOR_COLOR_CEMENT_HANDICRAFT">Outline Patterns for Color Cement Handicraft</a></td><td align="right" valign="bottom"><a href="#page_199">199</a></td></tr> - -<tr><td valign="top"><a href="#TONE_PATTERNS_FOR_COLOR_CEMENT_HANDICRAFT">Tone Patterns for Color Cement Handicraft</a></td><td align="right" valign="bottom"><a href="#page_200">200</a></td></tr> - -<tr><td valign="top"><a href="#EGYPTIAN_ROMAN_AND_AZTEC_RELIEF_DECORATIONS">Egyptian, Roman, and Aztec Relief Decorations</a></td><td align="right" valign="bottom"><a href="#page_201">201</a></td></tr> - -</table> - -<p><span class="pagenum"><a name="page_9" id="page_9"></a>{9}</span></p> - -<h2><a name="FOREWORD" id="FOREWORD"></a>FOREWORD</h2> - -<p>It is evident to the most casual observer that the use of cement and -concrete has developed into a most important building -material—undoubtedly the most important of the age. Industrial and -vocational educators have recognized this importance and thousands of -school children have received instruction in its use and application to -objects of utility. Its use has been the subject of many books, and the -reason for the issuing of this book is to present in printed form the -use of color cement for the decoration or surface enrichment of cement -and concrete objects. We heretofore have thought of cement in terms of -rough surfaces and crude retaining walls, little thinking that beautiful -patterns and textures are possible with proper combinations of color -with cement, presenting possibilities for producing art tiles, pottery, -and decorations of a high art quality.</p> - -<p>After a study some years ago of the various forms of producing clay -pottery and its possible relation to school arts and industrial -education, the handicap of necessary firing to give permanency loomed -large against its general adaptation by schools. This resulted in -considerable research and experimenting by the authors with cement and -the use of color in the endeavor to parallel in some measure each of the -methods employed in the making of fired tiles and pottery. Particular -attention was given to simplifying the process of securing permanent -form to many of the plastic forms of schoolroom art, which have been -presented in clay and other perishable mediums. With the projects -presented in the following chapters permanent useful objects can be -secured by students in their school art subjects. Attention was also -given to the enriching or refining<span class="pagenum"><a name="page_10" id="page_10"></a>{10}</span> by decoration the many objects -heretofore made in cement and concrete by vocational classes. The -problems and methods explained in the following description solve this -need.</p> - -<p>Craftsmen or amateur home-workers who delight in creating and building -objects of beauty around them can find in color cement a medium which -will appeal to their needs, in that the necessary working equipment is -simple and the work can be done within small space.</p> - -<p>The following chapters by no means complete the story of color cement. -They record the results of the work of the authors and it is hoped that -it will stimulate interested readers to carry this delightful handicraft -to even greater achievements.</p> - -<p>The results achieved have been accomplished through several years’ -patient experimenting by the authors, but the realization that many -other teachers, craftsmen and students will be aided in continuing this -delightful, durable handicraft, is in itself an enjoyable reward to the -authors for their efforts.</p> - -<p class="r"> -Reta A. Lemos<br /> - -Pedro J. Lemos<br /> -</p> - -<p><span class="pagenum"><a name="page_11" id="page_11"></a>{11}</span></p> - -<h2><a name="CHAPTER_1" id="CHAPTER_1"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 1<br /> -<small>Materials and Equipment</small> -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_011.png" -width="75" -height="78" -alt="Image unavailable: [Decorative image unavailable.]" - class="spcdwn" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_12" id="page_12"></a>{12}</span></p> - -<p class="sect">IN THE MAKING OF COLOR CEMENT HANDICRAFT the chief material used is -Portland cement. While this material has assumed a most important part -in the building history of our present time, there are not many who know -its history and source, and as every craftsman is a better craftsman if -he knows something of the story of the material with which he works, -here is the brief story of Portland cement.</p> - -<p class="sect">PORTLAND CEMENT DERIVES ITS NAME because of resemblance in color to a -stone quarried near Portland, England, and it was named by its inventor, -Joseph Aspdin in 1824. It is a manufactured product produced by a -scientific process. At the beginning of the Christian era the Romans -used a natural cement very extensively, and many fragments of color -frescoes and friezes remain from the work of the ancients, showing that -they used color with their work.</p> - -<p class="sect">THE PRINCIPAL INGREDIENTS OF PORTLAND CEMENT are lime, silica, iron, and -alumina. These materials are mixed in definite proportions and then -subjected to a degree of heat that almost causes them to melt, forming a -clinker or slag. This clinker is ground until it is reduced to a powder, -and this is the Portland cement. Portland cement is generally mixed with -an aggregate to produce strength and this aggregate is usually stone, -gravel or sand. The third material needed to complete the combination is -water.</p> - -<p class="sect">SUCCESS IN THE USE OF CEMENT depends largely upon cement that is fresh. -Cement is very sensitive to moisture and if kept where fogs, dew or -moisture of any nature is absorbed into it, the first set or “hydration” -takes place and destroys its use for fine handicraft.</p> - -<p class="sect">TO TEST FRESH CEMENT when the cement sack is open, thrust the hand into -it and see that no hard lumps are in it. Fresh<span class="pagenum"><a name="page_13" id="page_13"></a>{13}</span> cement will feel -slippery and soapy when rubbed between the finger tips. If it feels -gritty and sandy it may do for the rough parts or body of vases and -tiles, but only fresh cement should be used to mix with color and for -surfacing purposes.</p> - -<p class="sect">THE PROPER CARE OF CEMENT requires that it be kept in a covered -receptacle and kept in a dry place, preferably up from the floor if the -floor is near the ground. It should be kept in a dry, tight work-shop -and the doors should be kept closed at night to avoid any moisture from -the night air reaching it. Nothing can restore spoiled cement and it -should not be used as the results will be discouraging.</p> - -<p class="sect">GOOD GRADES OF AGGREGATES SHOULD BE USED in cement work. Clean sand -should be used and a sand that is not too fine is preferable. Gravel and -crushed rock used in large work such as garden seats, large bowls and -outdoor problems should be of a good grade to form a good mixture.</p> - -<p class="sect">THE WATER USED IN CEMENT WORK should be free from all impurities. -Moderately warmed water will hasten the setting or hardening of cement -while very cold water retards the hardening.</p> - -<p class="sect">THERE ARE TWO COLORS OF CEMENT, gray and white. Portland cement is gray -in color and a white cement is also made that is a refined form of -cement. White cement is not as hard or durable as gray cement, but gives -a smooth surface and sets as satisfactorily as the gray cement. It is -more expensive than the gray cement and should not be used later than -six months after the sack is opened.</p> - -<p class="sect">WHEN CEMENT IS USED ALONE IT IS TERMED “NEAT.” When it is mixed with -rock, gravel or sand it is termed “concrete.” Concrete produces strength -and the neat cement produces a smooth texture and surface. When concrete -is used the cement and water will rise to the top and if the surface is -worked<span class="pagenum"><a name="page_14" id="page_14"></a>{14}</span> and pressed with a trowel the cement is “flowed” to the top, -producing a smooth surface.</p> - -<p class="sect">MOLDS ARE USED FOR FORMING CEMENT AND CONCRETE, and are made from wood, -metal or plaster-of-Paris. The forms in all instances should be tied or -braced together to prevent the moisture of the mixture from running out, -as the water is essential to the successful hardening of the cement. In -the making of cement pottery and tiles, plaster-of-Paris molds or forms -are generally used and plaster-of-Paris therefore forms an important -material in the making of color cement handicraft.</p> - -<p>Plaster-of-Paris is made in different degrees of setting periods. These -are quick-setting, medium-setting, and slow-setting. Casting plaster or -sculptor’s plaster should be asked for and a medium-or slow-setting -plaster is preferable for the beginner.</p> - -<p class="sect">CEMENT, AGGREGATES, WATER AND PLASTER FORM THE MAIN PARTS of our working -materials excepting the color, which is especially described in the -chapter on Color.</p> - -<p class="sect">THE EQUIPMENT for concrete pottery is simple, and much of it may be -pressed into service from material to be found about the house or -workshop. Inventive ingenuity on the part of the worker will find clever -uses for many discarded kitchen utensils and unused tools.</p> - -<p>Following is a list of convenient things needed to produce pottery. -These may be added to or elaborated through personal requirements.</p> - -<p class="sect">WORKING EQUIPMENT.</p> - -<ul><li>galvanized iron pans about 2 x 3 feet</li> -<li>2 large spoons</li> -<li>4 or 5 pans</li> -<li>2 ladles</li> -<li>1 large file or rasp<span class="pagenum"><a name="page_15" id="page_15"></a>{15}</span></li> -<li>2 table knives</li> -<li>3 pieces of ordinary glass about 12 x 18 inches</li> -<li>1 palette knife</li> -<li>1 lb. modeling wax</li> -<li>1 bristle brush ½ inch wide</li> -<li>2 small sable oil brushes, No. 1 or 2</li> -<li>1 small clay-modeling tool</li> -<li>2 pieces of thin wood for mixing paddles</li> -<li>½ doz. small saucers or butter dishes</li> -<li>strips of thin metal</li> -<li>thin soft wire</li> -<li>1 sifter</li> -<li>2 pails</li> -<li>muller and pestle</li> -<li>several pieces of surfaced wood about 12 inches square.</li></ul> - -<p>With a flat table to work on, running water or a pail of water handy, a -box to receive waste plaster-of-Paris and cement, the proper environment -for color cement is set.</p> - -<p class="sect">GALVANIZED IRON WATER TRAYS can be made by taking a three-inch by -seven-inch sheet and cutting a two-inch strip off of one end, reserve -for making scrapers and other useful tools. Cut the remaining metal into -three rectangular sections for trays.</p> - -<p>To make the trays, lay one of these pieces over a strong box with an -even edge and hammer into tray shape as shown in the accompanying plate. -The corners should be bent so as to make the trays waterproof without -soldering. A wooden mallet should be used for hammering the metal as a -metal hammer may cut the metal.</p> - -<p class="sect">MOLDING CASE. Several pieces of board hinged together with one series of -edges coming so that they will rest evenly on a flat surface, will -produce an adjustable case to use in making molds. A strong cord will -keep it in place. A strip of metal (tin, brass or iron)<span class="pagenum"><a name="page_16" id="page_16"></a>{16}</span> may be used as -a cylinder, the circumference being pressed in and tied to conform to -the dimensions of the object to be molded.</p> - -<p class="sect">MIXING PADDLES. Paddles for mixing plaster or cement can be made out of -firm wood strips and handles shaped to fit the hand.</p> - -<p class="sect">INCISING TOOLS. A nail hammered into a piece of firm wood and the head -snipped off with nippers then sharpened with a file or emery stone until -it is a tapering wedge point. Nut picks may be filed down slightly for -this purpose. Two or three points of varying widths will be handy to -have, particularly when some of them disappear occasionally as all small -tools will.</p> - -<p class="sect">SCRAPER. A piece of barrel stave or heavy wire bent like a croquet -wicket with a wire fastened from end to end is particularly convenient -where a number of clay or plasticene tiles are to be produced. For class -use two strips of wood are fastened to the bench, the desired width -separating the strips. Between these strips a piece of strong paper -should be laid and the clay or plasticene pressed firmly onto it between -the strips. The scraper will shave the surplus clay if it is moved along -so that the wire rests on the wooden strips. Measure off the six-inch or -eight-inch squares, cut across with a knife from strip to strip and -remove the squares by sliding the paper out. This will give a smooth, -even surface on which to model or incise designs.</p> - -<p class="sect">THE OTHER ITEMS OF EQUIPMENT all have their part to play as follows:</p> - -<ul><li>2 large spoons—For handling plaster and cement.</li> -<li>1 large file or rasp—For occasional use on the tile edge.</li> -<li>3 pieces of glass—On which to cast tiles.</li> -<li>2 table knives—For paring molds, etc.</li> -<li>1 palette knife—For working color into cement.<span class="pagenum"><a name="page_17" id="page_17"></a>{17}</span></li> -<li>1 bristle brush—With which to oil molds.</li> -<li>Small modeling tool—To use on clay and plasticene.</li> -<li>Nut picks—For incising.</li> -<li>½ doz. small saucers—In which to mix colors.</li> -<li>Thin soft wire—For cutting molds.</li> -<li>Sifter—To sift cement and color for glazes.</li> -<li>2 pails—In which to mix cement and plaster.</li> -<li>Muller and pestle—Grinding mineral colors with cement.</li> -</ul> - -<p>It may be unnecessary to add that the old axiom “A place for everything -and everything in its place,” will do wonders toward keeping the temper -sweet, and a good temper is a most necessary ingredient for producing -good cement handicraft.<span class="pagenum"><a name="page_18" id="page_18"></a>{18}</span></p> - -<p><a name="TOOLS_FOR_COLOR_CEMENT_HANDICRAFT" id="TOOLS_FOR_COLOR_CEMENT_HANDICRAFT"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_018_lg.jpg"> -<img src="images/ill_pg_018_sml.jpg" alt="Image unavailable: Tools for Color Cement Handicraft" /></a> -<br /> -<span class="caption">Tools for Color Cement Handicraft</span> -</div> - -<p><span class="pagenum"><a name="page_19" id="page_19"></a>{19}</span></p> - -<p><a name="THE_MIXING_OF_PLASTER-OF-PARIS" id="THE_MIXING_OF_PLASTER-OF-PARIS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_019_lg.jpg"> -<img src="images/ill_pg_019_sml.jpg" alt="Image unavailable: The Mixing of Plaster-of-Paris" /></a> -<br /> -<span class="caption">The Mixing of Plaster-of-Paris</span> -</div> - -<p><span class="pagenum"><a name="page_20" id="page_20"></a>{20}</span></p> - -<p><a name="HELPFUL_MATERIAL_FOR_COLOR_CEMENT_HANDICRAFT" id="HELPFUL_MATERIAL_FOR_COLOR_CEMENT_HANDICRAFT"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_020_lg.jpg"> -<img src="images/ill_pg_020_sml.jpg" alt="Image unavailable: Helpful Material for Color Cement Handicraft" /></a> -<br /> -<span class="caption">Helpful Material for Color Cement Handicraft</span> -</div> - -<p><span class="pagenum"><a name="page_21" id="page_21"></a>{21}</span></p> - -<h2><a name="CHAPTER_2" id="CHAPTER_2"></a> -</h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 2<br /> - -The Making of<br /> - -Plaster Molds - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_021.png" - class="spcdwn" -width="75" -height="76" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_22" id="page_22"></a>{22}</span></p> - -<p class="sect">THE SUCCESSFUL USE OF PLASTER is such an important part in the making of -color cement tiles and pottery that as a preliminary step or auxiliary -to the cement craft it should be well accomplished by the student before -using the cement. It is not at all difficult and for those who have not -used plaster, there awaits an interesting medium for all forms of -plastic applications or adaptations. Our concern with it will be in the -making of successful molds for the producing or reproducing of our -cement tiles and pottery, but a whole book could be written upon the -making of plaster objects. The uses of plaster form a large industry and -many art objects are produced in plaster for many forms of applied art.</p> - -<p class="sect">PLASTER IS SENSITIVE to moisture, and should be kept in a dry place. If -plaster does not set within a short time it probably is old and even if -it does set in time it will have a tendency to pulverize. It is always -safer to purchase an entire sack than to purchase a small lot from the -hardware dealer, grocer, or druggist, for the chances are that his -plaster has been exposed in a bin so long that its strength has -vanished. This is mentioned because instances have been known where -trouble in cast making was traced to just such conditions.</p> - -<p class="sect">ON RECEIVING THE SACKS OF PLASTER AND CEMENT the tendency will be to let -contents remain in the sacks. It will be found much more convenient and -economical to empty the sacks into a small barrel or box to which a -cover has been made. A tin tray under the box or barrel will catch all -waste that may drop around the edge, preventing the material from being -tracked over the floor. A nail or hook on the side of the barrel for -holding the ladle or spoon used for taking out the plaster will enable -you to find it when you need it.</p> - -<p class="sect">THERE ARE VARIOUS GRADES OF PLASTER, but the best for this purpose is -molding plaster. The plaster should always be kept in a good dry -location.<span class="pagenum"><a name="page_23" id="page_23"></a>{23}</span></p> - -<p class="sect">TO MIX PLASTER SUCCESSFULLY for molds observe the following directions: -A bucket or pan large enough to contain the required amount of plaster -needed should be used. Then half the water for the amount of plaster -used should be poured into the bucket. Sift the plaster-of-Paris through -the fingers into the water, until the water absorbs it no longer. This -can be determined by small portions of the plaster remaining on the -surface. Then stir the whole mass slowly with the mixing paddle until -the passage of the paddle through the plaster leaves a channel which -closes up slowly.</p> - -<p class="sect">IT IS THEN POURED PROMPTLY into the center of the space on the glass -prepared for the plaster tile so that the poured plaster gradually -spreads from the center toward the corners and edges filling up the -spaces and coming up the sides to about one-half inch height. Jarring -the table or a slight shaking of the glass will cause the plaster to -settle very level as well as causing any bubbles in the plaster to rise -to the surface and break. Care should be taken that the plaster is not -too thick before being poured. This stage of the proceedings requires -one having their wits alert, and discussing Futurist art or any other -topic may result in “try, try again.” If the plaster appears too thin -more plaster should be added until it is the proper consistency.</p> - -<p>After the plaster is poured it should set for about half an hour -(varying according to the dryness of the atmosphere) before any attempt -is made to remove it. Meanwhile all buckets, paddles, ladles, etc., -containing plaster should be cleaned while the plaster is soft and easy -to remove.</p> - -<p class="sect">WHEN THE PLASTER MOLD IS READY TO REMOVE, a table knife slightly -inserted between partitions and carefully pryed will cause the parts to -separate. A most important part of casting molds and the using of the -plaster molds is the oiling. All parts of the molds to come in contact -with fresh plaster, cement or concrete must<span class="pagenum"><a name="page_24" id="page_24"></a>{24}</span> be thoroughly oiled or -greased to prevent them sticking to each other. If wood, glass or metal -is used with plaster, cement or concrete, remember to oil or grease such -surface before pouring the plaster or cement on it. If you do not, you -will have to use a chisel and with discouraging results.</p> - -<p>The best way to oil the surface is as follows:</p> - -<p class="sect">GLASS—Apply salad oil with brush or cloth removing as much as will come -with the palm of the hand.</p> - -<p class="sect">PLASTER BARS AND MOLD should first be soaked in water ten or fifteen -minutes to prevent drawing the moisture out of the fresh plaster or -cement. Wipe off surface moisture with soft cloth, and replace with oil, -before using for molding. If oil is left thick or in brush streaks, it -will leave its influence on the surface of the casting.</p> - -<p class="sect">WOOD—A smooth-surfaced wood should always be used, and oiled well.</p> - -<p>A good grease formula for all surfaces is as follows: Three parts -paraffin and one part tallow, melt and add one pint of kerosene. This is -applied with a brush.</p> - -<p class="sect">AS AN EXPERIMENT PROBLEM for the use of plaster so as to become familiar -with its use, we will proceed with the casting of a simple flat plaster -tile.</p> - -<p>Taking a piece of glass, smooth board, marble or oil cloth, brush the -surface with a little salad or lubricating oil, or linseed oil. There -should be no free oil on the surface or streaks of oil as such will -cause an uneven surface. When using glass it is possible to insert a -diagram or pattern of the shape underneath on a piece of paper as a -guide to the bars or retaining walls of the mold. These retaining bars -or walls may be of various materials. Strips of wood or plaster are -excellent and strips of linoleum, metal and even glass are used. If four -pieces of wood about ten or twelve inches long and one and one-half -inches<span class="pagenum"><a name="page_25" id="page_25"></a>{25}</span> wide are used they can always be adjusted to fit any dimension -from twelve inches down, by being placed as shown in the diagram.</p> - -<p class="sect">TO OIL THE RETAINING BARS, brush the surface to come in contact with the -plaster and then hold the wood in position over the diagram below, using -modeling wax or clay to keep it in position. The clay of course should -always be in position on the outside of the wood and should never be in -the space into which the plaster is to be poured.</p> - -<p class="sect">PLASTER HARDENS SLOWLY IN COLD WEATHER and hardens rapidly in a warm -temperature. Salt added to plaster will cause it to set more rapidly and -to harden more firmly. No exact proportion can be given—just a little -sprinkled in a pan of plaster will cause it to set more rapidly.</p> - -<p class="sect">DIFFERENT PLASTERS SET AT DIFFERENT PERIODS. As has been described -before, casting plasters can be secured in quick-setting, medium-or -slow-setting mixtures. Medium-setting or slow-setting will be found to -be good average mixtures for use.</p> - -<p class="sect">TO RELEASE THE PLASTER TILE after it has hardened (generally a half hour -will insure the hardening action as being completed), the bars can be -released and the tile gently lifted at one corner will cause it to come -apart from the oiled surface. If glass is used the glass can be placed -upright and the separating of the tile from the glass can be watched as -indicated by the moisture suction disappearing as the tile is gradually -separated. If oilcloth is used the tile can be turned over and the -oilcloth peeled off easily. This of course is necessary only where any -sticking occurs, for most times the tile will separate easily. If -sticking does occur it is generally some fault of the oiling for it -needs only one or two little spots overlooked to cause considerable -trouble as the plaster will stick to any part that has been skipped in -the oiling.<span class="pagenum"><a name="page_26" id="page_26"></a>{26}</span></p> - -<p>Plaster dries rapidly and will dry in the sun more rapidly. When plaster -is damp it can be scraped or carved easily. Temperature and the age of -the plaster affect its drying periods.</p> - -<p class="sect">LARGE TILE MOLDS should be strengthened by having burlap strips or wire -imbedded into the back while the plaster is soft. This creates a -stronger layer than where plaster alone is used. Wood strips should not -be used for backing plaster unless thoroughly dried as otherwise it -causes cracking by its shrinkage, and it is best not to use it for -reinforcing.</p> - -<p class="sect">TO CORRECT FAULTS IN PLASTER CASTS use a little of the plaster scraped -from the back to fill in holes or defects. If a corner or portion is -broken off, gouge a hole or cavity so that a little plaster mixed and -placed on that section will become firmly connected. As it hardens, a -little of it can then be scraped with a knife to connect correctly with -the surrounding parts or surface.</p> - -<p class="sect">A SECOND PRACTICE PROBLEM is to take the plaster tile and incise a line -pattern in the surface. To make the incising easier, dip the tile in -water and then trace the design previously prepared onto the plaster. -Pressure alone on the paper with a pencil will make an indentation on -the plaster that can be easily followed in the incising.</p> - -<p class="sect">THE DESIGNS FOR INCISED PATTERNS are best where the lines enclose a -shape. The parts are more comprehensive and confusion of the lines will -not result if simple outlines are used. In the chapter on Design, line -patterns are shown that are adaptable to incised work.</p> - -<p class="sect">TO INCISE THE PATTERN take a nail point or nut pick or other metal point -and shape the point on a grindstone or by the use of a file so that each -incised line will have a tapering side. If any undercuts are produced -the cast or plaster that is poured into it will become locked and refuse -to separate.<span class="pagenum"><a name="page_27" id="page_27"></a>{27}</span></p> - -<p>The tile is next immersed in water, taken out and after the water is -absorbed, a brushing of oil is given to it.</p> - -<p class="sect">A PLASTER TILE IS MADE MORE DURABLE if it is dried and given a coat or -two of shellac before it is used for molding plaster or cement. -Otherwise repeated brushing of damp plaster with the oil brush will -gradually wear the edges and details of the mold away.</p> - -<p class="sect">TO MAKE A CAST FROM THE PLASTER MOLD, it is surrounded with the -retaining bars after they have been oiled and held in position with the -modeling wax or clay; this time they are placed firmly against the sides -of the plaster mold.</p> - -<p class="sect">THE CAST OF OUR FIRST EXPERIMENT now becomes the mold for our second -practice problem as the mold is always the part that produces the cast. -The cast in turn may become a mold for another cast.</p> - -<p class="sect">TO SEPARATE THE CAST FROM THE MOLD the bars are removed and a knife edge -is pressed between the parts to separate them. Care should be taken not -to become too anxious and force the sections apart before the cast has -dried or they will cause it to break. If it refuses to come apart easily -when completely dry, a little wooden wedge tapped into the crevices in -one or two places will cause it to part easily. Sometimes plaster flows -over the sides of the mold and binds the edges together. On removing the -mold and cast from the retaining bars, examine it to see if any plaster -is binding it and if so remove it.</p> - -<p class="sect">IF THE PARTS ARE ABSOLUTELY SOLID it is because the incising was not -properly done and the lines interlock somewhere and the only thing to do -is to break them apart and correct the faults and try again. Sometimes -when interlocking tiles are separated the faulty parts have fragments of -the opposite part attached in the defective parts showing where the -faults are located.<span class="pagenum"><a name="page_28" id="page_28"></a>{28}</span></p> - -<p class="sect">THE TWO PLASTER TILES SHOULD BE RETAINED for they can be used in casting -plain cement and color cement tiles in various finishes. When they have -completely dried they should be given two or three coats of thin -shellac, a day apart, on the surface only, which will make them good -durable molds for future use.</p> - -<p class="sect">CASTING IN THE ROUND is more difficult than flat casting or bas-relief -work and while the making of plaster molds for vases and bowls is given -particular attention in the chapter on Cement Bowls and Vases, -directions for casting objects in the round will be given here.</p> - -<p class="sect">AS A GOOD TEST PROBLEM take any small object or toy and, if it is wood, -oil it well. If it is porcelain or glass it will not need to be oiled. A -simple form, animal or bird, can be made in modeling wax or clay to be -used as the original or model from which to make a mold. The best -objects are those modeled in broad surfaces with but little detail.</p> - -<p class="sect">PREPARING FOR CASTING. The equator or half-way mark should be marked on -the surface of the object, as one-half of the mold should be made at a -time. Instead of one-half, one-third is often used on round objects to -permit easier release of the molds. Mold divisions when possible should -follow corners of objects.</p> - -<p class="sect">THE FIRST SECTION of the mold is made by placing a layer of clay along -the division lines on the object which have been indicated as division -lines for the sections of molds. Sometimes the object can be laid on the -table or on glass and the plaster poured around it up to the half-way -line as shown in the accompanying plate. In this method a strip of -linoleum or metal can be placed around it to make a retaining wall for -the plaster.</p> - -<p class="sect">AFTER THE FIRST SECTION is cast, the model is removed from the plaster -and if the plaster has risen past the equator it should be scraped back -and indentations or “keys” made in the plaster<span class="pagenum"><a name="page_29" id="page_29"></a>{29}</span> portions that are not -those producing the parts of the model. The model is replaced in its -hollow and the entire surface of the mold that is exposed is oiled, -including the sides of the metal, linoleum or whatever is used as -retaining walls. Plaster is again poured for the second half after which -it is permitted to dry before separating the mold sections.</p> - -<p class="sect">OILING. It must be remembered that the molds must be oiled after each -casting as each pouring absorbs the oil. All surfaces coming in contact -with the next pouring of plaster must be oiled to cause separation.</p> - -<p class="sect">POURING. A hole must be cut in the molds to permit the plaster to enter. -Air holes leading upward as shown in the engraving are scraped upward -out of the molds to permit the escape of the air; otherwise air bubbles -may be formed in the plaster causing defects.</p> - -<p class="sect">TO HOLD MOLD PARTS TOGETHER tie a cord or wire around parts. Notches cut -on corners or edges of molds to hold the tieing cord will prevent them -from slipping. Molds should fit closely together. If for any reason they -do not, the crevices can be filled with modeling wax as a temporary -filler. The best results are obtained, however, from perfect molds and -it is a saving of time to make a mold over if it is not perfect in the -first casting.</p> - -<p class="sect">RELEASING CAST. After the plaster has set long enough to harden, the -molds are opened by gentle prying or tapping with a wooden wedge. Often -an obstinate cast is released by placing the mold over a stove or flame -for a few seconds. This causes the steam formed in the mold to separate -the mold from the cast.</p> - -<p class="sect">CEMENT BOWLS AND VASES are made by pouring thin cement into the molds -and rotating the mold and pouring out the surplus cement. After a few -minutes another layer is poured in and the operation repeated. This -method is explained more fully in the chapter on Bowls and Vases.<span class="pagenum"><a name="page_30" id="page_30"></a>{30}</span></p> - -<p><a name="THE_MAKING_OF_PLASTER_MOLDS" id="THE_MAKING_OF_PLASTER_MOLDS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_030_lg.jpg"> -<img src="images/ill_pg_030_sml.jpg" alt="Image unavailable: The Making of Plaster Molds" /></a> -<br /> -<span class="caption">The Making of Plaster Molds</span> -</div> - -<p><span class="pagenum"><a name="page_31" id="page_31"></a>{31}</span></p> - -<p><a name="THE_MAKING_OF_MOLDS" id="THE_MAKING_OF_MOLDS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_031a_lg.jpg"> -<img src="images/ill_pg_031a_sml.jpg" alt="Image unavailable: The Making of Molds" /></a><br /> -<a href="images/ill_pg_031b_lg.jpg"> -<img src="images/ill_pg_031b_sml.jpg" alt="Image unavailable: The Making of Molds" /></a> - -<br /> -<span class="caption">The Making of Molds</span> -</div> - -<p><span class="pagenum"><a name="page_32" id="page_32"></a>{32}</span></p> - -<p><span class="pagenum"><a name="page_33" id="page_33"></a>{33}</span></p> - -<h2><a name="CHAPTER_3" id="CHAPTER_3"></a><br /> -</h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 3<br /> - -Plain and Incised<br /> - -Cement Tiles - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_033.png" - class="spcdwn" -width="75" -height="75" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_34" id="page_34"></a>{34}</span></p> - -<p class="sect">A KNOWLEDGE IN MIXING CEMENT is the next step necessary in Color Cement -Handicraft. The steps necessary toward mixing cement are simple, the -main point being that the cement should be fresh. The student is -cautioned to test the freshness of cement by seeing that no caked or -hard lumps of cement are contained in the sack mixture. As formerly -explained the cement should have a smooth, slippery feeling when passed -between the fingers.</p> - -<p class="sect">NEAT CEMENT is the term applied to cement mixed with water without the -addition of any sand or gravel. Neat cement produces a very smooth -surface and responds to reproducing every change in the surface of the -model. It should be used on the surface only and not for the entire tile -or pottery. If used without any sand or gravel, it is termed “too fat,” -and has the fault of cracking sooner or later. Therefore neat cement is -always backed up with a concrete mixture.</p> - -<p class="sect">CONCRETE is a mixture of sand and cement, gravel and cement, or rock and -cement. In all instances where such a mixture is made, the two parts -should be <i>mixed dry</i> before any water is added. Only enough should be -mixed to meet immediate needs as it is not best to use cement that has -stood so long that it has commenced to harden.</p> - -<p class="sect">TO SECURE A VERY FINE SMOOTH SURFACE for tiles or pottery the cement -should be used neat. It must be sifted dry through a fine sieve and -enough water added to make it of easy working consistency. Then a -mixture of two-thirds gravel or sand and one-third cement with water -added may be used on the back of the tile or the inside of a vase and -possibly again lined with a mixture of neat cement.</p> - -<p>Cement or concrete can stand for an hour or two and again be used by -adding more water and mixing thoroughly. This cannot<span class="pagenum"><a name="page_35" id="page_35"></a>{35}</span> be done with -plaster and should be avoided with cement or concrete. If chemical -action has commenced and the cement has partly set, it naturally will -have lost much of its strength for second use.</p> - -<p class="sect">A CONCRETE MIXTURE of one part cement and two parts sand or gravel will -give good strength. The sand or gravel must be clean. If it contains any -vegetable matter or other sediment, it should be avoided. To test your -sand quality put a four-inch layer in an ordinary quart jar, fill with -water within three inches of the top. Cover and shake well. Then permit -the sand to settle. If the sediment or loam which remains at the top of -the sand is one-half inch or more, the sand is not fit for use in -concrete.</p> - -<p class="sect">CEMENT MIXTURES ADAPTABLE TO VARIOUS USES are given below. These may be -used for backing and reinforcing large problems, in garden pottery, -garden furniture or walls.</p> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> - -<tr valign="top"><td>1. RICH MIXTURE<br /> - 1 part cement<br /> - 2 parts sand<br /> - 5 parts gravel</td> - -<td>2. STANDARD MIXTURE<br /> - 1 part cement<br /> - 2 parts sand<br /> - 4 parts gravel</td></tr> - -<tr valign="top"><td>3. MEDIUM MIXTURE<br /> - 1 part cement<br /> - 2½ parts sand<br /> - 3 parts gravel</td> - -<td>4. LEAN MIXTURE<br /> - 1 part cement<br /> - 3 parts sand<br /> - 6 parts gravel</td></tr> -</table> - -<p class="nind">Cement and sand mixed dry first, then with water. The gravel is mixed -wet with other mixture and thoroughly combined.</p> - -<p>Builders use the Rich Mixture for columns and high stresses, and where -water tightness is necessary.</p> - -<p>Standard Mixture is used for arches, for tanks and sewers, and for -machine foundations.</p> - -<p>The Medium Mixture is used for piers, sidewalks, and heavy walls.</p> - -<p>The Lean Mixture is used for walls, foundations and for unimportant -work.<span class="pagenum"><a name="page_36" id="page_36"></a>{36}</span></p> - -<p class="sect">THE FIRST PROBLEMS IN CEMENT should be the casting of cement tiles -without the use of color. As a beginning problem set the retaining bars -around a six-inch square space and mix a neat mixture of cement and pour -into the space so as to make about a quarter-inch layer. After this has -set for about fifteen minutes pull some of the neat cement up the sides -with a putty knife or strip of cardboard and then pour in the remainder -of the tile concrete mixture of one-third cement and two-thirds sand. -This will result in a tile with the top and sides surfaced with neat -cement. The surfaces of the bars and the glass or other under surface -have of course been properly oiled previous to the pouring.</p> - -<p class="sect">BEFORE PROCEEDING WITH TILE MAKING it may be necessary to make a number -of plaster bars to use as retaining walls. These are made as follows: -Two strips of wood one-half inch to an inch thick laid parallel on a -glass or other smooth surface that has been greased with oil. The -distance between the strips of wood should be about ten inches, as the -length will then serve for producing eight-inch tiles or any size under -this dimension. The edges of the wood facing inward should always be -oiled, the wood strips are held in position by small lumps of modeling -wax pressed firmly into the outer edge of the wood so that it attaches -it to the surface of the glass. This will leave a channel between the -two wooden strips into which the plaster is poured. The two ends of the -channel may be stopped with blocks of wood or blocked with wax or clay. -As soon as the plaster is poured into the mold it should be evened by -running a straight strip of wood or metal over it spanning the width of -plaster. Run this back and forth to trim off the surplus, so that the -plaster will have an even thickness when removed from its bed.</p> - -<p class="sect">TO REMOVE THE PLASTER first remove the wooden strips and then tap the -layer of plaster lightly on the edge with a hammer. This will loosen it. -Then with a T square and sharp nail mark off<span class="pagenum"><a name="page_37" id="page_37"></a>{37}</span> bars five-eighths inch -wide and also bars one and one-quarter inches wide. At least twelve bars -of each width should be made. After drying for three days the bars may -be sawed apart with any sharp saw, care being taken to hold the saw -within the groove made by the nail. The edges of the bars may be further -smoothed if necessary with a knife or file.</p> - -<p class="sect">STRIPS OF WOOD WITH SURFACED SIDES can be used in the place of plaster -bars and if oiled will release very easily from the plaster when used as -retaining walls.</p> - -<p class="sect">TO MAKE AN INCISED TILE in plain cement proceed as follows: Roll out -clay or modeling wax to about one-half inch thickness and cut to the -desired size of tile. Cover this smooth surface, place a design which -has been made on thin paper and trace with a pencil. The paper should be -held so as not to slip and the result should be a slight indentation of -the design on the clay. These lines are then incised over with the -incising tool to the desired depth, care being taken that no -over-hanging edges remain on the edges of the incisions. The incisions -should have sides slightly sloping inward and if the tool is correctly -shaped it will produce such lines.</p> - -<p class="sect">THE DESIGN should be planned to be at least one-half inch from edge and -simple in construction. Avoid a tangle of ever crossing lines. A -geometrical arrangement dividing the square into pleasing spaces will -produce the best results.</p> - -<p>Place the tile on a level surface and take four bars of the one and -one-fourth inch plaster strips or wood, soak in water for fifteen -minutes, wipe dry and oil. Now place the four bars so that the inside -edges are against the wax or clay tile and fasten so that they are -unmovable with modeling wax. The bars if placed with one end projecting -past the bar meeting it at right angles permits their adjustment to any -size tile under ten-inch dimensions. Onto this pour plaster-of-Paris, -pour into the center letting it run toward the edges forcing<span class="pagenum"><a name="page_38" id="page_38"></a>{38}</span> all air -ahead of it as it enters the incisions. Level off surface and remove the -plaster cast from the mold as soon as it has hardened.</p> - -<p class="sect">TO RELEASE THE PLASTER CAST first remove the surrounding bars and lift -the plaster tile off the clay. The plaster tile will have the design in -relief on the surface. If any clay is adhering to these relief lines, it -is evidence that there are overhanging edges and such edges should be -trimmed with a knife before the next step. The next step is as follows: -After plaster tile is dry put it in water for a few minutes, then oil -the surface well. Place back in the bars and repeat previous operations -excepting that this time a cement mixture is used instead of plaster. A -mixture of neat cement should be used half way up and permitted to -remain for five minutes before the concrete (one-third concrete, -two-thirds sand) is poured in for the remaining half.</p> - -<p class="sect">IN MIXING SAND AND CEMENT it should be remembered that they should be -mixed together thoroughly <i>while dry</i> before any water is added. After -the cement has been poured into the form, if it is to be used for floor -or wall purposes, four small squares of cardboard should be pressed into -the exposed cement which is the back of the tile. This should be done -about fifteen minutes after the cement has been poured, when it is not -too soft.</p> - -<p>The tile may be removed after it has remained in the form for -twenty-four hours. A thin cement mixture of another color may be made -and brushed over the tile and the surplus removed, leaving the last -color only in the incisions.</p> - -<p class="sect">AN INTERESTING VARIATION is produced by cutting away the clay or wax -between the incisions of the pattern to the depth of one-half inch or -less, making a mold of this tile and in turn casting a concrete tile. -The result will be a surface with relief section and low spaces, the -relief being concrete and rough in texture.<span class="pagenum"><a name="page_39" id="page_39"></a>{39}</span></p> - -<p>These low spaces are then filled with a colored cement of another color, -or neat cement, and brought to the level of the relief surface. Such a -tile secures a pattern adaptable to tile walks, or any surface which is -subjected to wear, in that the design is not only a thin surface layer, -but a thick portion of color that will not disappear with the wearing of -the surface layer.</p> - -<p class="sect">A SIMPLE METHOD OF MAKING TILE MOLDS is to cut a design from a thick -piece of cardboard or sections of a design, and glue these in proper -position to carry out a design arrangement. These pieces should be cut -with tapering sides so as to permit of proper “draught” or releasing -conditions when the plaster cast is made for mold purposes.</p> - -<p>The pieces of cardboard should remain glued until dried to avoid the -moisture of the soft plaster moving the parts around.</p> - -<p class="sect">WITHOUT THE USE OF COLOR a number of pleasing and varying textures can -be secured with plain cement, as the gray color of the cement has an -artistic quality, and it is well to become well grounded in the use of -cement before combining color with it.</p> - -<p class="sect">SEVERAL WAYS OF USING PLAIN CEMENT FOR TILES beside those already given -are explained in the following descriptions. These are termed Traced -Cement, Burnished Cement, Scraped Cement, Concrete Tile, Cement and -Concrete Tile, Glazed and Dull Cement Tile, Glazed Relief Line Tile.</p> - -<p class="sect">THE TRACED CEMENT TILE is made by pouring a half-inch mixture of -concrete (one-third cement, two-thirds sand) into a mold made with the -usual retaining bars of any desired dimensions. Over this concrete -mixture a layer of about one-quarter of an inch of sifted neat cement -mixed with water should be placed. At a certain degree of hardness this -layer of neat cement will yield to a slight indentation or traced -outline. This condition can be tested by touching the edge of the -surface with a pencil point to see whether it is too<span class="pagenum"><a name="page_40" id="page_40"></a>{40}</span> hard or too soft. -A good plan is to pour the mixture in the evening and it is generally in -right consistency to work upon on the following morning. The surface -should be nearly hard but still sensitive to pressure with a point.</p> - -<p class="sect">HAVING PREPARED THE DESIGN on a piece of paper about the weight of -business writing paper, the design is placed on the surface of the tile -and kept in the same location while a blunt, soft lead pencil is traced -over the pattern, pressing firmly to create a good indented line in the -cement surface. The design for this work is best where the pattern is -easily expressed in lines or outlined forms. The forms can be increased -in strength by rubbing the pencil on the outer edge of the lines to be -slightly modeled in separate appearance. When the design has been -completely gone over, the tile is placed in water for several days, -after which it is dried and a thin coating of color wash (see chapter on -Surface Finishes) may be added to it which will further the pattern by -coloring the traced lines.</p> - -<p class="sect">THE BURNISHED CEMENT TILE is produced by casting a similar tile to the -one made for the Traced Cement Tile and proceeding in the same manner, -excepting that the spaces between the forms are burnished smooth with -the dull pointed pencil or a smooth small stick. This results in some -parts being burnished or pressed down while others remain in slight -relief. A change in this is also produced by scraping the smooth surface -off between the lines in certain places instead of burnishing it. This -results in parts of the surface being of a different texture and also of -a little different color, as the scraped parts are different in both -these respects to the cement which has dried and remains untouched on -the surface.</p> - -<p class="sect">A SECOND BURNISHED TILE EFFECT is to pour a layer of neat cement first -in the mold and a concrete mixture last. When this is hard enough to -remove, and still soft enough to work upon (the neat cement layer having -been in the bottom will dry with a dull<span class="pagenum"><a name="page_41" id="page_41"></a>{41}</span> finish and not a glaze finish -as when flowed on as a top layer) it should be removed and the design -traced upon this neat cement surface. If a leather tool or smooth hard -point is used, certain parts as desired can be worked upon, smoothed -down or pressed in, through the paper which will create a change of -surface texture.</p> - -<p class="sect">THE SCRAPED CEMENT TILE is where either the top neat cement or bottom -cement layer has the design in line or form scraped out of the cement, -the entire design being produced without a plaster mold being used. A -sharpened nail or nut pick will make a good scraper and this scraping -and pressing is done on the cement surface direct and not through a -paper as in the two previous problems. This direct method of working -upon cement surface is considered more thoroughly and more extensive -applications made of it in the chapter on Carved and Modeled Cement.</p> - -<p class="sect">THE CONCRETE TILE. Varying finishes may be secured in casting any cement -tile by the kind of aggregate used with the cement. A rough irregular -small crushed rock will give one kind of texture, while a round small -white gravel will give another and each change will present different -effects. Without going into extremes of finishes or having too many -changes in the surface of a tile, pleasing effects can be secured by one -to three changes of texture secured by putting different mixtures in -different parts. This may be done by mixing and applying with a brush or -spoon the different mixtures into the mold, placing the mixtures each in -their proper section of the mold. The whole is then covered with the -backing mixture resulting in the surface pattern appearing with the -changes after the tile has been released from the mold.</p> - -<p>Where a concrete mixture is to appear rough in texture, the sand or -gravel and cement should be mixed dry, just enough water added to cause -it to mix up to a damp consistency so that it can be shaped with the -hand. This can then be put in the mold and tamped slightly<span class="pagenum"><a name="page_42" id="page_42"></a>{42}</span> with a block -of wood to press it in true contact with the surface of the mold. This -will result in a porous, open texture, producing good contrast with neat -cement parts that have been previously placed or are to be added.</p> - -<p class="sect">THE CEMENT AND CONCRETE TILE is made with plain cement producing added -interest to the design by the two textures or surface finishes that -occur between cement and concrete. The design for such a tile is best -where the parts are separated either by an incision or a relief line. -The plaster mold should therefore present separate portions, some of -which can be considered for the cement parts and others for the concrete -parts.</p> - -<p>By mixing neat cement until it is of a thin mixture, the mixture can be -placed on the mold wherever wanted by dripping it from a brush. Care -should be taken in the use of a brush with cement that a wiping stroke -is not used as such a stroke will remove the oil from the plaster -surface and cause parts of the cement to stick to the plaster.</p> - -<p>After the cement has been placed, a concrete mixture is made and poured -into the space up to the desired height to produce the necessary -thickness. This will at the same time fill in the remaining surface -spaces of the tile.</p> - -<p class="sect">THE GLAZED AND DULL CEMENT TILE is produced by filling in with clay or -glued cardboard bits cut to shape, those parts that are to be glazed -gray cement. Do not use modeling waxes or artificial clays for this part -as the oil or grease in them will interfere with the glazed cement -adhering to the surface in the final finishing.</p> - -<p>After the cardboard or clay is dry a layer of neat cement is poured in, -and backed with the usual concrete mixture. After the tile is released, -the cardboard bits or clay is removed and cleaned out, the surface under -it is roughened with scratched lines and the tile is put in water for an -hour. The spaces are then filled with a<span class="pagenum"><a name="page_43" id="page_43"></a>{43}</span> mixture of neat cement and -permitted to harden in a shallow tray of water.</p> - -<p class="sect">TO MAKE GLAZED CEMENT SURFACE it is important that these steps be -watched:</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="margin:auto auto auto 4%;"> -<tr valign="top"><td align="left">1st.</td><td align="left">That the surface be roughened wherever the glazed surface is to appear.</td></tr> -<tr valign="top"><td align="left">2d.</td><td align="left">That the tile be soaked in clean water until it has fully absorbed water.</td></tr> -<tr valign="top"><td align="left">3d.</td><td align="left">That a little dry neat cement be placed on the spaces to have glazed effect.</td></tr> -<tr valign="top"><td align="left">4th.</td><td align="left">That the neat cement should be sifted and dripped on with a brush and not gone over a second time.</td></tr> -<tr valign="top"><td align="left">5th.</td><td align="left">That the tile is taken out and dried and the glazed and dull neat cement will create the change of surface texture as planned.</td></tr> -</table> - -<p>A bloom or chalk-like powder often comes on the surface of tiles, but -will disappear within a short time and need not cause any anxiety.</p> - -<p class="sect">GLAZED RELIEF LINE TILE is made by casting either a neat cement tile or -a concrete tile with a relief line design and then mixing a neat gray or -color cement glaze and putting it onto the surface. The tile is shaken -in a level position until the entire surface is entirely covered leaving -a thin layer of the glaze in the spaces between the lines as well as -slightly on the lines. The tile is set in a shallow layer of water to -harden.</p> - -<p class="sect">OTHER VARIATIONS IN TILE EFFECTS can be made by combining these methods -and with the use of color in these different methods described, -unlimited avenues are opened to the worker in color cement. It should be -remembered also that most of these methods of surface treatment are also -possible in other forms beside flat or tile surfaces. The student should -know these methods of working with plain cement and concrete as they are -the foundation of successful Color Cement Handicraft.<span class="pagenum"><a name="page_44" id="page_44"></a>{44}</span></p> - -<p><a name="HOW_TO_MAKE_COLOR_CEMENT_TILES" id="HOW_TO_MAKE_COLOR_CEMENT_TILES"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_044_lg.jpg"> -<img src="images/ill_pg_044_sml.jpg" alt="Image unavailable: How to Make Color Cement Tiles" /></a> -<br /> -<span class="caption">How to Make Color Cement Tiles</span> -</div> - -<p><span class="pagenum"><a name="page_45" id="page_45"></a>{45}</span></p> - -<p><a name="CEMENT_TILE_TEXTURES" id="CEMENT_TILE_TEXTURES"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_045_lg.jpg"> -<img src="images/ill_pg_045_sml.jpg" alt="Image unavailable: Cement Tile Textures" /></a> -<br /> -<span class="caption">Cement Tile Textures</span> -</div> - -<p><span class="pagenum"><a name="page_46" id="page_46"></a>{46}</span></p> - -<p><a name="THE_INCISED_TILE" id="THE_INCISED_TILE"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_046_lg.jpg"> -<img src="images/ill_pg_046_sml.jpg" alt="Image unavailable: The Incised Tile" /></a> -<br /> -<span class="caption">The Incised Tile</span> -</div> - -<p><span class="pagenum"><a name="page_47" id="page_47"></a>{47}</span></p> - -<h2><a name="CHAPTER_4" id="CHAPTER_4"></a><br /> -</h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 4<br /> - -Making<br /> -Vases and Bowls - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_047.png" - class="spcdwn" -width="75" -height="75" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_48" id="page_48"></a>{48}</span></p> - -<p class="sect">MAKING VASES AND BOWLS is a little more complicated than the making of -tiles, but by following the directions carefully it will be found that -once the process is worked out, it can be easily repeated.</p> - -<p class="sect">FOUR DEFINITE OPERATIONS are necessary to produce a bowl or vase and -they may be termed as follows:</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="margin:auto auto auto 4%;"> -<tr valign="top"><td align="left">1st.</td><td align="left">Making or preparing the original model.</td></tr> -<tr valign="top"><td align="left">2d.</td><td align="left">Making the molding case from the model.</td></tr> -<tr valign="top"><td align="left">3d.</td><td align="left">Pouring the concrete into the molding case.</td></tr> -<tr valign="top"><td align="left">4th.</td><td align="left">Releasing the mold and completing the object cast.</td></tr> -</table> - -<p class="sect">THE FIRST STEP, making the original model, is as follows: With clay or -modeling wax build a form of the vase or bowl desired. The inside need -not be considered; that is, do not make the form hollow but build it -solid. Care should be taken to see that the contour is even and alike -when viewed from all sides. A templet cut from metal, wood or stiff -cardboard, will help in securing perfect contour if moved around on the -outside and corrections made accordingly. A false neck should be added -onto the solid form and part of the bottom of the mold scraped so as to -leave a rim or edge on the bottom. The form is then ready to make a mold -from it.</p> - -<p class="sect">ANY VASE OR BOWL CAN BE DUPLICATED in cement by making a plaster mold -from it. The inside of the bowl should be filled with sand or wadded -paper and a false neck built over the mouth with clay or modeling wax. -If the surface is glazed it need not be oiled before casting, but all -dull or rough surfaces should be oiled.</p> - -<p class="sect">THE SECOND STEP, making the molding case, is as follows: Take the model -(clay or vase to be duplicated) and place it upon an oiled glass or -other smooth surface. Marking off about one-third of its diameter, build -a narrow strip of clay or wax on two sides from top to bottom. This -ridge or wall should extend far enough out to meet<span class="pagenum"><a name="page_49" id="page_49"></a>{49}</span> the molding case or -metal strip, and the two walls of clay and the metal or case should be -made proof against the plaster running out anywhere, when it is poured -into this well. After the plaster is set, the clay strip can be removed -from one side and the exposed plaster edge is oiled after two keys have -been bored into it with a pointed metal strip (see working plate). The -removed strip is then built along the next division of the model and the -case or metal used for retaining wall is moved into new position and a -second third of the molding case is made. To make the third or last -piece of the mold the two first sections are retained in position -(always boring keys and oiling exposed edges), the case or metal wall -again placed in position and the plaster poured into the opening. The -plaster should not be too thin and if a little is poured into the bottom -and allowed to set before pouring the whole amount, it will not be -forced out through the bottom. Of course all openings must previously -have been stopped with clay or wax.</p> - -<p class="sect">TO STRENGTHEN A MOLD strips of burlap or wire screening can be imbedded -in the plaster while it is soft. This makes a durable mold capable of -withstanding much handling.</p> - -<p class="sect">TO MAKE THE MOLD FOR THE BOTTOM the three sections are turned upside -down (the model still being in position) and the plaster parts all being -oiled, a ring of clay is placed around the bottom so as to make a cup -shape into which the plaster is poured.</p> - -<p class="sect">THE THIRD STEP is the most important part as the mixture or “slip” for -the pouring is important. The first mixture should be neat cement and -water and should be rather thick, for if too thin it will not adhere to -the walls of the mold. When the neat cement is ready it should be poured -into the bowl about half-way full. The bowl is then rotated in a -horizontal position gradually downward so that the surplus cement slip -will pour out of the mouth back into the pan or container in which it -was mixed. Then after a half-hour or so<span class="pagenum"><a name="page_50" id="page_50"></a>{50}</span> another mixture of slip should -be rotated. This mixture should be composed of a one-third cement and -two-thirds sand mixture and be thinner in consistency. If the bowl is -large and the walls need to be thick a third and fourth layer may be -necessary.</p> - -<p class="sect">THE LAST LAYER OF SLIP can be of neat cement which will finish the -inside with a smooth surface. When working with color the first rotation -and the last may have color added to the slip which will result in a -color finish on the inside and the outside of the bowl or vase.</p> - -<p class="sect">THE FOURTH STEP or releasing the mold, should occur the second or third -day after the pouring has taken place. This elapse of time depends all -upon weather conditions. In summer cement dries more rapidly and not so -well. In winter the hardening is more slowly accomplished but more -perfectly.</p> - -<p class="sect">THE DRYING OF CEMENT is best when it occurs gradually. Never place -cement in the sun or use artificial heat to force it. Checking, cracking -and breaking will surely result if this is done.</p> - -<p>For this reason the tiles and pottery made with cement should dry -gradually in the shade but not in a draughty location.</p> - -<p>To release a vase or bowl from the mold, the cords are untied and the -plaster mold parts opened. The cement cast, if successful, will separate -from the mold without trouble. The ridge that may have been formed by -the groove where the plaster parts have come together can be scraped off -and smoothed by rubbing the finger tips over the surface. The surplus -part of the neck can be carefully scraped away and after the vase has -dried out of the mold for a day it can be put in a bucket or tub of -water to harden for a few days or a week.</p> - -<p class="sect">TO FINISH A VASE it is removed from the water, permitted to dry well, -the surface is brushed clean and it can then be waxed or surface -finished as described in another chapter of this book.<span class="pagenum"><a name="page_51" id="page_51"></a>{51}</span></p> - -<p class="sect">A RELIEF DESIGN ON A VASE SURFACE requires care in making the sections -of the mold so that the vase cast will pull out of the mold without -breaking. If the molds are made in three or four segments there is -little danger of trouble but wherever there is relief surface or lines -on the surface, a two-piece mold is sure to result in the breaking of -parts.</p> - -<p class="sect">DIFFERENT TEXTURES IN GRAY CEMENT can be secured on the surfaces of -bowls and vases by using almost any of the processes described in the -previous chapter for tiles.</p> - -<p class="sect">IN ADDING COLOR TO DIFFERENT TEXTURES of cement in Cement Pottery the -color or neat cement can be added to the oiled surfaces of the plaster -molds before they are tied together preparatory to the pouring. In this -instance, however, the divisions of the plaster molds should be planned -so as not to break through the designs. If a continuous design motif is -essential, the only way to correct the break will be to touch in the -disconnected parts with the right color or mixture after the parts of -the mold have been placed together just previous to the pouring in of -the slip for the first rotation.</p> - -<p class="sect">THE MAKING OF FLAT BOWLS simplifies the rotating problem and in many -shapes the slip can be placed and directed with the use of a brush. -After the last slip has been added to a bowl, a design can be added with -a brush by using a different color, placing the color slip in the center -of the inside portion of the bowl. This can also be done on the outside -surface of any bowl or vase, creating a change and surface enrichment.</p> - -<p class="sect">VASES WITH SQUARE SIDES should be produced from plaster molds which have -the connecting lines coming on the corners. In this way the casting -lines that always show to some extent on the cast surface when it is -removed from the mold, will occur where it will be easy to remove them -and if a little does remain it becomes a part of the corner.<span class="pagenum"><a name="page_52" id="page_52"></a>{52}</span></p> - -<p>If any incised lines or relief parts are on the sides of these square -formed vases, a separate piece for each side will be necessary in the -plaster mold.</p> - -<p class="sect">A GLAZED FINISH can be produced by rotating a bowl or vase in a mixture -of neat cement that has been well sifted and placed in a pan in a thick -enough layer to permit the bowl or vase to be turned in it without the -sides scraping the bottom of the pan.</p> - -<p class="sect">WHERE LARGE RELIEF SURFACES are to be produced and undercut surfaces -molded, it is then necessary to use glue for the molds. This requires -skill in handling. For those who wish to produce molds for such work the -following is given:</p> - -<p>After modeling the surfaces or figures in relief, if they are to be used -on garden pottery, book-ends, vases, etc., or any design that has -undercut surfaces, it should be covered over entirely with a one-half -inch layer or blanket of wet clay or modeling wax. If the modeling has -been done in clay it should remain overnight without the usual wet cloth -over it, before placing this second clay layer. If wax is used the clay -layer can be placed over it without waiting. Deep sections should be -lightly filled with clay to reinforce the one-half inch layer. Two or -three nails should be used to hold the original firmly to a board base. -A little plaster-of-Paris should be poured around its base to help make -it firm.</p> - -<p>Over this clay blanket lay a strip of clay along the highest part or -equator of the surface, so that the surface is directly in line with the -equator. Place a casing around and fix so that plaster can be poured, -and a rough casing produced of one half. Remove the clay strips and with -a pointed piece of metal bore several holes or “keys” in the exposed -edge of the plaster. Oil this edge and cast the second half.</p> - -<p>Before pouring the plaster a clay cylinder should be placed at the top -to form a hole for pouring into and a second hole near it for an air -escape.<span class="pagenum"><a name="page_53" id="page_53"></a>{53}</span></p> - -<p>After the plaster is set it will be found that a casing or shell is -produced which when placed over the original model (the one-half inch -clay blanket having been removed) will leave a space around the entire -original model.</p> - -<p>The next step is to prepare the casings and pour the glue into this -space to produce a mold of the object and its immediate surface.</p> - -<p>A few pencil marks are made on the outside of the casing and carried -onto the table or board base to check up its relation when it is -replaced. These marks are very necessary.</p> - -<p>The casings are then given two coatings of shellac and wood alcohol (one -part alcohol, three parts shellac), and when dry are oiled well or -greased with axle grease. Shellac is also applied to the original model -whether clay or plaster. Plasticene or similar wax need only be oiled -slightly.</p> - -<p>Replace the cases so that the two halves come together closely and so -that the marks on the outside lower edge correspond correctly with the -marks on the table. Stop the cracks on the casing with clay dipped in -plaster and bind over the casing in the same way (or with the use of -cords) to prevent the glue from floating the casing.</p> - -<p class="sect">THE GLUE IS PREPARED as follows: White fish glue or gelatine glue is -washed well in water. Put in dry can, placing it in second pan of water -and boil until creamy in consistency. When the finger can be dipped into -it without burning, the glue is poured into the casing as follows:</p> - -<p>A funnel of clay or wax is roughly made and the glue poured into the -opening of the casing, filling the space between the model and the -plaster casing.</p> - -<p>Let stand for twelve hours. Remove casing and cut the glue shell along -the half-mark made by the equator division, cutting from the under side -through at one stroke. The glue can be lifted (as it will give) so as to -permit cutting from underneath. To cut from the outside will not produce -a clean cut.<span class="pagenum"><a name="page_54" id="page_54"></a>{54}</span></p> - -<p>With French chalk or talcum, chalk the inside of the plaster casing well -over the shellac and fit the glue shells back into each half. Then with -a solution of powdered alum and water (two teaspoonfuls in one-half cup -of water) brush the entire inner surface of the glue to harden the -surface. Let stand for one hour.</p> - -<p class="sect">IF CEMENT IS TO BE USED, the glue must receive two coats of white lead -or varnish and left to dry two days. When plaster is used no white lead -or varnish is necessary.</p> - -<p>Cement should be used thin and a thin layer produced by pouring into -this mold and revolving it so that a coating will stick to the surface. -After setting for twelve hours more is added and again revolved until -the desired thickness is produced.</p> - -<p>Where the object is not to be hollow the cement is poured in solid and -left until hard enough to remove the casing and glue shell.</p> - -<p>This sounds complicated but it is no harder than the usual recipe and if -you can’t follow a recipe or be interested in its result, then there is -no hope for you in Color Cement Handicraft.</p> - -<p class="sect">A DIAGRAM ILLUSTRATING GLUE MOLDS is shown at the end of Chapter Two, on -The Making of Plaster Molds. A little study of this with the above -directions will make the process clearer.<span class="pagenum"><a name="page_55" id="page_55"></a>{55}</span></p> - -<p><a name="VASE_MOLDS" id="VASE_MOLDS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_055_lg.jpg"> -<img src="images/ill_pg_055_sml.jpg" alt="Image unavailable: Vase Molds" /></a> -<br /> -<span class="caption">Vase Molds</span> -</div> - -<p><span class="pagenum"><a name="page_56" id="page_56"></a>{56}</span></p> - -<p><a name="THE_FINISHING_OF_CEMENT_POTTERY" id="THE_FINISHING_OF_CEMENT_POTTERY"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_056_lg.jpg"> -<img src="images/ill_pg_056_sml.jpg" alt="Image unavailable: The Finishing of Cement Pottery" /></a> -<br /> -<span class="caption">The Finishing of Cement Pottery</span> -</div> - -<p><span class="pagenum"><a name="page_57" id="page_57"></a>{57}</span></p> - -<h2><a name="CHAPTER_5" id="CHAPTER_5"></a><br /> -</h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 5<br /> - -The Use of Color in<br /> -Cement Tiles - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_057.png" - class="spcdwn" -width="75" -height="73" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_58" id="page_58"></a>{58}</span></p> - -<p class="sect">SUCCESSFUL COLOR IN CEMENT WORK is dependent entirely upon the use of -mineral pigments in dry powder form. The lime action in the cement will -nullify and disintegrate any color of a vegetable or chemical source so -that no hue remains.</p> - -<p class="sect">A LIMITED RANGE OF COLORS is therefore presented to the worker in Cement -with which to secure results, but the list of colors described in the -following paragraph is after all an elaborate one when compared with the -few pigments with which the primitive and aboriginal potters produce -most beautiful results in their wares.</p> - -<p class="sect">PICTORIAL OR REALISTIC DECORATIONS ARE NOT DESIRABLE as Color Cement -decoration and it is hoped by the authors that those who follow the -technical direction of this book will be in harmony with the applied -design principles set down in the last chapter; and that their color -cement productions will be such that it will add correct line, form and -color to this new handicraft. This will enable its growth among the art -handicrafts to be without handicap or prejudices resulting from its use -in incorrect design or application.</p> - -<p class="sect">THE FOLLOWING COLORS ARE POSSIBLE in mineral colors for us in Color -Cement: Black, Brown, Red, Dull Yellow, Blue, Green.</p> - -<p class="sect">A Color Scale and Mineral Colors are as follows:</p> - -<table border="0" cellpadding="1" cellspacing="0" summary=""> - -<tr valign="middle"><td>Black or Gray —</td> <td class="bl">Germantown Lampblack<br /> - Carbon Black<br /> - Black Oxide of Manganese<br /> - Black Oxide of Copper</td></tr> -<tr><td> </td></tr> -<tr valign="middle"><td>Blue —</td> <td class="bl"> Ultramarine Blue<br /> - Oxide of Cobalt<br /></td></tr> -<tr><td> </td></tr> -<tr valign="middle"><td>Yellow —</td> <td class="bl">Yellow Ochre<br /> - Chromate of Lead<br /></td></tr> -<tr><td> </td></tr> -<tr valign="middle"><td>Orange —</td> <td>Mineral Orange</td></tr> -<tr><td> </td></tr> -<tr valign="middle"><td>Green —</td> <td class="bl">Chrome Oxide of Copper<br /> - Carbonate of Copper<span class="pagenum"><a name="page_59" id="page_59"></a>{59}</span></td></tr> -<tr><td> </td></tr> -<tr valign="middle"><td>Brown —</td> <td class="bl">Roasted Oxide of Iron<br /> - Burnt Umber<br /> - Metallic Brown</td></tr> -<tr><td> </td></tr> -<tr valign="middle"><td>Red —</td> <td class="bl">Indian Red<br /> - Venetian Red<br /> - Mineral Turkey Red<br /> - Raw Iron Oxide</td></tr> -</table> - -<p class="sect">THE SUCCESSFUL USE OF COLOR IN CEMENT depends entirely upon the true -proportion of color to the cement. No exact rule can be quoted as colors -vary in quality in different localities. Experimenting only can solve -the correct proportions. Also, anything that will nullify the action of -disintegration upon the color by the lime in the cement is desirable. -The Petroma Cement Colors made by the American Crayon Company of -Sandusky, Ohio, fulfill these requirements for the craftsman, and will -aid in successful schoolroom results, avoiding loss of time and waste of -material.</p> - -<p class="sect">COLORS MAY BE GLAZED, MAT OR DULL FINISH according to how and when it is -placed on the cement tile. Each finish requires different treatment and -the easiest is the Dull Finish.</p> - -<p class="sect">THE DULL COLOR FINISH is produced when the color is dropped or placed -into the mold and concrete or cement is used as a backing. This results -in the color drying in the mold with a dull finish next to the plaster -mold surface and is exposed when the cement casting is released from the -plaster mold.</p> - -<p class="sect">THE GLAZED COLOR FINISH is more difficult to produce successfully and is -secured only in that color that is placed onto tile or pottery surfaces -after the cement surface has partially hardened. A tile design or -pattern may be cast in a mold and after it has come out of the mold it -is dried for an hour and then placed in water. If the surface to receive -color has been roughened or lines scraped into it when first released -from the mold and the cement slightly soft, the color will adhere even -more surely. We know that metal craftsmen<span class="pagenum"><a name="page_60" id="page_60"></a>{60}</span> often roughen the surface of -metal where enamels are to be placed and fired in, to insure more -perfect attachment, and a similar treatment to the cement will do -likewise for the cement color. When the cement tile has been removed -from the water and surplus moisture shaken off a little plain neat -cement is placed on the surfaces to be colored and to this the color in -thin paste form is dripped from a brush. No back stroke is possible -without injuring the finish. Finish each section and then leave it -alone.</p> - -<p class="sect">A SAFE WORKING METHOD is to place the tile in shallow water to avoid any -part becoming dry while the color is being applied. A pan or shallow -dish will serve the purpose.</p> - -<p class="sect">THE MAT FINISH is produced the same as for the Glazed Finish excepting -that the tile is placed in water immediately after it is removed from -the mold and placed there for a few minutes only. The surface is treated -otherwise similarly to the glazed process and this results in the color -being dull in finish.</p> - -<p class="sect">HARDENING IN WATER should be done with all tiles and the dull and glazed -finished tiles should be set in a pan of water without letting the water -reach the decorated surfaces.</p> - -<p class="sect">A COLORED SKETCH should be made in every instance where color is to be -applied to cement.</p> - -<p class="sect">MATERIALS FOR MIXING COLORS are as follows: Two sizes of small -sable-hair brushes, a palette knife (or putty knife), several small -dishes, a spoon, a fine-mesh sieve, and a piece of glass.</p> - -<p class="sect">TO MIX THE COLORS proceed as follows: Place a little of the desired -color on the glass, to this add dry cement reducing the color intensity -to the desired strength. Portland cement being gray will do this -harmoniously. To this add a few drops of water until the color is of the -desired consistency.</p> - -<p>The color should always be tested on a tile surface and dried in the sun -to determine final color, adding color or cement to the wet<span class="pagenum"><a name="page_61" id="page_61"></a>{61}</span> mixture to -correct the color. Where a tint of color is wanted a white cement should -be added instead of Portland cement.</p> - -<p>To produce a plain surface color on tiles, the desired quantity of color -is mixed and strained, to eliminate all coarse particles. The mixture -may be sifted while dry or strained after the cement has been added.</p> - -<p class="sect">THE USE OF WHITE CEMENT should be limited because white cement is not as -durable as gray cement and because its setting qualities disappear as it -becomes older more rapidly than gray cement. If perfectly fresh it can -be used with good results and produces a more brilliant color when mixed -with the colors than when gray cement is used.</p> - -<p class="sect">TO APPLY THE COLOR either in the mold or to the surface of the object -after it is removed from the mold, the color should be applied with a -brush.</p> - -<p class="sect">AS A TEST COLOR PROBLEM use an incised pattern plaster mold and the -colors may be planned for the incised tile as follows: Working from a -color sketch, mix up colors to match and after the plaster mold has been -water soaked it should be oiled by dabbing the brush up and down on the -surface. If the brush is stroked it will not leave enough oil on the -surface and the color will stick to the tile. Next drip the cement color -from a brush with a shaking motion. The various colors are thus placed -in each of the partitions of the mold and after drying for fifteen -minutes is backed with a layer of plain cement and sand and allowed to -set.</p> - -<p>When the tile is released it will contain different colors between the -incisions and a thin wash of an additional color may be added to fill -the incisions.</p> - -<p class="sect">COLORS CAN BE MIXED one with another while dry or when wet to produce -other shades. Violet will be produced by the mixture of mineral orange -and ultramarine blue.<span class="pagenum"><a name="page_62" id="page_62"></a>{62}</span></p> - -<p class="sect">PLAIN SURFACED TILES MAY BE COLORED by pouring in a thin layer of color -combined with neat cement and then backed up with a concrete mixture. -Mottled and variegated color surfaces may be secured by first spattering -or dropping drops of another color into the mold before the color -mixture is poured in. Or the plain cement or concrete tile can be -removed and covered with a color layer which will be dull or glazed in -finish.</p> - -<p class="sect">A PLAIN TILE TO BE APPLIED WITH COLOR should be placed in water -immediately on being removed from the mold, and allowed to remain there -for a quarter of an hour, before applying the color. When taking the -tile out of the water do not let the fingers come in contact with the -surface to be colored. Let the tile stand a few minutes to drain, before -applying the color. Then a thin layer of neat cement mixed with water is -applied. Next place a spoonful of the color upon the surface of the -tile, slightly shaking the tile while level, then pour off the surplus -color as it overflows the edges. If bubbles occur the surface should be -recoated for the bubbles will break in the drying, producing a defect. -To prevent bubbles, the color should be stirred with the spoon slowly so -as to avoid the arresting of air which produces the bubbles. The point -of a pin will often help to dissolute the bubbles if used immediately -after the surface is coated. When satisfactorily coated, place the tile -carefully in a tray and add water until it reaches a little more than -half way up the side of the tile. Be careful that water is not splashed -or dropped on the newly coated tile, for this will ruin the surface and -necessitate doing the tile again. The tile should remain in this water -for four or five days, water being added when it has become absorbed or -evaporated.</p> - -<p class="sect">TO COLOR AN INCISED DESIGN the plaster cast from the original becomes -the mold for the color cement tile. The plaster, having become -thoroughly dry, is shellaced with one or two thin layers of shellac and -after drying for one or two days is ready for use with color cement.<span class="pagenum"><a name="page_63" id="page_63"></a>{63}</span></p> - -<p>It is then oiled well but not so that surplus oil remains on the -surface. A dry brush will be good to use for removing surplus oil. The -color having been mixed to harmonize with the previously prepared color -sketch, one of the color mixtures is taken up with a brush and dripped -with a shaking motion onto the correct area, which in an incised design -is divided into spaces. If a drop of color falls where it is not wanted, -take a clean brush and pick the color out of the space, after which a -little oil should be brushed carefully into the space to renew that -which was removed with the misplaced color. If any color falls onto the -back of color already placed do not worry over it as it will not appear -on the finished surface.</p> - -<p class="sect">ANY COLOR NEXT TO A FILLED SPACE may overlap the previously filled space -as only that color touching the plaster surface will be visible when the -tile is removed from the mold and is finished.</p> - -<p class="sect">AFTER COVERING THE ENTIRE SURFACE WITH COLOR let it remain for half an -hour before backing it up with the concrete mixture, as otherwise the -weight of the concrete may force gravel particles through the thin color -deposits and mar the face of the color design.</p> - -<p class="sect">TO COMPLETE THE TILE remove after two days, and place in water after the -edges and slight faults have been corrected. It should harden in water -for several days and then dry in a cool place after which it can be -waxed or finished in other ways.</p> - -<p class="sect">ANY OF THE PREVIOUS PROBLEMS described in the methods for producing -tiles in plain cement can be carried over into this chapter and color -added to the texture finishes in cement and concrete and many -interesting finishes developed.</p> - -<p class="sect">OLD COLOR AND CEMENT or dried cement color should not be used. Mix up -only enough color for immediate use as any color not used fresh after -mixed with cement cannot be used again and should be discarded.<span class="pagenum"><a name="page_64" id="page_64"></a>{64}</span></p> - -<p><a name="USE_OF_COLOR_IN_CEMENT_TILES" id="USE_OF_COLOR_IN_CEMENT_TILES"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_064_lg.jpg"> -<img src="images/ill_pg_064_sml.jpg" alt="Image unavailable: Use of Color in Cement Tiles" /></a> -<br /> -<span class="caption">Use of Color in Cement Tiles</span> -</div> - -<p><span class="pagenum"><a name="page_65" id="page_65"></a>{65}</span></p> - -<p><a name="Color_Tile_Methods" id="Color_Tile_Methods"></a></p> - -<div class="figcenter" -style="width:500px;"> -<a href="images/ill_pg_065_lg.jpg"> -<img src="images/ill_pg_065_sml.jpg" alt="Image unavailable: Color Tile Methods - -1. Relief Tile. -2. Persian Relief. -3. Relief Line with Mold Color. -4. Relief Line, Majolica Color. -5. Intaglio Tile. -6. Sgraffito Tile. - -" /></a> -<br /> -<span class="caption">Color Tile Methods - -<br /> -1. Relief Tile. -2. Persian Relief. -3. Relief Line with Mold Color. -4. Relief Line, Majolica Color. -5. Intaglio Tile. -6. Sgraffito Tile. - -</span> -</div> - -<p><span class="pagenum"><a name="page_66" id="page_66"></a>{66}</span></p> - -<p><span class="pagenum"><a name="page_67" id="page_67"></a>{67}</span></p> - -<h2><a name="CHAPTER_6" id="CHAPTER_6"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 6<br /> -Color Cement Relief<br /> -Tiles -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_067.png" - class="spcdwn" -width="75" -height="79" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_68" id="page_68"></a>{68}</span></p> - -<p class="sect">TO BEGIN A RELIEF TILE, a model should first be planned on clay or -modeling wax. A pencil pattern is first made on paper and this paper is -placed over the layer of clay or wax and a pencil tracing will produce -an indented pattern of the subject on the clay or wax underneath.</p> - -<p class="sect">TO MODEL THE SURFACE a wooden modeling tool, such as is used by -sculptors, or a leather modeling tool or even small whittled pieces of -wood can be used. In producing raised portions the clay or wax scraped -to produce low parts can be used and care should be taken not to produce -too great a relief as a tile design should not appear detached.</p> - -<p class="sect">AVOID UNDERCUT SURFACES or overhanging edges on the finished model as -this will result in locking of the cement cast with the plaster mold and -breaking of the tile before it can be removed. A general checking over -of the different parts before the plaster cast is made will avoid many -of the overhanging parts going through as they can be easily located and -corrected.</p> - -<p class="sect">TO CAST THE PLASTER MOLD the clay or modeling wax is surrounded with the -retaining bars and as the clay or wax needs no oiling the plaster can be -mixed and poured into this mold. A slight jarring of the table or -surface on which the mold is placed will cause the plaster to settle, -producing a level surface and also cause any bubbles to break or come to -the surface.</p> - -<p class="sect">TO AVOID BUBBLE DEFECTS IN CASTING either with plaster or cement the -plaster or cement mixture should be poured into the center location of -the mold allowing it to spread gradually toward the sides and corners -carrying the air in the grooves and low spaces, forcing it toward the -edges. Once the surface is covered in this way the remainder of the -mixture can be poured in more rapidly.<span class="pagenum"><a name="page_69" id="page_69"></a>{69}</span></p> - -<p class="sect">TO CORRECT BUBBLE DEFECTS that appear on the finished plaster or cement -casting, scrape some of the plaster or cement from the back or sides -where it does not matter and repair the flaws by pressing it into the -holes. Where cement is repaired this way it should be permitted to dry -for another day before it is placed into water to harden.</p> - -<p class="sect">TO MAKE THE CEMENT RELIEF TILE in color the plaster cast made from the -clay or wax model should be oiled after it has been shellaced and -surrounded with the retaining bars. The color should be then mixed with -the cement and water added to make it of a pouring consistency, it is -then poured into the mold. After this color has set for awhile the back -layer is added of concrete after the color of the first pouring has been -carried up so as to produce color on the sides as well as on the face.</p> - -<p class="sect">WHERE A NUMBER OF COLORS ARE USED the colors are mixed and dripped upon -the oiled surface of the plaster mold before it is enclosed with the -retaining bars, as the retaining bars would prevent free access to the -surface with the brush. After the various colors have been placed, the -plaster cast is then placed within the bars and the color being -permitted to set, it is then backed with a layer of concrete.</p> - -<p class="sect">THE CONCRETE BACKING MAY BE COLORED either with color throughout or with -a topping of color to give it a finish. If corners are to be rounded or -the edges trimmed in any way this color layer should be thick enough to -permit trimming without exposing the under layer.</p> - -<p class="sect">TO AVOID THE COLOR FALLING OUT in color relief work, the following -should be observed. When preparing to pour in the backing, observe -whether any of the color cement placed on the tile has become too dry. -If so, it should be sprayed with a light coating of water or brushed -with a brush full of water, and its upper exposed<span class="pagenum"><a name="page_70" id="page_70"></a>{70}</span> surface slightly -roughened so that the backing will adhere firmly. If it becomes dry and -smooth the second layer of cement poured onto it will come in close -contact but not adhere, and later a change in temperature or jar of the -tile may shake a portion of the design loose so that a color fragment -will fall out.</p> - -<p class="sect">TO AVOID COLOR PREMATURELY DRYING, the plaster cast should be placed in -water for fifteen minutes at least before the color is placed into it. -To permit free absorption of water the plaster tile should never be -shellaced on the bottom but only on the sides and the top.</p> - -<p class="sect">ANOTHER WAY TO MODEL A RELIEF DESIGN is to carve it on plaster direct -without making the relief on clay or modeling wax. This method has the -advantage of being proof against overhanging edges, though some care -must be taken against undercut surfaces.</p> - -<p class="sect">TO MAKE THE PLASTER CARVED MODEL trace the design onto a smooth slab of -plaster of the right size that has been cast on a smooth surface. If a -larger piece of plaster than the desired size is used it can be cut -down.</p> - -<p class="sect">TO CUT PLASTER SECTIONS an old saw can be used or several strokes of a -knife on the surface until about one-quarter of the thickness has been -cut, and a similar cutting on the reverse side, just opposite to the -cutting on the first side will enable the plaster to be broken easily. -Or by laying it on a straight edge with the line of cutting over the -edge, a quick pressure with the hand will snap the two pieces apart.</p> - -<p class="sect">AFTER THE DESIGN IS TRACED a chiseled nail point, nut pick or other hard -edged point is used for scraping the surface of the plaster, modeling it -or carving it to the desired shapes. Naturally it will be found that -plaster can only be taken off and not added on and<span class="pagenum"><a name="page_71" id="page_71"></a>{71}</span> that all reliefs -must be produced from the surface downward, that is the natural surface -will be the maximum height and all variations in the surface produced -below that.</p> - -<p class="sect">BACKGROUND TREATMENTS are produced where a design appears in low relief -against a background. The background may be stippled with the tool point -or lines scraped or crossed lines used to create interesting background -qualities.</p> - -<p class="sect">TO BUILD UP PLASTER SURFACES, roughen the surface onto which more -plaster is to be placed and mix fresh plaster and place it on with a -small spoon or with the brush. After this is dry it can be carved or -scraped with the tools used in the modeling of plaster.</p> - -<p class="sect">TO FINISH THE PLASTER CARVING, it is dried, shellaced, and used for -casting just the same as the other relief forms described. To preserve -casts from receiving injuries to their surfaces they should be wrapped -in paper with a card against their face and placed with face toward the -wall in a cupboard or shelf, when not in use. Where a mold has been -repeatedly used and the shellac become worn, the mold should be -carefully dried and the shellac coating renewed.</p> - -<p class="sect">A CONVENIENT CLAY TO USE for relief work is the powdered fire clay -secured in most hardware stores and is the clay used for lining grates, -furnaces and similar purposes. This clay is convenient in that only the -amount needed may be mixed up for use, leaving the balance of the -powdered fire clay always in good condition.</p> - -<p class="sect">RELIEF TILES DESIGNED FOR FLOOR SURFACES or for wall surfaces are best -where they do not contain deep relief as they will not catch dust or -dirt and will be better unified with the remaining surfaces.</p> - -<p class="sect">SPECIAL TREATMENT FOR RELIEF FLOOR TILES is required in that the cement -should be compact and clean sand should be used mixed with just enough -water to cause the two to adhere to<span class="pagenum"><a name="page_72" id="page_72"></a>{72}</span> each other and this should be -tamped into the mold well up against the face of the plaster tile to -pack the mixture firmly and cause it to form into a durable surface.</p> - -<p class="sect">TO HARDEN CEMENT TILES or pottery they should be placed in water so that -the water will complete the chemical action producing the stone-like -quality of successful cement work. If the tile is removed and dried and -again placed in water it will increase the hardness.</p> - -<p class="sect">AFTER THE TILE IS HARDENED it is dried thoroughly and brushed well with -a brush. It may be waxed or first given a thin coat of shellac and then -waxed. Shellac should never be applied until the cement tile is -thoroughly dry, as otherwise the shellac will remain sticky.<span class="pagenum"><a name="page_73" id="page_73"></a>{73}</span></p> - -<p><a name="PLASTER_AND_CLAY_MODELED_CEMENT_TILES" id="PLASTER_AND_CLAY_MODELED_CEMENT_TILES"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_073_lg.jpg"> -<img src="images/ill_pg_073_sml.jpg" alt="Image unavailable: Plaster and Clay Modeled Cement Tiles" /></a> -<br /> -<span class="caption">Plaster and Clay Modeled Cement Tiles</span> -</div> - -<p><span class="pagenum"><a name="page_74" id="page_74"></a>{74}</span></p> - -<p><a name="COLOR_CEMENT_TILES_AND_POTTERY_BY_ART_SCHOOL_STUDENTS" id="COLOR_CEMENT_TILES_AND_POTTERY_BY_ART_SCHOOL_STUDENTS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_074_lg.jpg"> -<img src="images/ill_pg_074_sml.jpg" alt="Image unavailable: Color Cement Tiles and Pottery by Art School Students" /></a> -<br /> -<span class="caption">Color Cement Tiles and Pottery by Art School Students</span> -</div> - -<p><span class="pagenum"><a name="page_75" id="page_75"></a>{75}</span></p> - -<h2><a name="CHAPTER_7" id="CHAPTER_7"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 7<br /> -The Majolica Tile - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_075.png" - class="spcdwn" -width="75" -height="79" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_76" id="page_76"></a>{76}</span></p> - -<p class="sect">MAJOLICA POTTERY derived its name from the island of Majorca, Italy, -where during the sixteenth century glazed pottery reached its highest -perfection.</p> - -<p>Glazed color may be placed in hollows in the surface of pottery or on -the surface. A better method is to produce a raised line or rim to -retain the glaze, and this is the method we will use in the cement or -concrete pottery.</p> - -<p class="sect">THE CEMENT MAJOLICA TILE is made as follows: First design a subject that -will have each motif, part or section defined with lines. These lines -must be part of the design and used much as lines are used in stained -glass work. The design should be simply planned. A confusing -overcrossing tangle of lines is to be avoided. A few geometrical forms -rightly related will be most pleasing. Keep the design at least one-half -inch within the edge of the space. Then oil a piece of glass as -directed, place over a card that has the tile dimensions squared off on -it as a guide for placing the casting bars on the glass. Clay or wax -should always be used to hold the casting bars in place. Into this now -pour plaster-of-Paris, pouring into the center, letting it flow to the -outer edge. Level off evenly and remove after fifteen minutes. On -releasing this plaster tile a smooth surface will be found on the side -which came next to the glass.</p> - -<p class="sect">THE DESIGN is then transferred to the plaster tile by tracing with a -carbon paper. The paper should be thumbtacked onto the sides of the -plaster tile to prevent it from slipping while tracing. The design -should also be traced on backwards so that the completed majolica tile -will be in the same position as the design. The design is then incised -with the incising tool, care being taken that at whatever depth the line -is made the incision has sides sloping upward. If these grooves have -overhanging edges the cement to be poured in will flow under these edges -and lock the tile, causing these lines to break before the cement tile -can be released.<span class="pagenum"><a name="page_77" id="page_77"></a>{77}</span></p> - -<p class="sect">WHEN INCISING, see that the bottom of the groove is sufficiently wide, -as this bottom is to be the surface of the line on the completed -surface. A line one-sixteenth or one-eighteenth of an inch is not too -wide. The plaster should not be too soft or too hard to secure the best -incision and avoid crumbly lines. When the incising is completed oil the -surface and surround the tile with four retaining bars. The bars should -be soaked in water and be of double width as they extend above the -plaster cast. This extension above the tile represents the thickness of -the tile to be made. Clay or wax is pressed on the outer edges of the -bars and plain neat cement or a mixture of the desired color is made and -poured onto the mold. Pour in the center steadily, for cement poured on -the “installment plan” will show a mark wherever each installment -occurred.</p> - -<p>When the cement in the mold has dried for twenty-four hours remove by -slightly prying, after the retaining bars have been removed. If parts of -the lines are not on the surface it is because air was arrested in -pouring the cement or the oil settling in the grooves. If lines are -broken and remain in the mold it is because the grooves have overhanging -edges and locked the cement line. To repair these lines, soak the tile -for a few minutes and mix a small portion of cement to match that used -and build the missing section by dripping the cement from a brush.</p> - -<p class="sect">AFTER DRYING for an hour put the whole tile in water for a day or -overnight and it is then ready to add the color. Meanwhile the plaster -mold with the defective grooves should have the grooves cleared by -scraping the overhanging edge with an incising tool.</p> - -<p>The tile as it has been produced by the mold appears with a number of -relief lines dividing the whole surface into a number of partitions or -cells. It is into these that we are to place the color and it should be -worked as follows:</p> - -<p>While the surface of the tile is moist, drip in the color with a brush, -spreading it to fill the required space. Thin pieces of metal<span class="pagenum"><a name="page_78" id="page_78"></a>{78}</span> (or -material that will not absorb the moisture) may be used to spread the -color, producing a smooth, even surface. The color after once commencing -to set should not be touched, and for this reason should be rather -liquid so as to permit handling without too rapid drying.</p> - -<p class="sect">THE COLOR SURFACE appears better when the lines of the design remain -uncovered with color. If the color is thickest in the center of the -spaces and then bevels down as it comes in contact with the lines, the -whole tile or surface will appear more professional.</p> - -<p>If color becomes blurred or disturbed, it is better to wash the whole -out under the faucet and begin anew, or remove the section at fault and -work over. No amount of patching or rubbing will perfect the surface -after it is partly dry or completed.</p> - -<p>After the coloring is finished put in a tray, carefully pour water into -the tray without dropping any onto the tile and let harden for five -days. The water should reach a little more than half-way up the side. -After removing it from the water let stand until dry, polish with a soft -flannel slightly waxed to remove white sediment on surface.</p> - -<p class="sect">ANOTHER METHOD WITHOUT THE LINES is to use the color directly onto -cement or concrete surface without any retaining lines. The colors may -be placed so that they intermingle or so that they just touch, or the -color spots may be separated one from another similar to stencil work. -The color for this method is mixed thoroughly with cement and water -until the mixture is a fine thick liquid or “slip.”</p> - -<p class="sect">SLIP PAINTING is a method of painting a design in one or several colors -over a cement or concrete surface. The color may be slightly in relief -or if done at the proper time it can be made to become a flat stain of -color sinking into the first surface.</p> - -<p class="sect">THE TWO WAYS OF SLIP PAINTING must be handled a little differently and -the best way to become familiar with these<span class="pagenum"><a name="page_79" id="page_79"></a>{79}</span> methods is to do the work. -Therefore let us work out the first method of producing a design slip -painted in slight relief as follows:</p> - -<p class="sect">FIRST: Make a design for a six-inch square, the design to denote the -colors to be used. Second: on a glass place retaining bars which have -been soaked in water and oiled, leaving space six inches square into -which a half layer of neat cement is poured and then a layer of one-half -sand and one-half cement. Third: after standing for twelve hours, -release this cement tile and it will be a plain, smooth surface. This is -placed in water for an hour and the design traced upon its surface.</p> - -<p>Chalk of any visible color should be rubbed on the back of the drawing -to act as a tracing medium. Carbon paper or graphite should not be used -as any greasy substance will prevent the slip painting from adhering to -the cement tile surface.</p> - -<p class="sect">THE COLORS FOR THE SLIP PAINTING should be mixed so as to match the -colors of the color sketch. When matching the colors, dry a small dab of -each color on a glass to see the dried color effect.</p> - -<p class="sect">TO MIX THE COLORS PROPERLY, select the color you wish, emptying a little -upon a glass or marble slab. Take a little clean water and mix with a -palette or putty knife and grind the color until it becomes a thin -liquid paste. Having ground this color thoroughly, scrape it up and -place on one side of the glass, then proceed with the next color until -you have mixed the complete palette of colors to match those on the -sketch.</p> - -<p class="sect">VARYING COLORS CAN BE SECURED by mixing the mineral colors and where -hues different than those in the set are wanted they should be mixed the -same as in water colors. There is one exception to this rule and that is -in using the orange. The orange in the mineral colors when mixed with -blue will produce a violet.<span class="pagenum"><a name="page_80" id="page_80"></a>{80}</span></p> - -<p>To gray the colors add gray cement, and to lighten the colors add some -of the white cement.</p> - -<p class="sect">TO PLACE THE COLOR ON THE TILE, take it up with the brush and drip onto -the cement surface, being guided by the tracing previously made. The -color should be thin enough to flow from the brush easily and not so -thick that it drips in lumps. More water should be added if too thick -and more color is added if too thin. In both instances, whether water or -color is added it must be ground in thoroughly. If the color settles on -the glass it should be stirred again to keep the mixture uniform.</p> - -<p class="sect">THE RELIEF OF THE COLORS can be regulated by how much color is flowed -from the brush, and surfaces can be built up by repeating the strokes of -color. Avoid repeating a stroke after the color has commenced to set, as -a second stroke in such an instance will destroy the surface lustre. -Where colors run over the boundaries they may be scraped back or taken -off with a moist, clean brush.</p> - -<p>The direct clean stroke will produce the best final results, and if -preceding each stroke a little thought is given, mistakes will be -avoided.</p> - -<p>The tile surface should not be permitted to dry while working upon it -and if kept in a shallow tray of water there will be less risk of it -doing so. Water should never be permitted to fall upon or touch the -surface of the slip painting or tile as the color will be destroyed. The -tile is placed carefully into shallow water to continue hardening and in -four or five days will be hard enough to remove. After drying out of -water several days it is ready to use or it may be given a gasoline wash -or wax rub if needed.</p> - -<p>Tiles will harden as they age. Those that appear to be partly chalky -when completed will harden in a month’s time, when the moisture from the -center of the tile has completely evaporated.<span class="pagenum"><a name="page_81" id="page_81"></a>{81}</span></p> - -<p class="sect">THE SECOND METHOD OF SLIP PAINTING is used where three different planes -or heights of color are wanted. For instance we will suppose that the -subject is to be a decorative design of trees and distance landscape in -three colors. This would be worked out as follows: First, cast a plain -cement tile and after removing it and while damp pour a spoonful of -color on the surface coating it with plain color as desired. This color -should be the background color of the sketch. Second, while this coating -is soft, take the lightest color (for clouds, water, boats, flowers, -etc.) and with a full brush place the color onto this soft coating. It -will blend and sink into the background color and remain equally flat. -Third, after these colors have commenced to set, with a full brush paint -in the foreground part of the design (trees, etc.), working in large -masses and building up the color by repeated strokes until the right -relief is secured. Avoid shading the parts and keep all parts flat in -tone, even though they may be in relief. It will be found that the later -color is added to the first coating the less it will sink into the -background. Any design can be worked out accordingly either in relief or -flat. A little experimenting will solve many questions, and reveal -greater possibilities. To complete the tile it is placed in shallow -water until it hardens, then let dry for several days after which it may -be given a toning wash, or gasoline wash, and a wax rub.</p> - -<p class="sect">A THIRD METHOD is to take a flat surface and slip-paint a design onto it -in relief. After the color has set for a short time it can be trimmed -carefully with a knife so that the sides are nearly vertical. This will -give the slip-painting a decidedly different appearance and it may be -left this way or other color may be added so that it comes nearly up to -these trimmed sides.</p> - -<p class="sect">AVOID LEAVING ANY PART OF THE SURFACE DRYING or setting when painting on -the surface; or the tile hardening in the water too long before being -painted upon, as it will prevent<span class="pagenum"><a name="page_82" id="page_82"></a>{82}</span> it from becoming durable. Surfaces can -be covered smoothly when slip-painted if the color is used very thin. -First cover the surface with a coating of the color to be used, -immediately adding more of the color and it will flow and settle evenly.</p> - -<p>A slip-painted color will dry dull if placed upon a tile shortly after -it has come out of the mold. To secure a glaze to a color the tile -should remain in the water for two days before the color is placed onto -it.</p> - -<p class="sect">FOR LARGE SURFACES on which color is to be slip-painted, the surface on -which the color is to go should be roughened, so that the color will -become anchored.</p> - -<p class="sect">THREE DEGREES OF SURFACE can be secured by different treatment. These -finishes are, first, Dull Surface; second, Mat Surface; third, Glazed -Surface.</p> - -<p class="sect">DULL FINISH is secured by putting the color into the mold. The mold -absorbing the water from the surface causes it to dry dull.</p> - -<p class="sect">MAT FINISH is secured by placing the color onto the tile or vase surface -after the surface has come out of the mold and moistened in water for a -few minutes.</p> - -<p class="sect">GLAZED SURFACE is secured by letting the tile or other object harden in -water for several days and then draining off the surplus water, after -which the color is slip-painted onto the desired surfaces.</p> - -<p class="sect">TILE SHOULD NOT BE PERMITTED TO DRY at any time before color is added, -as the color will not become attached to the surface.</p> - -<p class="sect">DO NOT FORGET to roughen the surfaces of the spaces and to add neat -cement also before dripping the color onto either the mat finish or -glaze finish tiles as described in chapter five in the paragraph on The -Glazed Color Finish.<span class="pagenum"><a name="page_83" id="page_83"></a>{83}</span></p> - -<p><a name="THE_MAJOLICA_TILE" id="THE_MAJOLICA_TILE"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_083_lg.jpg"> -<img src="images/ill_pg_083_sml.jpg" alt="Image unavailable: The Majolica Tile" /></a> -<br /> -<span class="caption">The Majolica Tile</span> -</div> - -<p><span class="pagenum"><a name="page_84" id="page_84"></a>{84}</span></p> - -<p><a name="SLIP-PAINTED_TILES" id="SLIP-PAINTED_TILES"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_084_lg.jpg"> -<img src="images/ill_pg_084_sml.jpg" alt="Image unavailable: Slip-Painted Tiles" /></a> -<br /> -<span class="caption">Slip-Painted Tiles</span> -</div> - -<p><span class="pagenum"><a name="page_85" id="page_85"></a>{85}</span></p> - -<p><a name="SLIP-PAINTED_TILE_METHODS" id="SLIP-PAINTED_TILE_METHODS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_085_lg.jpg"> -<img src="images/ill_pg_085_sml.jpg" alt="Image unavailable: Slip-Painted Tile Methods" /></a> -<br /> -<span class="caption">Slip-Painted Tile Methods</span> -</div> - -<p><span class="pagenum"><a name="page_86" id="page_86"></a>{86}</span></p> - -<p><span class="pagenum"><a name="page_87" id="page_87"></a>{87}</span></p> - -<h2><a name="CHAPTER_8" id="CHAPTER_8"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 8<br /> -Sgraffito<br /> -Color Cement Work - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_087.png" - class="spcdwn" -width="75" -height="73" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_88" id="page_88"></a>{88}</span></p> - -<p class="sect">SGRAFFITO is the name applied to the incised ware of the Italians, and -used by them from a very early period dating as far back as the twelfth -and thirteenth centuries. The ware was made by covering the clay body -with a layer of slip of another color, and this was then scratched -through with a tool showing the color of the ware beneath against the -superimposed surface, after which it was fired. This process has been -used from the most primitive times, but it remained for the Italians of -the fifteenth century to dignify it as an art.</p> - -<p class="sect">COLOR CEMENT SGRAFFITO is produced with a layer of cement and color -being used instead of colored clay and the cement is hardened without -firing, water only being used to finish the surface to a durable -quality.</p> - -<p class="sect">THERE ARE TWO WAYS to produce a sgraffito surface on a tile and these -are, the glazed surface and the dull surface tile. No mold is needed for -the design as a sgraffito design must necessarily be a freehand -production, though molds may be used for duplicating the sgraffito -effect after the original one has been made, if no undercut edges are -left.</p> - -<p class="sect">TO PRODUCE A SGRAFFITO TILE, the retaining bars are set to give the -desired shape and dimensions, after which the space is filled with a -half inch layer of concrete, either of sand and cement mixture or of -gravel and cement. When this layer has dried so that the top section is -moist but firm in surface, a thin layer of color and cement should be -poured onto the cement so that it forms a thin layer not more than an -eighth of an inch thick.</p> - -<p class="sect">TO SMOOTH THE LAYERS after the color has been poured in, shake the glass -or table or whatever surface the mold is resting upon and if this is -done gently it will cause the color to become level and even in surface -finish.</p> - -<p class="sect">TO CAUSE TILES TO BE EQUAL IN THICKNESS the surface of the glass or -table upon which the mold rests should be level<span class="pagenum"><a name="page_89" id="page_89"></a>{89}</span> when the cement is -poured in. Otherwise the tile when finished will be found to be thicker -on one side than on the other. A glass or pan of water or a spirit level -will quickly show whether or not the surface is level.</p> - -<p class="sect">AFTER THE FIRST COLOR LAYER IS POURED into the mold it is permitted to -stand just long enough to settle firmly and then a second layer of -another color is poured over the first layer so that it also forms a -thin layer of even color. This second layer should be even thinner than -the first. A layer one-sixteenth of an inch is a good dimension to plan -on, though these dimensions need not be accurately adhered to. If the -first layer is permitted to dry too long before the second layer is -added the result will be that as the finished sgraffito tile is drying -it will split in layers, the split coming between the layers of colors -that were permitted to dry too long.</p> - -<p class="sect">A THIRD LAYER OF COLOR may be added over the second layer if the design -being planned calls for three divisions of colors. These layers are to -respond to the next step in the process, which is to expose portions of -each layer by tooling the surfaces so as to produce different colors at -the same time that the different depths are produced.</p> - -<p class="sect">THE TOP LAYER WILL DRY WITH A SMOOTH SURFACE which will produce a -sgraffito tile with a glazed or partly polished surface while the other -layers will have a surface with dull texture.</p> - -<p class="sect">TO PRODUCE A TILE WITH A DULL SURFACE throughout, the pouring stages -should be reversed in their steps. That is, the color that is to be the -top surface should be poured first and the other colors in their proper -relation, the last layer being the cement and sand or other concrete -mixture. This will result in the layer first poured in coming next to -the glass, having a dull finish when it is released from the mold.<span class="pagenum"><a name="page_90" id="page_90"></a>{90}</span></p> - -<p class="sect">TO PRODUCE THE SGRAFFITO DESIGN on the sgraffito tile, the tile should -be permitted to dry for about ten to twelve hours or if it remains -overnight the surface will be about right to work upon. The paper with -the design is then placed and retained in the correct position on the -cement tile and a dull pencil is used to trace the pattern, without the -use of carbon paper or other transfer medium. This will result in an -indented or embossed guide line on the cement surface of the tile which -can be used in scratching away through the first layer to the under -color.</p> - -<p class="sect">THE TOP LAYER OF COLOR should be used to tell the main part of the -design story. If the subject is to be that of a bird or a ship, the top -layer design should be the bird or ship or other motif and the motif -should be so designed as to reach the boundaries of the tile surface so -as to produce a strengthening border arrangement all around the edge.</p> - -<p class="sect">THE SECOND COLOR LAYER can then play a secondary part in both the color -scheme and the design arrangement, giving with its color placing a -contrast to the upper main layer used for the design.</p> - -<p class="sect">THE BACKGROUND COLOR should be brilliant or dull depending upon the -surface color. If the surface color is brilliant, the bottom color -should be duller. If the upper color is dull, the background color can -then be the bright intenser color.</p> - -<p class="sect">WHERE THREE LAYERS OF COLOR ARE USED the middle layer can be a color -harmonizing with both the background layer and the top layer and can be -used either for a pattern part to the design or it may be used simply as -a blending strata or layer appearing in the cut sides of the sgraffito -work.</p> - -<p class="sect">COLOR HARMONY is essential in producing sgraffito color cement and a -color sketch will be a good safe preliminary in doing<span class="pagenum"><a name="page_91" id="page_91"></a>{91}</span> sgraffito work as -false steps or errors cannot be remedied in sgraffito and each step -should be carefully thought out before the tooling commences.</p> - -<p class="sect">TO DO THE TOOLING, a scratch point should be used for incising or -scraping down along the line of the portion to be scraped out. The -portion within this boundary should then be scraped out down to the next -layer of color, care being taken not to gouge or cut deeply into the -under color. If the design is one of three layers, the center layer can -be included in the scraping out if the bottom color or layer is to -appear in that portion of the design. Do not attempt in the scraping to -take out large portions at a time as it will result in the breaking out -of sections that are wanted as part of the remaining design. It will be -found that the layers of color as scratched into retain their separate -layers and that the thin layer of the upper color separates easily from -the layer on which it rests. If a slight portion of the upper color is -inclined to remain attached to the background color or under layer let -it remain as it will give an interesting color quality and harmonize the -two colors.</p> - -<p class="sect">THE SIDES OF THE SGRAFFITO LAYERS should gradually slope outward, and -after the layers have been tooled clear the sides of the layers should -be gone over and evened up in slant as well as in general finish. If the -corners are to be sharp or rounded in finish, see that the treatment is -carried out similarly in all parts so that a general unity of finish -will remain.</p> - -<p class="sect">THE LAST STEP IN FINISH is to place the sgraffito tile in water so that -it is entirely immersed, and it is left in the water for several days -after which it is dried by being placed flat in a cool but not draughty -place to dry.</p> - -<p class="sect">TO PRODUCE SGRAFFITO SURFACE on bowls or other round surfaces the layers -are produced by rotating the bowl in colors<span class="pagenum"><a name="page_92" id="page_92"></a>{92}</span> or spraying the colors on -with a sprayer such as is described in the chapter on coloring of bowls -and vases. The color can also be placed on with a brush if it is mixed -to the right consistency and the successive layers put on at the right -intervals.</p> - -<p class="sect">SGRAFFITO FOR ARCHITECTURAL WORK holds great possibilities, and is being -gradually recognized by those builders who desire the charm of hand -wrought enrichment that graces so many of the Old World buildings. -Sgraffito decorative pillars and panels for buildings, homes and courts -is an assured possibility by the use of color cement and can be produced -with less cost than by the fired clay method as well as in larger, more -unified sections in that there are no kiln limitations to be considered -in doing the color cement. A plate is shown illustrating the use of -sgraffito in the making of an entrance to a college building designed in -the Italian Renaissance style and the sgraffito and ornamentation being -of Italian source, both combined in perfect harmony with the building as -a whole.</p> - -<p class="sect">SGRAFFITO CAN BE APPLIED TO MANY FORMS such as book ends, fern boxes, -garden bowls, the requirement for success being mainly the placing of -the successive layers of color on each other when neither too dry or too -wet, and the scraping away of those parts desired when the cement is in -the proper condition.<span class="pagenum"><a name="page_93" id="page_93"></a>{93}</span></p> - -<p><a name="SGRAFFITO_TILE_AND_SGRAFFITO_IN_ARCHITECTURE" id="SGRAFFITO_TILE_AND_SGRAFFITO_IN_ARCHITECTURE"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_093_lg.jpg"> -<img src="images/ill_pg_093_sml.jpg" alt="Image unavailable: Sgraffito Tile and Sgraffito in Architecture" /></a> -<br /> -<span class="caption">Sgraffito Tile and Sgraffito in Architecture</span> -</div> - -<p><span class="pagenum"><a name="page_94" id="page_94"></a>{94}</span></p> - -<p><span class="pagenum"><a name="page_95" id="page_95"></a>{95}</span></p> - -<h2><a name="CHAPTER_9" id="CHAPTER_9"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 9<br /> -Modeled and Carved<br /> -Color Cement -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_095.png" - class="spcdwn" -width="75" -height="81" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_96" id="page_96"></a>{96}</span></p> - -<p class="sect">FROM A STANDPOINT OF GOOD DESIGN modeling, when applied to a flat -surface or any other surface, should not be high in relief.</p> - -<p>Any time that a modeled design appears to have been added onto or is in -such relation to the surface that it appears to be an independent, -detachable ornament to that surface, then it is not truly decorating the -surface, but detracting from the object decorated.</p> - -<p>At all times keep the principles of unity and subordination in mind when -producing modeling so that the design will be a related development to -the material and the surface used.</p> - -<p class="sect">CEMENT TILES WITH A MODELED SURFACE are produced as follows: Take a -flat, smooth piece of clay or modeling wax, cut to the size of the tile -to be produced. Such a surface may be made by rolling clay or wax with a -rolling pin or other rounded surface. Having drawn the design to be -modeled on a piece of thin paper, place this over the clay and trace -lightly. This will produce a slight indication on the surface sufficient -to guide the modeling. If there are sections that are to be low, these -parts are outlined with an incision in the surface and scraped out to -the desired level.</p> - -<p>Do this over the entire surface, bearing in mind that the edges of the -tile should generally have a border or other parts retained of the -original surface. Too much elimination on the tile edge will thin the -tile and weaken its construction and design.</p> - -<p>Having scraped out all the low parts, then clay or wax may be added to -such parts that are to be higher than the first surface. With the -modeling tool shape the parts, finishing them so that there are no -overhanging edges.</p> - -<p>When this is completed surround with the plaster bars and produce a mold -in plaster which in turn is oiled in the usual way and a cement tile -cast from it. Neat cement should be poured first, and after a few -minutes setting, a concrete mixture is poured in until the<span class="pagenum"><a name="page_97" id="page_97"></a>{97}</span> desired -thickness is secured. In this way a cement tile is secured, duplicating -in form the original clay or plaster hand-made modeled tile. The color -of the surface can be any color according to the color added to the neat -cement mixture.</p> - -<p class="sect">DIFFERENT COLORS on different parts of the surface can be produced as -follows: Mix cement colors with equal parts of cement. Grind these -colors with the putty knife or pestle and place each color in a small -saucer or pan. Oil the surface of the mold with a brush, dabbing it on -in short strokes. The colors are next dripped from a brush onto their -right location. This layer of color should be about a quarter of an inch -thick and left to stand until firm on the surface. It is then covered -with a layer of concrete and smoothed off to a level.</p> - -<p class="sect">TEA TILES OR LARGE TILES for inserts into garden furniture or for -architectural use can be strengthened by a reinforcement. A -reinforcement may be made from the ordinary window screening or any wire -fence mesh or so-called hardware cloths used in building construction.</p> - -<p>This wire should be cut a little smaller than the tile and sunk into the -concrete layer while soft. It should be pressed down with the fingers -until the concrete closes over it. This will add a considerable strength -to the tile.</p> - -<p>After the tile has set for several days, it is removed by inserting the -knife between the edges and carefully prying it apart, or steaming apart -by placing over a low flame for a few seconds. If part of the color -remains sticking to the plaster mold it is because there was not enough -oil on that particular spot. Therefore remember that a mold surface -should be well oiled before placing the color into it, and care being -taken that there is not so much oil that it settles in the hollows and -grooves.</p> - -<p>The tile after drying thoroughly may be polished with wax and used.<span class="pagenum"><a name="page_98" id="page_98"></a>{98}</span></p> - -<p class="sect">FOR MODELING LARGER OBJECTS such as flower pots, urns or similar forms, -it is best to form some means of reinforcement to approximate fairly -closely the final form of the object. Close meshed wire can be used -successfully for this purpose. It should be tied and braced firmly so -that the concrete or cement weight will not destroy its shape. The -concrete mixture should be made with one part cement and two parts clean -sand.</p> - -<p class="sect">TO HASTEN THE SETTING OF CEMENT add a very small quantity of common -washing soda to the water used in mixing the cement. This will cause the -cement to set up rapidly so that the work can be done more quickly.</p> - -<p class="sect">AFTER THE MIXTURE HAS BEEN APPLIED over the wire reinforcement and -shaped and modeled until completed, it should be put in some covered -place or in a moist location for the first two or three days so that the -moisture in it will not evaporate.</p> - -<p class="sect">TO HARDEN THE CEMENT OBJECT immerse it well in the water for four or -five days. If it stays longer in the water it will not hurt the object. -The water will harden or complete the action of hydration necessary to -make cement durable.</p> - -<p class="sect">TO SECURE BISYMMETRIC SHAPES to forms or to secure true circular shapes, -a templet of sheet metal can be cut and rotated from a centrally located -axis. This is used while the mortar or concrete is in plastic condition -so that the templet will cut or model the right contour.</p> - -<p class="sect">CARVED CEMENT is made possible by scraping or carving out the cement -when it is in the right condition. This condition can be determined by -scraping the cement to see whether it is hard enough to carve. If it is -too hard, it cannot be carved successfully. About sixteen to twenty -hours setting will produce about the right condition but this will vary -according to the mixture and climatic conditions, as temperature will be -an important thing to consider in all color cement<span class="pagenum"><a name="page_99" id="page_99"></a>{99}</span> work. Very hot -weather is not a good time to do color cement, the winter days or gray -cool days are best to work with cement for perfect hardening results. -Avoid freezing weather.</p> - -<p class="sect">TO CARVE CEMENT, the tools may be of metal or nails shaped with cutting -points and the work done similarly to the carving of the sgraffito tile -described in the previous chapter. No adding or building of parts is -possible, the whole subject being a process of taking out parts and -shaping the parts that are left. Backgrounds and portions can be varied -in texture and different results will be secured with a little -experimenting.</p> - -<p class="sect">DIFFERENT TEXTURES are possible in the carved tile. A glazed surface to -the carved tile is secured by carving on the upper side of the tile; -while the dull under surface, the side molded against the glass or under -surface, will be used if a dull surface for the carved tile is desired.</p> - -<p class="sect">A GLAZED OR MAT FINISH BACKGROUND in the carved tile can be secured by -immersing the tile in water for a day or two for glazed finish or an -hour for a mat finish and then applying neat cement, plain or with color -as described in the chapter on Color Work for Tiles.</p> - -<p class="sect">CARVING ON BOWLS AND VASES and other forms can be done, care being taken -that the carving does not go so deep as to weaken the surfaces. Motifs -or spaces can be carved out of cement bowls and vases and bits of -stained glass or mosaics, or color cement can be put into the spaces and -neat color cement used to bind the additions into the spaces.</p> - -<p class="sect">SLIP-PAINTED PORTIONS MAY BE ADDED to the carved tile. After the tile is -carved and properly moistened in preparation for the cement to be added, -the color cement is mixed to a thin slip and a background pattern or -decorations can be added to the surfaces of the carved tile. The tile is -then placed in shallow water without permitting<span class="pagenum"><a name="page_100" id="page_100"></a>{100}</span> the water to reach the -surface of the tile, and permitted to remain for four to six days before -removing. It should then be placed in a cool location until completely -dried.</p> - -<p class="sect">THE UNIT TILE or the small tiles made to be assembled in patterns, may -have modeled or carved cement surfaces combined with the units to -complete the pattern. For instance a number of tiles representing leaf -forms may be combined with others representing flower motifs. These may -be imbedded into a panel of cement or concrete, the units grouped in -some form of design growth, the stems and other related portions being -modeled in the cement, or carved in the surface after the cement is -somewhat hardened. The units can be in color or mat finish, the -background remaining in dull finish.</p> - -<p class="sect">MODELED CEMENT TILES differ from the cement tile with a modeled surface. -In the first the modeling is done on wax or clay and the cement tile is -made by duplicating the effect by the use of plaster molds. The modeled -cement tile is a modeling of the cement by hand while it is still in a -plastic stage.</p> - -<p class="sect">TO PREPARE CEMENT FOR MODELING, pour a concrete mixture into the mold so -as to allow for a second added layer of about one quarter inch of neat -cement. This last layer of neat cement is the part which is to be -modeled and can be made into a color by the addition of color to it. -This color should be added in the dry form to the dry cement, mulled or -ground well into the cement and then mixed with water until it becomes a -thick cement paste that will pour slowly onto the concrete mixture first -placed in the mold, until it covers the entire surface. A gentle jarring -of the mold will settle the color evenly and it should then be permitted -to stand until of a good modeling consistency.</p> - -<p class="sect">A GOOD MODELING CONSISTENCY for cement is determined by testing it with -a tool or small pointed stick making a small incision or trying a small -section to see if the mixture holds its form.<span class="pagenum"><a name="page_101" id="page_101"></a>{101}</span> If the cement as laid up -on edge stays in position and does not have the tendency to fall or -settle, it is then ready to model, as it will hold its form when built -in relief.</p> - -<p class="sect">PROMPT ACTION IS NECESSARY when the mixture is at this point and the -tool should be promptly used scraping or sketching the subject by -incised lines in the surface. Then parts of the cement are scraped from -the low portions and placed on the parts to be in higher relief until -the general rough forms are massed in. The smaller parts are then -detailed in and the different parts finished just as one would in -working with clay or modeling wax. If it is found that parts do not hold -up, it is because under sections of the cement have not dried -sufficiently and it will be necessary to wait until it hardens a little -more.</p> - -<p class="sect">THE FINISHED RESULT may be complete with the strokes of the tool or the -modeling instrument showing over the entire surface.</p> - -<p>If the technique is shown in this way, care should be taken that the -strokes are pleasing in direction and not carelessly left. As the tile -hardens it will be found that the surfaces or edges can be shaped, and -even when the surface is almost hard, it can be slightly indented or -carved to produce different textures and varying qualities.</p> - -<p class="sect">GOOD MODELING TOOLS are those that are made from pear wood for sculptors -use. Metal modeling tools also can be used. Good home-made modeling -tools can be made from manicure sticks, pencils, dowel sticks or -ordinary small hardwood pieces shaped with a knife. These pieces should -be smoothed down very evenly with fine sandpaper and then rubbed with -beeswax or paraffin to avoid any rough surfaces. Rough surfaces will -cause the cement to stick to the tool. Experience will be a good guide -to the worker in color cement for determining the best shape to make the -modeling tool, as individual needs and ways of working will determine -the best form for each person.<span class="pagenum"><a name="page_102" id="page_102"></a>{102}</span></p> - -<p><a name="MODELED_AND_CARVED_CEMENT_TILE_METHODS" id="MODELED_AND_CARVED_CEMENT_TILE_METHODS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_102_lg.jpg"> -<img src="images/ill_pg_102_sml.jpg" alt="Image unavailable: Modeled and Carved Cement Tile Methods" /></a> -<br /> -<span class="caption">Modeled and Carved Cement Tile Methods</span> -</div> - -<p><span class="pagenum"><a name="page_103" id="page_103"></a>{103}</span></p> - -<h2><a name="CHAPTER_10" id="CHAPTER_10"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 10<br /> -Color Cement<br /> -for Bowls and Vases - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_103.png" - class="spcdwn" -width="75" -height="74" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_104" id="page_104"></a>{104}</span></p> - -<p class="sect">THE COLOR FOR BOWLS AND VASES is mixed the same as for the tiles and it -will be found that the use of the muller to grind the color is necessary -to secure a good mixture. The color should be of the right consistency -for rotating inside of the molds, which can be best determined by a -trial. It will fall off the sides if too thin and if it is too heavy it -will fail to roll evenly.</p> - -<p class="sect">TO PREPARE A VASE OR BOWL MOLD for color, the parts to come in contact -with the color should be oiled after they have been immersed in water. -The parts are then assembled and tied together. Corresponding marks or -figures can be placed on the molds so that there can be no mistake in -combining the correct sections. Such marks will avoid confusion, -particularly where the mold may be composed of a number of sections. -Molds for vases are not shellaced.</p> - -<p class="sect">THE FIRST ROTATION is then made by taking a quantity of the color cement -or slip, mixed only with neat cement of thick quality, and pouring it -into the mouth of the mold into the bottom. A spoon may be used to place -the color if the mouth of the mold is large enough. The color is then -rotated by turning the mold gradually until the color covers all the -inside of the walls and the surplus is poured out into a pan. If the -color at first refuses to attach to the inside, a few slow revolutions -of the mold will generally overcome the trouble as the oil is causing -the separation and is overcome by a few turnings of the color.</p> - -<p class="sect">THE SECOND ROTATION is accomplished in the same way that the first -rotation was but not until the first layer has fairly set. The surplus -from the first mixture may be used. It is placed or poured carefully in -and the rotating done and the surplus again poured out, excepting that -it is poured out from the opposite side so as to equalize the thickness -of the neck section of the vase or bowl.</p> - -<p class="sect">A THIRD ROTATION may be necessary if the bowl is a large surface or if -the slip used has been very thin. After each rotation<span class="pagenum"><a name="page_105" id="page_105"></a>{105}</span> the mold with its -layer of inside color should be covered over with a damp cloth to -prevent too rapid drying of the color. The second and third mixtures -should be thinner than the first.</p> - -<p class="sect">THE WALL MIXTURE is then rotated over the color stratas and is made of -one part of cement and two parts sand. This mixture is necessary to give -the bowl or vase strength and to make it waterproof. If neat cement -alone is used the vase will check and crack in time, particularly if -water is ever poured into it.</p> - -<p class="sect">FOR SMALL VASES only one rotation of color is necessary and the second -and third may be of cement and sand with a fourth finishing layer in -color. This finish layer may be of any color desired within the range of -color cements or of neat gray cement only.</p> - -<p class="sect">THE FINISH ROTATION is the layer that will appear as the inside lining. -This is made of color and neat cement and is rotated so as to cover the -cement and sand mixture. This mixture may be placed in the mold after -the vase or bowl has been removed from the mold, and this permits the -possibility of carrying the inside color over the edge of the mouth and -partly down the side as a decoration.</p> - -<p class="sect">AFTER THE ROTATED COLORS HAVE DRIED, which generally takes from two to -five days, the mold is carefully opened and the vase removed. Flaws or -bubbles on the surface, if any, are corrected by scraping with a -moistened knife parts of the neck that are not to remain and others -filled in. The false neck or that portion that extends above the actual -vase is now carefully trimmed away, leaving only the actual bowl or -vase.</p> - -<p class="sect">CARVING AND SCRAPING of the surface can be done while the surface is -slightly soft which is soon after the bowl or vase has been removed from -the mold. Glazed color may be placed into the spaces carved or scraped -from the surface if the surface is moistened well with water, then -adding neat cement over which the color is dripped following the -instructions as given for the tiles.<span class="pagenum"><a name="page_106" id="page_106"></a>{106}</span></p> - -<p class="sect">TO HARDEN THE OBJECT molded it is immersed in a bucket of water and left -for several days. If the surface has had color added to it after it has -come from the mold, it cannot be immersed in water as the color would be -floated off. It should have water poured on the inside and left to dry -in a cool place.</p> - -<p class="sect">TONING WASHES can be made of thin color and brushed onto the surface -after the bowl has been well dampened. This will permeate the fine pores -of the cement as well as gather into the crevices particularly of a -carved or relief surface and if a contrasting color is used, it gives -pleasing effects.</p> - -<p class="sect">GLAZING BOWLS AND VASES is much more difficult than coloring tiles. The -curved surface requires careful application. Prepare a quantity of -desired color to be applied. Then spread it out in a pan or dish (a -platter will do very well), revolve the bowl on the fingers so that the -surface comes in contact with the color. The color will adhere and the -bowl should be kept slowly revolving until the color sets. The bowl can -then be filled with water and left to dry. If the bowl is kept in one -position before the color is set, the moisture will cause it to run and -mar the surface. After the first color has set an additional color can -be dripped on at the top or other colors added into or onto this -surface. Different effects will be possible, depending upon how soon the -color is added to the first coating.</p> - -<p>Dry color can be sprinkled onto the wet color and permitted to become -absorbed, giving an interesting effect. The color may be applied with a -brush or palette knife, and other ways of producing variations on the -surface may be produced by experimenting.</p> - -<p class="sect">A VASE FORM WITH MAJOLICA SURFACE will need to have the surface turned -as it is worked upon. This can be done by revolving with the hand inside -of it, or if too small turned on a right angle support, padded so that -it will not injure the neck of the vase. The vase may have one end -supported on something to keep the<span class="pagenum"><a name="page_107" id="page_107"></a>{107}</span> worked part from coming in contact -with the surface. After a part has been filled in, it should be left to -set for a minute before turning the surface, otherwise the color will -drop out.</p> - -<p>After the color is all in position, stand the vase upright and with a -funnel fill with water and let it harden for several days. The water -will supply the color surface with moisture preventing it from drying -too rapidly.</p> - -<p>Any cement surface (tile or vase) before it is very hard can have motifs -scraped into it so that the design is a series of shallow openings in -the surface. The color cement can then be dripped into these openings -similar to majolica work and completed in the same way.</p> - -<p>A vase with a plain surface can be made exceedingly attractive by adding -a few simple motifs well chosen and placed on the surface in this way.</p> - -<p class="sect">FOR SLIP PAINTING tile or pottery surface, various colors to be used -should be mixed and ground on glass or marble with palette or putty -knife until thoroughly smooth. The colors should be placed in order on a -glass or enamel palette. Other hues may be produced by the mixture of -these colors or lightened by adding a white cement. A small brush is -used to apply the color. The surface to which they are being applied -should always be damp and the complete surface to be colored should be -done at one sitting. The tile or vase is then placed in water as -previously explained.</p> - -<p>It is best that the color be thin rather than thick, and avoid going -over a surface a second time. A second stroke will destroy the lustre -which will otherwise remain on the surface.</p> - -<p class="sect">A VASE OR BOWL FORM to be used for slip-painted color will have to set a -few minutes to prevent the color running when the bowl is turned for new -working surface. The bowl or vase is carefully filled with water and -left to set for several days, care being taken that no water drops onto -the slip painting. The object worked upon must be set in the shade to -dry, where nothing will come in contact with it.<span class="pagenum"><a name="page_108" id="page_108"></a>{108}</span></p> - -<p><a name="COLOR_CEMENT_VASES1" id="COLOR_CEMENT_VASES1"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_108_lg.jpg"> -<img src="images/ill_pg_108_sml.jpg" alt="Image unavailable: Color Cement Vases" /></a> -<br /> -<span class="caption">Color Cement Vases</span> -</div> - -<p><span class="pagenum"><a name="page_109" id="page_109"></a>{109}</span></p> - -<p><a name="COLOR_CEMENT_VASES2" id="COLOR_CEMENT_VASES2"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_109_lg.jpg"> -<img src="images/ill_pg_109_sml.jpg" alt="Image unavailable: Color Cement Vases" /></a> -<br /> -<span class="caption">Color Cement Vases</span> -</div> - -<p><span class="pagenum"><a name="page_110" id="page_110"></a>{110}</span></p> - -<p><span class="pagenum"><a name="page_111" id="page_111"></a>{111}</span></p> - -<h2><a name="CHAPTER_11" id="CHAPTER_11"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 11<br /> -Glass Mosaic Tiles - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_111.png" - class="spcdwn" -width="75" -height="74" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_112" id="page_112"></a>{112}</span></p> - -<p class="sect">FRAGMENTS OF STAINED GLASS can be secured from almost any stained glass -works without cost, as much of the odds and ends of glass are thrown -away. These fragments can be used in making Glass Mosaic Tiles, and used -correctly will produce charming and interesting results.</p> - -<p>Mother-of-pearl or abalone flakes can also be used as small bits here -and there in designs and will be found to give an additional rich -effect.</p> - -<p>Semi-precious stones or glass beads can be used in many ways such as -handles and tops or as rests for tea tiles, etc. The beads can be sunk -into the cement until the hole through the bead is concealed.</p> - -<p class="sect">TO MAKE A GLASS MOSAIC TILE there are four steps as follows:</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="margin:auto auto auto 4%;"><tr valign="top"><td align="left">1st.</td><td align="left">Making and tracing the design.</td></tr> -<tr valign="top"><td align="left">2nd.</td><td align="left">Cutting the glass.</td></tr> -<tr valign="top"><td align="left">3rd.</td><td align="left">Pouring the cement backing.</td></tr> -<tr valign="top"><td align="left">4th.</td><td align="left">Releasing the tiles and finishing.</td></tr> -</table> - -<p class="sect">FIRST STEP: MAKING AND TRACING THE DESIGN. To make a design for glass -mosaic, plan a very simple design for the first problem. A few squares -joined by simple bars, composed in a simple pleasing arrangement will be -hard enough. Objects such as flowers, birds, trees, etc., must be -planned in simple forms. Remember that each piece is to be cut from -glass and intricate outlines, etc., must be abbreviated. Decide what -direction of line will tell the most in the shortest length. It will be -found that designing for glass mosaics or for stained glass is one of -the best influences for recording large masses, for producing the -maximum amount of subject with the minimum means of line.</p> - -<p>After the design has been drawn out on paper it should be colored to -correspond with the stained glass fragments that have been secured. -Right here it may be well to state that the glass mosaic<span class="pagenum"><a name="page_113" id="page_113"></a>{113}</span> need not be -entirely covered with glass sections. Much of the background may be -cement and the colored portions (stained glass and mother-of-pearl) may -be only a certain portion or design running across the tile surface.</p> - -<p>After the design has been colored, make a firm tracing from it and place -the tracing upside down on the table and a glass over this large enough -to cover it fully. The stained glass sections are assembled upon this -glass as they are cut.</p> - -<p class="sect">SECOND STEP: CUTTING THE GLASS. A small glass cutter with a wheel can be -purchased at any hardware store and with a little practice glass can be -easily cut. Once the wheel is placed upon the glass it should be pressed -slightly so that it grips the surface. Then draw the cutter firmly -toward you without changing the angle of the handle and without turning -the handle to one side or another. A few taps with the tip of the handle -on the under side of the glass and a “bending and pulling apart” motion -of the glass with the fingers will cause it to come apart after the -cutting. Some glass cuts much easier than others and a good cut with the -cutter will cause it to come apart upon the slightest bending in the -fingers. Do not run the cutter wheel over a cut line in the glass a -second time, as it will injure the wheel. Practice cutting clear glass -as well as stained glass. The glass cutter should be placed with the -wheel in turpentine to preserve the cutting edge.</p> - -<p>To cut the glass in the right shape use either of the following methods: -Trace the design upon stiff paper and number each section of the design -to correspond with numbers on the original sketch. Cut these sections -apart and use them as patterns to lay on the glass. The glass cutter is -then run around the edge of the pattern in cutting the glass. The second -method is to trace the sections to be cut directly onto the glass. If -carbon paper is used, the line will be definite enough to follow.<span class="pagenum"><a name="page_114" id="page_114"></a>{114}</span></p> - -<p class="sect">SMALL SECTIONS OF GLASS can be better separated after the glass cutter -has been used if small pliers or dull nippers are used to grip the -glass. Hold the largest piece of glass firmly between the fingers and -with the nippers grip the glass close up to the line of division and -with a quick downward turn of the nippers it will divide the glass along -the line produced by the cutter.</p> - -<p>The sections of glass when all cut may be trimmed to truer forms by -using a corborundum stone or file.</p> - -<p class="sect">AFTER THE GLASS HAS BEEN CUT, place a tracing upside down on the table -and a glass over the tracing. The tracing on the underside of the paper -should be visible through the glass, and of course is reverse in -position. Take each piece of glass and touch the right side with glue -and place it onto the glass over its location defined by the tracing. -Assemble all the glass in this way, all the pieces being glued face -downward onto the glass. Mother-of-pearl, metals, etc., can be assembled -the same way, and the fact that they are thinner than the glass need -make no difference as their surfaces all resting upon the glass will -result in their being all the same level on the completed tile.</p> - -<p class="sect">THIRD STEP: POURING THE CEMENT. After the glass has been glued and left -remaining for several hours (to permit the glue to dry) the retaining -bars are placed on the glass, at the proper distance from the cut -sections and cement is then poured into and over the glass mosaics until -the required thickness of tile is secured. This mixture may be color -cement or the neat Portland cement, care being taken to pour it in -slowly from the center to avoid formation of bubbles.</p> - -<p class="sect">FOURTH STEP: FINISHING THE TILE. When the tile has set for several days -it may be removed and an incised line made around the edge of each glass -mosaic. Place the tile in water to<span class="pagenum"><a name="page_115" id="page_115"></a>{115}</span> harden for several days. Remove and -let dry, then give the entire surface a gasoline wash of gray or other -color. A slight polishing of the surface will finish the tile. It will -be found that the moisture has softened the glue so that the whole tile -releases from the glass surface. The cement should be rubbed off of any -of the glass parts if it has encroached until the entire edges of the -glass mosaics are visible. This should be done before the tile is placed -in the water to harden.<span class="pagenum"><a name="page_116" id="page_116"></a>{116}</span></p> - -<p><a name="MOSAIC_TILE_METHOD" id="MOSAIC_TILE_METHOD"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_116_lg.jpg"> -<img src="images/ill_pg_116_sml.jpg" alt="Image unavailable: Mosaic Tile Method" /></a> -<br /> -<span class="caption">Mosaic Tile Method</span> -</div> - -<p><span class="pagenum"><a name="page_117" id="page_117"></a>{117}</span></p> - -<p><a name="MOSAIC_TILES" id="MOSAIC_TILES"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_117_lg.jpg"> -<img src="images/ill_pg_117_sml.jpg" alt="Image unavailable: Mosaic Tiles" /></a> -<br /> -<span class="caption">Mosaic Tiles</span> -</div> - -<p><span class="pagenum"><a name="page_118" id="page_118"></a>{118}</span></p> - -<p><a name="MOSAIC_STONE_TILES" id="MOSAIC_STONE_TILES"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_118_lg.jpg"> -<img src="images/ill_pg_118_sml.jpg" alt="Image unavailable: Mosaic Stone Tiles" /></a> -<br /> -<span class="caption">Mosaic Stone Tiles</span> -</div> - -<p><span class="pagenum"><a name="page_119" id="page_119"></a>{119}</span></p> - -<h2><a name="CHAPTER_12" id="CHAPTER_12"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 12<br /> -Flower Boxes and<br /> -Other Straight Forms - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_119.png" - class="spcdwn" -width="75" -height="72" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_120" id="page_120"></a>{120}</span></p> - -<p class="sect">THERE ARE THREE WAYS TO PRODUCE FLOWER BOXES in color cement and the -methods equally apply to other straight-sided objects that are to be -hollow or act as containers.</p> - -<p class="sect">MOLDS MADE FOR STRAIGHT-SIDED OBJECTS have the advantage of permitting -the joints of the molds to come on the corners or junctures of the -straight sides; thereby making the entire elimination of any joints -remaining on the object (from where the molds come together) an easy -matter of removal.</p> - -<p class="sect">ONE OF THE WAYS TO PROCEED IN THE MAKING OF A FLOWER BOX is as follows: -Take any ordinary good proportioned small wooden box, or block of wood -of the right shape, and place a thin layer of modeling wax over the -surface until it is smooth and evenly coated. Model the design desired -on the four sides, avoiding, as has been before cautioned, having -undercut or overhanging portions.</p> - -<p class="sect">THE DESIGN MAY BE SECURED WITHOUT MODELING by taking the box and -covering the sides with cut cardboard designs, the cut sections -producing the motifs or the spaces between the cut and applied portions -being the motifs. In either case the cut sides of the portions applied -should slant so that the widest portion of any opening formed where two -applied pieces come together will be widest at the top. The reason for -this is to prevent locking of the plaster which will be poured over the -surfaces to produce the molds.</p> - -<p class="sect">IF THE CARDBOARD IS USED FOR THE DESIGN after the glue is dry, the -entire surfaces of the portions to come in contact with the plaster is -given two coats of shellac, the second coat to be given after the first -coat is dry. The shellac should be permitted to dry well.</p> - -<p class="sect">TO MAKE THE MOLDS the box with the design is turned upside-down and a -mold is made of the bottom first. This is done by<span class="pagenum"><a name="page_121" id="page_121"></a>{121}</span> surrounding the four -sides with wooden retaining walls so that the sides extend at least an -inch above the edges. Into the space formed by the four projecting -walls, plaster is poured and permitted to dry. This will result in a -slab of plaster to reproduce the bottom of the flower box in the final -cement casting. If legs or irregular portions are on the bottom, the -mold should include these portions.</p> - -<p>As soon as this bottom section is hard, the keys are bored into it and -one of the sides is next molded. When molding the sides, turn the model -so that the plaster is poured onto the sides and not so that it is -poured alongside the surface. This is done by turning each side to be -molded so that it is horizontal or flat.</p> - -<p class="sect">WHEN ALL THE MOLDS ARE MADE and dried they are ready for casting the -cement box. They should be placed in water until all parts have absorbed -moisture. Next they are oiled well and assembled. If more than one color -is to be used, the molds for those sides to have color should have the -color cement placed on the molds while the surfaces are flat. When this -color has set sufficiently to permit the sides to be placed upright, -without the color running, the sides should be assembled with the bottom -mold and the whole set tied together ready for the pouring of the -cement.</p> - -<p class="sect">THE FIRST MIXTURE OF CEMENT should be a thick mixture, just as thick as -will run easily when the mold is rotated. The first mixture of cement -should be of neat cement and may have color mixed with it. It is poured -into the mold or placed in with a spoon, and the mold is rotated slowly -until the mixture has covered all the inside surfaces. The surplus, if -any remains, is poured out from one of the corners.</p> - -<p class="sect">THE SECOND MIXTURE OF CEMENT should be poured in after the first layer -has set. This usually takes from an hour to half a day depending on -climatic conditions. The second mixture should be of sand and cement and -of a thinner mixture than the first. This<span class="pagenum"><a name="page_122" id="page_122"></a>{122}</span> is necessary as the first -layer will absorb moisture very rapidly from the second layer and -therefore it should be very thin.</p> - -<p class="sect">THE LAST LAYER OR MIXTURE should have color in it also and is added in -the same manner as the second mixture, after the previous layer has set. -This is the finishing layer and the color should be arranged to be in -harmony with the outside color. A harmonious color will be one that is a -lighter value of the outside color or it may be color that is -complementary to the outside color.</p> - -<p class="sect">THERE ARE TWO IMPORTANT THINGS TO REMEMBER in making pottery or boxes -where the molds are rotated. One is that the mold to be rotated should -not be shellaced. The reason for this is that the plaster molds must -absorb some water from the cement mixture to produce the thin lining or -inside coating. The second thing to remember is to pour the surplus -mixture in the second rotation from the side opposite that the first -surplus mixture was poured. As the lining is inclined to be thicker -where the pouring out occurs, using an opposite side for the second -pouring out will equalize the lining of color.</p> - -<p class="sect">THE SECOND METHOD TO PRODUCE A FLOWER BOX is by spreading the color in -the mold with a knife, pressing it up against the sides with a palette -knife or small trowel. This is possible because the opening is large -enough to permit seeing the sides. Where the opening is small such as -that in a vase or jar with tapering sides it cannot be done this way and -the method of rotation must be relied upon.</p> - -<p class="sect">WHEN SPREADING THE COLOR CEMENT or lining, the mold should be turned so -that as the mixture is placed and spread a flat surface is being worked -upon. This makes it easier to work and insures the cement adhering to -the mold. After the sides are fully covered, a thin mixture may be -poured into the bottom and this whole mixture (the bottom and walls) -permitted to harden.<span class="pagenum"><a name="page_123" id="page_123"></a>{123}</span></p> - -<p class="sect">IF DRAIN HOLES ARE NEEDED in the bottom of the flower box, two cylinders -of clay or modeling wax may be placed upright in the bottom of the mold. -These cylinders should be long enough to protrude above the bottom layer -of cement that is poured in, and after the cement layer has hardened, -they may be removed. This is preferable to endeavoring to drill the -holes out of the bottom after the box is removed from the mold which -might result in breaking the entire box.</p> - -<p class="sect">AFTER THE BOX IS ENTIRELY DRY it may be given a gasoline color wash or -rubbed with a thin color cement wash and after the color has become -partly dry, the surplus rubbed off with a cloth. A wax rub given with a -soft cloth and floor wax afterwards will smoothen up the entire surface -producing a velvety surface.</p> - -<p class="sect">THE THIRD WAY TO PRODUCE A BOX in color cement is by pouring, and the -method is as follows: When making the molds instead of making the parts -as usual, make a mold part for the top instead of the bottom, as the -pouring mold is made upside down.</p> - -<p>When the four sides and top portion of mold are ready, they are -assembled and the metal inside mold is placed inside of the plaster -mold.</p> - -<p class="sect">THE METAL INSIDE MOLD is a metal pattern which when folded together -represents the inside space of the box. Within this metal pattern or -box, strips of wood or plaster should be placed to keep the metal or tin -form in shape when the pouring of the cement commences. A good way to -secure a perfect fitting brace inside of the metal form is shown in the -working plate accompanying this chapter.</p> - -<p>When this metal box with enclosed bars is placed in the right position -within the plaster mold, the cement mixture is then poured into the -spaces between the outside mold and the metal box until the space is -filled. Then the cement pouring is continued until the top<span class="pagenum"><a name="page_124" id="page_124"></a>{124}</span> of the metal -box is covered adding enough more to form the bottom. It will be thus -seen that the metal box must be planned low enough so as to permit of a -bottom space.</p> - -<p class="sect">TO FINISH THE BOX, it is turned over after the cement has sufficiently -hardened and the plaster, or wooden bar, is removed. The sides of the -metal box are folded inward and the entire box removed. This will leave -the inside of the box free for the smoothing or scraping of faults or -filling in of bubble holes which can easily be accomplished before the -cement has entirely hardened. The outside portion of the plaster mold is -then removed and the flower box appears complete except for the surface -coloring or finishing as may be desired.</p> - -<p class="sect">OTHER SQUARE-SIDED OBJECTS may be similarly treated, in some instances -the shapes or proportions requiring different handling. For instance, a -very long narrow box could not be easily produced by rotating and should -be made by the spreading or pouring method. Large surfaces or very long -surfaces should be reinforced by the placing of wire cloth in the walls -when the cement is poured in.</p> - -<p class="sect">TAMPING OR PRESSING OF CEMENT is done by using cement and sand of a -consistency like wet sand. This is placed into the mold and pressed -firmly with a blunt stick, and a mallet can be used to tap these wooden -chisels so as to press the cement well into the apertures. This results -in a very firm surface and is particularly good for large boxes and -containers. Care should be taken that the molds are firmly fastened -together and the molds should be watched occasionally while the tamping -is taking place to see that they do not spread.</p> - -<p class="sect">TILES, STAINED GLASS AND MOSAICS may be included in the decoration of -flower boxes. They should be glued firmly into position on the molds or -boards forming the mold for the box. After a day or two drying the molds -are assembled and the cement is poured<span class="pagenum"><a name="page_125" id="page_125"></a>{125}</span> in the usual way. The moisture -in the cement will be found to soften the glue so that on removal of the -molds the tiles, glass or mosaics will remain with the cement.</p> - -<p class="sect">TO INCLUDE HANGING CHAINS, RINGS OR HOOKS in a cement box, the mold -should be arranged so as to accommodate the chain or metal through it. -The part or opening through which the metal passes is filled with clay -or wax to avoid the running out of the cement. The molds can be held up -from the table surface by a few blocks of wood or worked upon after -being placed on a trestle.</p> - -<p class="sect">COVERS TO BOXES can be made in the same manner as boxes. A single flat -lid may have fewer molded parts but should have enough to permit easy -release of the cement.<span class="pagenum"><a name="page_126" id="page_126"></a>{126}</span></p> - -<p><a name="THREE_CEMENT_BOX_METHODS" id="THREE_CEMENT_BOX_METHODS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_126_lg.jpg"> -<img src="images/ill_pg_126_sml.jpg" alt="Image unavailable: Three Cement Box Methods" /></a> -<br /> -<span class="caption">Three Cement Box Methods</span> -</div> - -<p><span class="pagenum"><a name="page_127" id="page_127"></a>{127}</span></p> - -<p><a name="THE_MAKING_OF_A_CEMENT_BOX" id="THE_MAKING_OF_A_CEMENT_BOX"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_127_lg.jpg"> -<img src="images/ill_pg_127_sml.jpg" alt="Image unavailable: The Making of a Cement Box" /></a> -<br /> -<span class="caption">The Making of a Cement Box</span> -</div> - -<p><span class="pagenum"><a name="page_128" id="page_128"></a>{128}</span></p> - -<p><span class="pagenum"><a name="page_129" id="page_129"></a>{129}</span></p> - -<h2><a name="CHAPTER_13" id="CHAPTER_13"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 13<br /> -Color Cement for the<br /> -Garden - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_129.png" - class="spcdwn" -width="75" -height="73" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_130" id="page_130"></a>{130}</span></p> - -<p class="sect">ARTISTIC GARDEN WORK can be enhanced by the use of color cement. While -ordinary cement and concrete construction has been much used, there are -still greater possibilities with the use of color cement. The use of -color in the open permits the use of bright colors, in key with the -flowers and foliage; and with color cement the formal or Italian garden -scheme or the informal or Japanese manner of garden arrangement is -delightfully possible. Pottery, garden furniture, fountains, walls, -chimneys, pools and walks are a few of the possibilities with color -cement.</p> - -<p class="sect">LARGE GARDEN POTTERY is produced by the same principles as vases and -bowls, but as the proportions are much larger, the methods of working -are different.</p> - -<p>Where a large jardinière is to be made, the form should first be built -up from clay and be formed upside down. Bricks or any other solid -material may be used for the main body of this form, and the clay built -over it as it will not then require so much clay. If a long nail or rod -or strong stick is placed in the center of this mass, it can serve the -purpose as an axis to a templet which will form the contour of the -jardinière when moved around in a circular direction. The metal must be -good and heavy and sometimes it is necessary to reinforce the templet -with wood.</p> - -<p>After the clay form is built, cases are made in several sections from -the plaster the same as for small forms; and cement and concrete used in -large quantities after the same method as for small forms.</p> - -<p>Large dish-pans, pails, etc., may be used for securing the inside form -for garden pottery. Oil the outside and bottom of the pail or pan used -and place it upside down on a table. If only a certain part of the -bottom is wanted, clay should be built up around it, so that only the -part wanted is exposed. With a strip of tin or linoleum for a moulding -case surround the inverted utensil and then pour the concrete around and -over it.<span class="pagenum"><a name="page_131" id="page_131"></a>{131}</span></p> - -<p class="sect">TO FORM THE GARDEN POTTERY more accurately on the outside, take it out -from the mold in two or three days and trim with a knife to the desired -form (in winter let the form stay in the mold four or five days). If -extensions or additions are wanted the vase, bowl or jardinière, should -be soaked in water for an hour or two and the form made from tin or -other material placed in position and the cement poured into the forms.</p> - -<p>To secure smaller parts independent from the larger parts such as fishes -or cup forms for fountains, etc., the smaller part should be made -separate from the large form but a pin or extension should be arranged -so that it will fit into a groove on the larger form. This can then be -built together by the addition of a little cement.</p> - -<p class="sect">GARDEN SEATS. The seat and ends can be made by using wooden forms which -can be released easily. Openings in the ends can be arranged by either -the use of wooden blocks or clay bars placed in the right location. -These blocks or bars should be taken out after the cement has dried -three or four days. A few nails in the blocks will make it easier to -lift them out.</p> - -<p>Tiles made as previously explained can be inserted into the ends by -scraping an opening to accommodate them while the cement is still soft. -A little cement poured into the back and around the edge will fasten the -two together.</p> - -<p class="sect">GARDEN FOUNTAINS. The bowl for fountains should be made independent of -the base or pedestal, but arranged so that the two groove together. This -can be planned by taking a clay impression or a plaster casting from the -surface. For instance, in making a bowl to rest on a pedestal, the -bottom of the bowl should have keys or projections planned. Now -supposing the bowl is finished, a pedestal should have depressions in it -to correspond with the projections on the bottom of the bowl. To secure -these the bowl itself or an equivalent surface in clay or plaster must -be made to combine<span class="pagenum"><a name="page_132" id="page_132"></a>{132}</span> with the other parts of the molding case when the -pedestal is made. These keys or grooves can be scraped out of the -pedestal top when soft if care is taken to secure the right location. By -resting the bowl upon the top a slight indentation will be made so that -the indentation can be increased to the proper depth to secure complete -“register” between the two parts.</p> - -<p>When making plaster mold cases for large pieces, burlap, coarse cloth, -etc., should be dipped rapidly into the plaster and used to build up the -molding case. This produces greater strength in the plaster case.</p> - -<p class="sect">A DESIGN UNIT used on large pottery or as a border to any large surface -can be planned and modeled in modeling wax. From this model a mold is -made in plaster. The clay can be pressed into this mold, lifted out and -placed upon the surface to receive it. A slight pressure and joining of -the edges will make it conform to the surface.</p> - -<p class="sect">TO REINFORCE LARGE PIECES, wire, iron rods, wire mesh, or any such -material will serve the purpose. Any narrow junction point or narrow -part connecting two large parts should be reinforced.</p> - -<p class="sect">PIPE CONNECTIONS FOR WATER, GAS, OR ELECTRIC WIRES must be planned for -often in garden furniture. A round wooden rod with a smooth surface and -oiled, having a larger diameter than the pipe to be used should be used -in the mold. This is then withdrawn to make room for the iron pipe. A -pipe can be used in place of the wooden rod, but of course it is then -held firmly in place, becoming part of the mass. All pipe should be -threaded for proper connections, and it is very advisable that you -confer with a plumber or electrician so that no mistakes will be made.</p> - -<p>Straight-sided forms can be made from tiles as follows: Take four tiles, -soaked in water, afterwards imbed them on edge upside down in a layer of -clay. They should be placed vertical and at right<span class="pagenum"><a name="page_133" id="page_133"></a>{133}</span> angles to each other. -It is also better that the corners do not meet. Within these four tiles -a clay cube is placed leaving a certain space all around for the wall. -The cube should also be lower than the height of the tile to allow for -the bottom as the box is made upside down. With clay or cardboard stop -the corners and then pour in cement to the top of the tiles. Let harden -for a few days; then remove clay, smooth up corners, and set in water to -harden. Fern dishes, plant holders, etc., can be made in this way with -as many sides as desired. The accompanying chart further explains this -problem.</p> - -<p class="sect">GARDEN WALKS can be made with large irregular cement slabs or stones -formed with concrete. This will produce all the beauty that comes from -natural flagstones and enables anyone to secure the effect even when -flagstones are not securable. Flat tile or irregular tile can be -produced as a finish surface to the concrete base underneath, the whole -being one solid mass, eliminating much of the breaking up and loosening -that comes when separate tiles are placed in a surface.</p> - -<p class="sect">COLOR CEMENT FLAGSTONES are made as follows: First prepare a solid earth -under-foundation. To do this the surface is pressed with an iron roller -or tamped with an iron tamper or heavy wooden block. If the surface has -been previously walked upon for some time, it will be good and solid. On -this surface indicate by scraping with a stick or trowel the shapes of -the flagstones desired, and scrape the earth out of these areas to a -depth of one to two inches. This surface is then sprayed with water -until it remains damp and is ready for placing the concrete mixture.</p> - -<p class="sect">THE CONCRETE PROPORTIONS should be one part cement to two parts or three -parts gravel. These parts are mixed well together dry and then water is -added while it is mixed again. The best way to add the water is to have -one person spray the water from a hose<span class="pagenum"><a name="page_134" id="page_134"></a>{134}</span> while a second person uses a hoe -to mix the wet portions and expose the dry sections.</p> - -<p class="sect">A MIXING TRAY can be made from wood and should hold water fairly well as -it is important that there be no leaks while the mixing is proceeding as -the leaking water may carry off much of the cement. After a box has been -used several times, the cracks and crevices will become filled and the -mixing tray will become more waterproof.</p> - -<p class="sect">WHEN THE CONCRETE IS THOROUGHLY MIXED a portion is then taken and placed -in one of the scraped areas and shaped with a trowel. The sides should -be left thick and preferably tapering slightly upward. This prevents -breaking edges later when in use such as occurs if the edges overhang.</p> - -<p class="sect">THE TOP LAYER should be of colored cement and may be a very thin layer, -but in order to be durable it should be composed of one-half part of -cement and one-half part of gravel or sand. This is mixed with color -sufficiently to tint it, but the color should not be too great in -quantity for it will weaken the strength of the mixture.</p> - -<p class="sect">THE COLORS FOR THE CEMENT FLAGSTONES is dry color and may be Venetian -red, yellow, ochre, Indian red, lamp black, burnt umber, or burnt -sienna. This mineral color should be mixed in well with the dry concrete -before water is added. Colors can be changed by mixing one color into -another. For instance, the red can be made less intense by the addition -of burnt umber or with the addition of a little lamp black. When adding -another color to a cement mixture to which water has been combined, do -not add the color dry but mix it with water first until it is a paste -before mixing it into the first mixture.</p> - -<p class="sect">TO FINISH THE FLAGSTONES the color mixture is spread over the first -portion placed in the scraped area and spread with the trowel until it -covers all the surface of the first pouring. When this<span class="pagenum"><a name="page_135" id="page_135"></a>{135}</span> strata has -partly set, it can be surfaced with trowel marks or a few twigs or weeds -can be held in the hand and whipped over the cement surface, producing a -roughened texture. The stone should then be covered so as to protect it -from being walked upon and after the second day it should be sprayed -with water to help its hardening process while drying. Do not permit the -sun to prematurely dry the stones as the slower a cement dries the more -durable it will be.</p> - -<p class="sect">BRIDGE WORK FOR THE GARDEN can be constructed with cement, and the use -of color combined with cement will enhance the project if used -reservedly and in good arrangement. Iron posts or supports can be used -as under parts of the bridge or a temporary support of wood can be used. -A wooden barrel has been used successfully to form the opening under a -cement garden bridge, the staves being knocked in to remove the barrel -after the bridge was completed.</p> - -<p>Stones and tree limbs can be combined with the cement bridge toward -creating informal effects. The Japanese garden is delightfully arranged -with many surprise effects of stone work and pools, all of which can be -duplicated with cement.</p> - -<p class="sect">NATURAL EFFECTS can be secured with the proper use of cement and the -possibilities are only limited by the time and interest of the worker. -It must be remembered that cement and concrete is a process of creating -stone and the stones can be formed in pleasing shapes and finishes and -colors according to the wish of the worker. There is great opportunity -for the worker with color cement to create garden ideas either for -pleasure or for remuneration and any enthusiastic worker can plan and -direct such work for neighboring needs or for those who are always -anxious for the different but pleasing garden creation.</p> - -<p class="sect">A TILE EFFECT for walks or courts in regular pattern can be made by -pouring a color layer over a concrete solid layer. Previous to the -pouring thin strips of wood are placed so as to divide the space<span class="pagenum"><a name="page_136" id="page_136"></a>{136}</span> into -the tile shapes. These strips are afterwards taken out and the tile -edges scraped round, and the spaces where the wood was placed is then -filled with gray cement. This produces at considerable less expense the -same result as the inlaid tile surface.</p> - -<p class="sect">THE DECORATED GARDEN TILE is where the color cement is poured onto the -square or rectangular concrete stones and while it is semi-moist other -color is dripped on or stroked into the surface with a brush, forming a -design motif. These motifs may appear at regular or irregular intervals -depending upon the pattern arrangement of the stones, and can be of -flowers, quaint birds or animals, preferably in abstract arrangements.</p> - -<p class="sect">CHIMNEY STONES or flat stones for surfacing fireplaces or stone walls -can be made by pouring out the concrete mixture to which color has been -added. These should be poured onto a fairly hard ground surface which -has been previously watered. The stones can be of varying shapes and -sizes and with varying tints of colors. Gray cement alone will give a -good color to which may be added those made of Venetian red, Indian red, -and lamp black or yellow ochre.</p> - -<p>When dry they should be immersed in water and then added to the brick -undersurface of the chimney or mantel by using a mortar made of a -mixture of lime and clean sand with water. To this add one-fourth to -one-sixth part Portland cement. The lime should be prepared previously -to combining with the sand by adding water to it, letting it remain for -a half day to two days in order that it will become slackened. Lime -gives adhesiveness to the plaster, and the brick surface to which the -stones are placed should be moistened with water before adding the -plaster layer into which the color cement stones are to be pressed.</p> - -<p>Many other fascinating uses of color cement will develop into successful -applications in the hands of the craftsman who is interested in -beautifying the garden.<span class="pagenum"><a name="page_137" id="page_137"></a>{137}</span></p> - -<p><a name="HELPS_IN_CEMENT_GARDEN_POTTERY" id="HELPS_IN_CEMENT_GARDEN_POTTERY"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_137_lg.jpg"> -<img src="images/ill_pg_137_sml.jpg" alt="Image unavailable: Helps in Cement Garden Pottery" /></a> -<br /> -<span class="caption">Helps in Cement Garden Pottery</span> -</div> - -<p><span class="pagenum"><a name="page_138" id="page_138"></a>{138}</span></p> - -<p><a name="Application_of_Cement_Tiles_to_Architectural_Use" id="Application_of_Cement_Tiles_to_Architectural_Use"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_138_lg.jpg"> -<img src="images/ill_pg_138_sml.jpg" alt="Image unavailable: Application of Cement Tiles to Architectural Use" /></a> -<br /> -<span class="caption">Application of Cement Tiles to Architectural Use</span> -</div> - -<p><span class="pagenum"><a name="page_139" id="page_139"></a>{139}</span></p> - -<p><a name="Color_Cement_Flagstones_Used_for_a_Bridge_Garden_Pathway_and_Entrance" id="Color_Cement_Flagstones_Used_for_a_Bridge_Garden_Pathway_and_Entrance"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_139_lg.jpg"> -<img src="images/ill_pg_139_sml.jpg" alt="Image unavailable: Color Cement Flagstones Used for a Bridge, Garden Pathway, and Entrance." /></a> -<br /> -<span class="caption">Color Cement Flagstones Used for a Bridge, Garden Pathway, and Entrance.</span> -</div> - -<p><span class="pagenum"><a name="page_140" id="page_140"></a>{140}</span></p> - -<p><a name="COLOR_CEMENT_USED_FOR_CHIMNEY_STONES_AND_FLAGSTONES" id="COLOR_CEMENT_USED_FOR_CHIMNEY_STONES_AND_FLAGSTONES"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_140_lg.jpg"> -<img src="images/ill_pg_140_sml.jpg" alt="Image unavailable: Color Cement Used for Chimney Stones and Flagstones" /></a> -<br /> -<span class="caption">Color Cement Used for Chimney Stones and Flagstones</span> -</div> - -<p><span class="pagenum"><a name="page_141" id="page_141"></a>{141}</span></p> - -<h2><a name="CHAPTER_14" id="CHAPTER_14"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 14<br /> -The Making<br /> -of Candlesticks and<br /> -Book Supports - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_141.png" - class="spcdwn" -width="75" -height="74" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_142" id="page_142"></a>{142}</span></p> - -<p class="sect">TO MAKE A CANDLESTICK WITH STRAIGHT SIDES the molds should be made in -sections, the divisions occurring where the corners come. This results -in the object coming from the mold with the mold lines where they can be -easily removed.</p> - -<p class="sect">THE MOLD FOR A CIRCULAR CANDLESTICK or round base can be made in three -divisions similar to the making of a mold for a round vase. The mold -lines occurring on the surface can be obliterated as soon as the object -is removed from the mold.</p> - -<p class="sect">A MOLD FOR A CANDLESTICK DIFFERS FROM A VASE MOLD in that it is made -upside down. As a candlestick is made solid instead of hollow like a -vase, the mold is filled from the bottom, the open part to hold the -candle being a projecting section into the space of the mold into which -the cement is poured.</p> - -<p class="sect">TO MAKE THE MOLD SECTIONS the small section to reproduce the hole for -the candlestick is first made. The original model, made either from clay -or modeling wax, is placed upright and a strip of oiled cardboard or -metal fastened around the top and plaster poured into the candlestick -hole and up above the top to the level of the cardboard or metal which -should extend at least an inch above the top of the candlestick.</p> - -<p class="sect">AFTER THE MOLD FOR THE TOP IS MADE each side should have a key space -bored into it and then the mold is placed back into the model, the -exposed portions of the plaster are oiled and the side section (round or -straight section) is next made, leaving the bottom open. The completed -parts of the mold are assembled and dried before using them for the -cement cast.</p> - -<p class="sect">TO POUR THE CANDLESTICK CAST, assemble the molds after they have been -immersed in water and oiled and after tying them firmly together turn -them upside down and pour the cement into the opening. If a color is to -be used, the color should be poured in and<span class="pagenum"><a name="page_143" id="page_143"></a>{143}</span> the mold rotated until the -color covers the inner surface. Surplus color should be mixed and kept -to use later in completing the bottom. After the lining has set, a -mixture of sand and coarse cement should be poured into it and permitted -to settle. Jarring or tapping the mold will help the cement to settle. -If it settles, more cement should be poured in. After it has settled, -the color surplus similar to the surface lining is poured on to finish -the bottom.</p> - -<p class="sect">WHEN THE MOLD IS OPENED the sides are opened first and the small mold -section forming the candlestick hole is carefully twisted out. If when -making this part of the mold, a T shape wire has been inserted it will -strengthen the mold.</p> - -<p class="sect">TO MAKE THE BOOK SUPPORT, a model should first be designed and modeled -in clay or modeling wax. This design must be considered from its -practicability and the structural design therefore must be carefully -planned. The base on the book support should be heavy enough to -overbalance the upright portion so as to prevent the book support from -falling over. The upright portion may be of any simple shape and -enriched in any of the methods previously described for the decorating -of tiles.</p> - -<p class="sect">A WOODEN BASE OR BACK FOR THE MODEL may be used on which to place the -modeling wax. A thin layer of the modeling wax may be placed over the -entire surface, and variations to the shape also can be made with the -modeling wax. A panel of plaster or a tile design can be incorporated -into the model instead of modeling. This method has been often used and -found to give good results.</p> - -<p class="sect">GESSO OR RELIEFO MODELED PANELS CAN BE USED for book support designs by -attaching them to the surface of the model. If the gesso or reliefo is -first shellaced it will be found to be an excellent material with which -to produce modeled designs for color cement handicraft.<span class="pagenum"><a name="page_144" id="page_144"></a>{144}</span></p> - -<p class="sect">AFTER THE MODEL IS COMPLETED the first part of the mold to be made -should be the portion with the design. The triangular shape of the -design and base portion should be placed in position and supported so -that a single pouring of plaster will produce a mold of the design and -the upper surface of the base. Different shaped bases or irregular -shaped bases will require individual consideration when planning the -molds. The main thing to consider is that the parts of the molds must be -made so that the cast will release easily from the molds.</p> - -<p class="sect">THE SIDES OF THE BOOK SUPPORT are next made, casting the sides while the -first piece cast is kept in close position over the model and drilling -keys in the sides to produce locking holds in the mold sections. The top -of the model is also cast, the bottom being the only portion not made, -as the book support like the candle is cast upside down.</p> - -<p class="sect">PRECEDING THE POURING OF CEMENT the mold sections are soaked in water, -taken out and oiled, assembled and put closely together, and tied firmly -in position. The colored cement slip is then poured in, the mold is -rotated and the concrete or cement filler is poured in and permitted to -settle. The bottom or last layer is then poured on in the same color as -that used for the lining.</p> - -<p class="sect">TO INSURE QUICK ASSEMBLY OF MOLD PARTS when working, the molds should be -marked with corresponding numbers so that the correct parts can be put -together rapidly.</p> - -<p class="sect">TO FINISH THE BOOK SUPPORT it is removed from the mold, trimmed as -needed, placed in water to harden for several days, taken out and -permitted to dry slowly and then brushed well and waxed. A thin coating -of shellac may precede the wax. Two sets of molds for book supports will -enable two book supports to be made at one time and in this way the -color of both can be made to match each other.<span class="pagenum"><a name="page_145" id="page_145"></a>{145}</span></p> - -<p><a name="BOOK_SUPPORT_AND_CANDLESTICK_MOLDS" id="BOOK_SUPPORT_AND_CANDLESTICK_MOLDS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_145_lg.jpg"> -<img src="images/ill_pg_145_sml.jpg" alt="Image unavailable: Book Support and Candlestick Molds" /></a> -<br /> -<span class="caption">Book Support and Candlestick Molds</span> -</div> - -<p><span class="pagenum"><a name="page_146" id="page_146"></a>{146}</span></p> - -<p><span class="pagenum"><a name="page_147" id="page_147"></a>{147}</span></p> - -<h2><a name="CHAPTER_15" id="CHAPTER_15"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 15<br /> -Color Cement for<br /> -Interior Decoration - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_147.png" - class="spcdwn" -width="75" -height="75" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_148" id="page_148"></a>{148}</span></p> - -<p class="sect">PRACTICAL USE FOR COLOR CEMENT inside the home is one of the greatest -possibilities with color cement as a handicraft. It enables the home -builder, the art student, or the busy housewife who has some idea of -decoration, to plan and execute durable tiles or panels for the floor, -walls or fireplaces, and to execute them with but little space and -equipment.</p> - -<p class="sect">TO MAKE TILES FOR THE FLOOR, the tiles should be made in flat surfaces -and without relief parts that will project so as to become worn from -being walked upon. For floor surfaces pressed tiles are better than -poured tiles. Manufacturers of common cement tiles for architectural -purposes produce them in presses with several tons pressure. The -craftsman can secure very good pressed effects by using backing cement -that has very little moisture in it and tapping it in well, using a -block of wood and a mallet. The retaining sides of the mold should be of -wood or of some durable material that will withstand the pressure, and -hold together firmly.</p> - -<p class="sect">POURED TILES FOR FLOOR USE made from a strong mixture of sand and cement -and with a small proportion of color will be found to be durable. One or -two coatings of shellac and a covering of floor wax will further -increase the durability of the wearing surface.</p> - -<p class="sect">PLAIN TILES FOR FLOOR USE can be used with decorated tile and various -interesting patterns can be made (a few of which are shown) by -interspersing the tile in different arrangements. A glazed tile can be -made and used as a variation in combination with mat finish or dull -finish tiles. Several small tiles may be used to fill a space and -produce patterns in contrast to larger tiles. It will be found that with -a little design arrangement many interesting floor arrangements can be -made with tiles.</p> - -<p class="sect">WHERE A LARGE NUMBER OF TILES ARE TO BE MADE several molds in -plaster-of-Paris should be made and a large quantity of color mixed at -once, and the first color placed in each tile<span class="pagenum"><a name="page_149" id="page_149"></a>{149}</span> consecutively and then -the next color, until all the colors have been placed in the six, eight, -ten or whatever number of molds is being made at the same operation. -After the color has set, the backing mixture of concrete is made and -poured into all the tiles.</p> - -<p class="sect">A TEMPLET PATTERN MOLD for floor tiles is made by cutting templets from -either cardboard or linoleum with slightly tapering sides and gluing -these into position to produce the design. The templets should duplicate -the portions of a design and the design should be the first step in the -problem to be solved.</p> - -<p class="sect">THE DESIGN FOR TEMPLET PATTERNS should be simple in form and division. -Geometric patterns and straight line forms are the best for use. Good -divisions of squares and rectangles and these divisions changed slightly -to floral or leaf shapes should be as far as any elaboration should go.</p> - -<p class="sect">AFTER THE TEMPLET PATTERN IS CUT it is assembled and glued into position -on another card or glass surface and given two coats of shellac. It is -then placed within the retaining bars and a cast is made in plaster. -This cast in plaster is afterwards shellaced and becomes the mold for -casting the cement tile.</p> - -<p class="sect">TO CAST THE CEMENT TILE the colors selected from parts of the design are -first mixed and placed into the mold. After the colors have been all -placed and permitted to harden, they are backed with a mixture of neat -cement and color which is next backed up with a concrete mixture and -then permitted to dry for three days. After being hardened in water for -several days after its removal from the mold, it is then ready to be -cemented in position for floor use.</p> - -<p class="sect">THE BACK FINISH OF WALL TILES should have countersunk spaces to permit a -good grip or hold of the mortar that will be used to hold the tile in -position. These grip holds can be made by cutting four small rectangular -sections of cardboard and pressing them<span class="pagenum"><a name="page_150" id="page_150"></a>{150}</span> closely together into the back -of the tile after the last layer of cement has been poured. After the -cement has dried thoroughly and the tile is ready to be removed from its -mold, these cards can be easily removed.</p> - -<p class="sect">TO USE WALL TILES they should always be immersed in water before the -mortar is applied. This prevents the moisture being absorbed out of the -mortar by a dry tile and assures better sticking of the tile to a -perpendicular surface.</p> - -<p class="sect">TO MAKE GOOD MORTAR, building lime is placed in a mixing box or bucket -and water poured over it. Next day it can be taken and mixed with sand -until a rich, thick plaster results. To this add one-quarter or -one-eighth part of Portland cement to make it strong.</p> - -<p class="sect">TO APPLY TILES TO AN UPRIGHT SURFACE, spray the brick or rock surface -with water. This can be done with a whisk broom or a large brush. A -cloth immersed into water and dabbed onto the surface will serve very -well. The tile which has been placed in a bucket of water to absorb -moisture is then covered with mortar on the reverse side. The surface of -the wall or fire mantel to receive the tile is also covered with a layer -of mortar and the tile is pressed into the mortar, causing the two -layers (the one on the tile and the one on the wall) to adhere to each -other.</p> - -<p class="sect">TO CONNECT TILES ONTO AN OLD CEMENT SURFACE the following method should -be used: Clean the old cement surface well with a brush and water, -removing the dirt and dust. Sprinkle a thin layer of neat cement onto -this surface while the floor is still moist. Work this neat cement into -the surface well, pressing it and working it with a flat trowel. Onto -this add a layer of strong mixture cement into which the tiles are -pressed.</p> - -<p class="sect">TO FINISH A TILE FLOOR the spaces between the tiles are filled with -cement; a small narrow cement trowel or strip of metal is<span class="pagenum"><a name="page_151" id="page_151"></a>{151}</span> passed over -the strip to smooth the cement in between the tiles. After the first day -the tiles and entire surface should be sprinkled with water to insure -good hardening of the cement.</p> - -<p class="sect">THE SPACES BETWEEN THE TILES can vary in width, depending upon the size -of the tiles. A half-inch space of cement between six-inch tiles is a -good average. A tile surface either upright or flat looks better with a -liberal space between the tiles than where too close a connection is -attempted. The tiles also look more interesting if the cement in between -is left a little lower than the surface of the tile.</p> - -<p>A color may be added to the cement used between the tiles, creating a -pleasing contrast in color and values. This color may be a thin coating -of color cement and need not be used throughout the entire cement -section.</p> - -<p class="sect">TO SECURE A LEVEL TILE FLOOR with the color cement tiles, the under -layer of cement into which the tiles are placed should not be a wet -mixture of cement but a mixture of cement and sand that is a little more -moist than wet sand. The tiles are then pressed onto this layer, more of -the moist cement being pressed under the tiles until the tiles are level -with each other. To test the level surface a straight edged board is -placed straight edge downward along the surface. If it rocks on any part -of the surface, that part should be pressed downward or lowered by the -removal of some of the cement. If parts are too low, they will show a -light opening underneath the leveling edge and should be built up.</p> - -<p>After the tiles are all level, the spaces between are filled with a soft -mixture of cement and finished smooth.</p> - -<p class="sect">TILES FOR INSERTS IN WALL PANELS can be made in the same way as -described in the chapter on Tiles, excepting that they may be made -thinner to conform with the thickness of the wood or other surface to -which they will be added.<span class="pagenum"><a name="page_152" id="page_152"></a>{152}</span></p> - -<p>Where the wood or wall surface is grayed or toned with a paint wash or -tint, the tint can be carried over the tile insert which will help the -unity of the tile with the wall.</p> - -<p class="sect">COLOR CEMENT TILES FOR FURNITURE INSERTS can be made in colors to -harmonize with the wood background. The surface finish given the wood, -whether wax or gray tone, can be also applied to the tile. The tiles may -be applied to boxes, chairbacks, flower stands so that they become the -bright spot of color motif to a design produced by the pattern of the -wood, or a carved or relief enrichment on the surface.</p> - -<p class="sect">UNIT TILES FOR WALL SURFACES can be made and planned so that various -arrangements can be made by using the same motifs or elements. These -elements can be combined into a group that may be inserted into an over -mantel or into a wall or corridor space. Unit tiles admit of arranging a -vertical or a horizontal border or of combining both borders each -produced with the same motifs.</p> - -<p class="sect">COLOR TILE BORDERS for plain cement floors will make an otherwise plain -floor a thing of beauty. A series of tiles for the border can be made -and special tiles for the corner arranged. The whole series can then be -set at the same time that the center plain gray or tinted portion of -cement is spread.</p> - -<p class="sect">CEMENT FLOOR ABRASION CAN BE AVOIDED by dampening the cement as it -hardens and spraying water onto it regularly once or twice a day after -the first day for a period of five to seven days.</p> - -<p>Abrasion or powdering of cement floors indoors often occurs because of -prematurely drying when constructed. Where walks out-of-doors are -benefited by the dew or moisture at night, inside floors do not receive -this moisture and often dry too rapidly.</p> - -<p>To remedy the abrasion, or powdering of cement floors, wash the floor -thoroughly with clean water removing all dirt and particles with<span class="pagenum"><a name="page_153" id="page_153"></a>{153}</span> a -stiff scrub brush. After the surface has dried, apply a solution of one -part water-glass (sodium silicate) of 40 degrees Baumé and three to five -parts water, the water depending upon the absorbing quality of the -cement. This mixture is applied with a large brush and should be mixed -well and used within an hour. When this has dried mop the surface with -clean water and repeat the wash of water-glass three times, letting the -floor dry after each operation.</p> - -<p>The silicate penetrates the pores, comes in contact with the other -alkalies in the concrete, forming an insoluble and very hard material, -preventing dusting and makes a better wearing floor.<span class="pagenum"><a name="page_154" id="page_154"></a>{154}</span></p> - -<p><a name="COLOR_CEMENT_TILES_FOR_INTERIOR_DECORATION" id="COLOR_CEMENT_TILES_FOR_INTERIOR_DECORATION"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_154_lg.jpg"> -<img src="images/ill_pg_154_sml.jpg" alt="Image unavailable: Color Cement Tiles for Interior Decoration" /></a> -<br /> -<span class="caption">Color Cement Tiles for Interior Decoration</span> -</div> - -<p><span class="pagenum"><a name="page_155" id="page_155"></a>{155}</span></p> - -<p><a name="COLOR_CEMENT_TILES_FOR_THE_FIREPLACE" id="COLOR_CEMENT_TILES_FOR_THE_FIREPLACE"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_155_lg.jpg"> -<img src="images/ill_pg_155_sml.jpg" alt="Image unavailable: Color Cement Tiles for the Fireplace" /></a> -<br /> -<span class="caption">Color Cement Tiles for the Fireplace</span> -</div> - -<p><span class="pagenum"><a name="page_156" id="page_156"></a>{156}</span></p> - -<p><a name="TILE_PATTERNS_FOR_WALL_OR_FLOOR" id="TILE_PATTERNS_FOR_WALL_OR_FLOOR"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_156_lg.jpg"> -<img src="images/ill_pg_156_sml.jpg" alt="Image unavailable: Tile Patterns for Wall or Floor" /></a> -<br /> -<span class="caption">Tile Patterns for Wall or Floor</span> -</div> - -<p><span class="pagenum"><a name="page_157" id="page_157"></a>{157}</span></p> - -<p><a name="THE_UNIT_TILE_AND_APPLICATION" id="THE_UNIT_TILE_AND_APPLICATION"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_157_lg.jpg"> -<img src="images/ill_pg_157_sml.jpg" alt="Image unavailable: The Unit Tile and Application" /></a> -<br /> -<span class="caption">The Unit Tile and Application</span> -</div> - -<p><span class="pagenum"><a name="page_158" id="page_158"></a>{158}</span></p> - -<p><a name="CEMENT_TILES_AND_WOODWORK" id="CEMENT_TILES_AND_WOODWORK"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_158_lg.jpg"> -<img src="images/ill_pg_158_sml.jpg" alt="Image unavailable: Cement Tiles and Woodwork" /></a> -<br /> -<span class="caption">Cement Tiles and Woodwork</span> -</div> - -<p><span class="pagenum"><a name="page_159" id="page_159"></a>{159}</span></p> - -<h2><a name="CHAPTER_16" id="CHAPTER_16"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 16<br /> -Surface Finishes -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_159.png" - class="spcdwn" -width="75" -height="77" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_160" id="page_160"></a>{160}</span></p> - -<p class="sect">COLOR CEMENT TILES ARE SURFACE FINISHED generally after they are dry. As -the tiles or pottery dry a lime or white powder dries on the surface and -the colors appear to become dull. To bring out the colors and remove -this powder, a soft cloth or soft brush is used to brush or dust off the -tile surface thoroughly.</p> - -<p class="sect">AN OIL RUB can be given to the surface of the tile with raw linseed oil -on a soft cloth, and a brisk rubbing of the cloth will give a soft dull -polish. This should be done only on the cast and dull finish tiles and -not on the slip-painted or glazed surfaces.</p> - -<p class="sect">A THIN SHELLAC COATING may be given a color cement tile or pottery as a -preliminary to a wax polish or a gasoline wash. White cement tiles or -pottery are very porous and a thin coating of clear white shellac will -prevent over absorption of surface coloring if the shellac is permitted -to dry thoroughly. Shellac should be applied after the surface is -thoroughly dried to prevent a sticky surface.</p> - -<p class="sect">THE GASOLINE WASH is made by mixing white oil paint (flake white or zinc -white) with black paint (ivory black or lamp black) until a gray tone is -secured. This mixture should be made in a cup or bowl so that gasoline -can then be added until the paint is almost as thin as water. To this -mixture green or blue paint or other color should be added until the -right hue is secured. This is then brushed onto the tile surface and -brushed well into the crevices and countersunk sections as it is -important that the low sections be well filled. After the wash has dried -thoroughly, a soft cloth is used to rub off all the surplus. This will -leave the gasoline wash remaining only in the bottom or lower portions -giving a pleasing finish. After this has dried a wax rub may be placed -over it.</p> - -<p class="sect">A WAX RUB is produced by taking either wax tan shoe polish or floor wax -and rubbing it onto the cement with a soft cloth. The cement should be -thoroughly dry before the wax is placed upon the<span class="pagenum"><a name="page_161" id="page_161"></a>{161}</span> surface. After a few -minutes a soft brush or woolen cloth should be used to polish the waxed -surface.</p> - -<p>A wax rub can be applied over a gasoline wash, but only after the wash -has been given time to thoroughly dry. If the gasoline wash is not dry, -the wax will remove it in parts and destroy the effect produced by the -gasoline wash.</p> - -<p class="sect">A COLOR CEMENT SURFACE FINISH is made by mixing a thin mixture of color -and cement which is then brushed onto the tile. The tile or surface to -be finished with cement should not be dry or be permitted to dry after -it has been removed from the mold. Previous to the application of the -cement color, the tile should be well moistened. After the color has -dried for several hours upon the surface, a cloth balled or gathered so -as to form a padded surface should be used to remove the color from the -high parts.</p> - -<p class="sect">A SLIP SURFACE FINISH is where the tile or surface has been completed in -single or several colors and when hardened sufficiently in water, a thin -slip of color cement is placed over the entire surface and permitted to -settle into the hollows, leaving the higher portions to appear more -clearly through the colored slip. If the surface is a tile, it should -then be permitted to harden in shallow water placed in a tray with the -tile placed carefully into it so that the water does not reach the color -slip portions. If the object is a vase, it may be filled with water to -harden the outer surface properly. If the color has been used as a layer -on the inside, the bowl or vase should be placed in a pail and water -poured into the pail so that the object is surrounded with water. A -weight or board can be placed so as to prevent the object from floating -if it commences to do so.</p> - -<p class="sect">COLOR MAY BE SPRAYED by mixing a thin mixture of color and cement and -spraying it onto the tile or pottery surface with a fixitive blower such -as may be obtained at artists’ supply stores and<span class="pagenum"><a name="page_162" id="page_162"></a>{162}</span> which is used by -artists for spraying a solution of shellac (termed fixitive) onto -charcoal or pencil drawings.</p> - -<p>The color should be repeatedly stirred to keep it well mixed and if the -sprayer becomes clogged, it should be rinsed in water.</p> - -<p>Too much color should not be sprayed at a time as it will fail to be -absorbed and run on the surface, resulting in streaks.</p> - -<p class="sect">SPATTERED COLOR FOR SURFACES is secured by dipping a short-haired -bristle brush (the bristles are best when they are about one inch long) -into color cement and causing the color to spatter onto the surface by -rubbing a knife edge or straight edge of a stick along the brush. This -will cause the bristles to release suddenly, throwing pigment in the -opposite direction onto the object. A trial should first be made on -paper surface before the actual surface is used to avoid too much color, -such as would come from an overcharged brush or too vigorous rubbing. -The surface of the object should be moist or dampened well previous to -the spattering.</p> - -<p class="sect">SPRINKLED DRY COLOR can be applied to surfaces. This will give a -pleasing effect in certain places where an antique or scattering of dry -color will enter into the nature of the design. The dry pigment can be -sprinkled onto the surface only where the surface has been covered with -a layer of other color that is still moist. This is necessary in order -that the dry color will absorb sufficient moisture from the other color -to amalgamate with the first color.</p> - -<p class="sect">TEXTURE SURFACES are produced by working on the surfaces while they are -still moist or soft enough to admit the use of a tool or edge to press -or model the surface. Even when a surface might have become quite hard -it may be tooled or chipped and a cement wash or gasoline wash used to -give the tooled parts a unifying color.</p> - -<p class="sect">REPEATED SURFACE COLORING may be done where the first coloring is not -satisfactory. It will be found that a more pleasing<span class="pagenum"><a name="page_163" id="page_163"></a>{163}</span> effect is often -produced by the second surface coloring being placed over the first. -Care should be taken that so much rubbing does not occur that it wears -parts of the tile or pottery surface that are soft.</p> - -<p class="sect">SURFACE FINISHES PERMIT OF EXPERIMENTING and the craftsworker in color -cement must test out different combinations in order to achieve the most -desirable quality to respond to personal choice. A brilliant color wash -will often bring out the pattern in pleasing contrast, and at other -times it may be over absorbed and produce a mottled undesirable quality. -The condition of the molds and the amount of sand in the mixture all -influence the surface of the object and in turn influence the result of -the surface finishes.<span class="pagenum"><a name="page_164" id="page_164"></a>{164}</span></p> - -<p><a name="A_SURFACE_FINISH_FOR_CEMENT_HANDICRAFT" id="A_SURFACE_FINISH_FOR_CEMENT_HANDICRAFT"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_164_lg.jpg"> -<img src="images/ill_pg_164_sml.jpg" alt="Image unavailable: A Surface Finish for Cement Handicraft" /></a> -<br /> -<span class="caption">A Surface Finish for Cement Handicraft</span> -</div> - -<p><span class="pagenum"><a name="page_165" id="page_165"></a>{165}</span></p> - -<h2><a name="CHAPTER_17" id="CHAPTER_17"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 17<br /> -Decorations in the<br /> -Open - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_165.png" - class="spcdwn" -width="75" -height="73" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_166" id="page_166"></a>{166}</span></p> - -<p class="sect">COLOR AS OUTER ARCHITECTURAL DECORATION was much used on the buildings -of Egypt and Assyria. The winged sphere in gold and amber against a -background of dark blue was commonly used on the outer walls of Egyptian -buildings and the processions of warriors and ancient kings decorated -the walls of the Assyrian cities.</p> - -<p class="sect">THE GRECIANS USED COLOR ALSO and the beautiful Parthenon was decorated -with color and the restored model in the Metropolitan Museum of Art in -New York shows their use of color architecturally. The great Acropolis -was resplendent in bas-reliefs on the outer walls in color, gold and -silver.</p> - -<p class="sect">THE ROMANS USED COLOR OUT OF DOORS on their buildings and the Etruscans -built in terra cotta coloring the outer walls with gorgeous decorations. -They recognized that architecture could be dignified and noble with -proper use of color decorations to enrich the building as a whole.</p> - -<p class="sect">MURAL DECORATIONS IN THE OPEN were used by the Egyptians, examples of -which remain in our museums today, and so permanent were their colors -that the color schemes are apparent even at this day thousands of years -after their artists applied them.</p> - -<p>Pompeians with their house-tops massed against their blue skies were -prompted to use orange-red largely in their decorations which were -lavishly applied in their gardens and other surroundings.</p> - -<p class="sect">THE CHINESE USED COLORS SIMILAR TO THE POMPEIANS and their decorations -give brilliant notes to their buildings creating pleasing effects. The -Chinese medium has been one largely of lacquer which has been used over -their gold and painted color, producing transparent qualities making it -difficult to know where the actual surface begins.<span class="pagenum"><a name="page_167" id="page_167"></a>{167}</span></p> - -<p class="sect">COLOR ON OUTSIDE BUILDING SURFACES exists on many of the Italian -cathedrals and enriched color facades were used on many houses during -the Gothic period of which there remains examples at Heldesheim and -Nurenberg and other cities.</p> - -<p class="sect">COLOR IN AMERICAN ARCHITECTURE IS POSSIBLE with the use of color cement -and with careful analysis of the colors used and methods of hardening, -the patient worker can accomplish much toward realizing this much sought -possibility.</p> - -<p class="sect">THE FIRST STEP TOWARD SUCCESSFUL USE OF COLOR CEMENT in the open is to -realize that color used at all times must be protected from drying too -rapidly. If it does so, it will disintegrate and chalk away gradually. -The drying of color cement should be retarded as much as possible and -kept moist as long as the hardening process has not completed. It is -impossible, of course, to apply water to the face of a working surface -without destroying the glaze of the color, or the surface setting layer -once the surface commences to dry. Water applied at this time will cause -the surface to float in sections and ruin the entire surface. Therefore -the best way is to arrange for the water to be absorbed from the back -and this can be done easily where the panel or mural decoration is a -separate section to be applied to the building surface afterwards.</p> - -<p class="sect">WHERE THE MURAL IS TO BE APPLIED TO THE WALL the surface must be first -roughened, next thoroughly dampened with water, then a layer of wet neat -cement placed upon it. The bed of cement or sand and cement is next -applied and the subject then applied onto this surface all at one -sitting. This is necessary to avoid any part drying, as it will be -impossible to dampen the surface for postponed work.</p> - -<p class="sect">BETTER RESULT ON WALL DECORATION is possible where the color cement can -be applied before the wall mass has dried<span class="pagenum"><a name="page_168" id="page_168"></a>{168}</span> out. If the forms or board -walls can be removed before the cement has thoroughly set, whatever -color cement or cement underlayers necessary to the color surfacing are -placed upon it, will stand greater chances of remaining as a permanent -part of the whole structure.</p> - -<p class="sect">TO PROCEED WITH A MURAL PANEL a pan of metal two inches larger each way -than the panel dimensions should be made from galvanized sheet metal. -This is to hold the mural cement slab onto which the subject is to be -painted.</p> - -<p class="sect">THE CEMENT SLAB IS MADE by surrounding an oiled surface (wood or glass) -with wooden retaining walls similar to those used in making tiles. These -walls should be oiled and otherwise made proof against leakage of water -as it is necessary that all water in the cement be retained to perfect -the hardening. The mixture of sand and cement (one part cement and two -parts sand or gravel) is next poured into this space and permitted to -set for several hours. Over this surface a thin layer of neat cement may -be spread or dry neat cement sprinkled through a sieve and worked into -the moist surface with the flat side of a palette or other knife.</p> - -<p class="sect">THE COLOR IS THEN APPLIED by mixing up the colors to be used into a -paste form and these can be applied with a brush or with a palette knife -shaping and forming the subject as if painting in ordinary colors.</p> - -<p>If the color sinks in too rapidly and becomes lost, the under surface is -too wet and the painting should be delayed for several hours or until -the color applied lays upon the surface properly.</p> - -<p class="sect">THE CEMENT SLAB IS TRANSFERRED TO THE METAL TRAY as soon as it is -removable from its surface. In fact, a good way is to move the wood or -glass under support with the cement slab upon it and place the whole -combination into the tray. If the sides are well set the retaining walls -can be removed, and as soon as the<span class="pagenum"><a name="page_169" id="page_169"></a>{169}</span> whole layer is set enough so as not -to be dissolved by water, water is poured in the tray until it comes -half-way up the side of the cement slab. This will prevent the whole -slab drying prematurely as the water will supply all that is needed. If -the water becomes absorbed more should be poured in. After it has -remained in the tray for a week, it may be withdrawn and permitted to -dry gradually. Wet cloths around it will prevent too rapid drying.</p> - -<p class="sect">WHEN WORKING UPON THE SURFACE, the surface should be completed as the -space is covered, avoiding returning to work upon any part after it has -commenced to set. If the surface has formed a shell or thin layer and -reworking breaks this shell, the color in that section will not harden -properly. It requires direct, confident handling of the subject, and -reworking of the surface such as the painter in oils is accustomed to is -not possible with color cement.</p> - -<p class="sect">A WHITE CEMENT SURFACE can be formed over a cement layer and when this -is nearly dry thin washes of color cement may be used onto the surface -similar to working with water color. The white cement will absorb the -color easily and parts of the design may be worked in opaque or solid -colors.</p> - -<p class="sect">A DARK WORKING BACKGROUND may be used by mixing a layer of dark blue, -brown or green. A layer of black can also be used. Brilliant colors can -be brushed or dripped into this so that they sink and become a part of -the dark surface without being in relief. A slight shaking of the -surface or the tray will produce this amalgamation of colors.</p> - -<p class="sect">WATER SHOULD NOT REACH THE COLOR SURFACE until after it is entirely dry. -To avoid water splashing onto the surface from the tray it is the best -policy not to pour water into the tray before the painting is completed -and only when the tray is to be left undisturbed.<span class="pagenum"><a name="page_170" id="page_170"></a>{170}</span></p> - -<p class="sect">TO CONNECT THE COLOR CEMENT MURAL with the building wall, the space to -receive it should be well moistened and covered with neat cement which -is well worked into the surface. The back of the cement mural is -similarly treated and the two cement surfaces are pressed together and -held in position by a brace or support until thoroughly dried. The space -or border edge around the panel should be filled in with cement at the -same time.<span class="pagenum"><a name="page_171" id="page_171"></a>{171}</span></p> - -<p><a name="DECORATIONS_PAINTED_WITH_COLOR_CEMENT" id="DECORATIONS_PAINTED_WITH_COLOR_CEMENT"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_171_lg.jpg"> -<img src="images/ill_pg_171_sml.jpg" alt="Image unavailable: Decorations Painted with Color Cement" /></a> -<br /> -<span class="caption">Decorations Painted with Color Cement</span> -</div> - -<p><span class="pagenum"><a name="page_172" id="page_172"></a>{172}</span></p> - -<p><a name="CEMENT_COLOR_PAINTED_DECORATIONS_APPLIED" id="CEMENT_COLOR_PAINTED_DECORATIONS_APPLIED"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_172_lg.jpg"> -<img src="images/ill_pg_172_sml.jpg" alt="Image unavailable: Cement Color Painted Decorations Applied" /></a> -<br /> -<span class="caption">Cement Color Painted Decorations Applied</span> -</div> - -<p><span class="pagenum"><a name="page_173" id="page_173"></a>{173}</span></p> - -<h2><a name="CHAPTER_18" id="CHAPTER_18"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 18<br /> -Tiles and Pottery<br /> -with Color Magnesite<br /> -Cement Work - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_173.png" - class="spcdwn" -width="75" -height="76" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_174" id="page_174"></a>{174}</span></p> - -<p class="sect">MAGNESITE CEMENT WORK is a mixture medium producing a hard marble-like -quality and does not contain any Portland cement, but is given in this -book in order to complete the possible plastic mediums for the worker -wishing to mold objects with permanent durable mediums.</p> - -<p class="sect">MAGNESITE CEMENT IS A SUCCESSFUL INDUSTRIAL MATERIAL and is used by -builders in interior trimmings for floor tiles, in making of bath-room -surfaces and recently used in coating stairways and hallways, producing -a pleasing texture and durable surface. The material is fireproof, -cleanly and better than marble.</p> - -<p class="sect">MAGNESITE IS A FORM OF LIMESTONE and is a carbonate of magnesia which is -produced by burning until all gases have been eliminated, leaving only -the oxide in the form of a pure white powder. It comes from Europe and -is found in Maryland, Massachusetts, New York, Vermont, California, and -Washington. It has been used extensively in Europe and when better known -will be used more generally in America.</p> - -<p class="sect">MAGNESITE CEMENT AS AN ENAMEL has been used as a hardening surface on -concrete and cement surfaces and also on clay brick. The concrete or -cement or brick surfaces should be thoroughly moistened before the -magnesite mixture is placed upon it to avoid the moisture from the -magnesite being absorbed and improperly drying.</p> - -<p class="sect">THE MATERIALS FOR PRODUCING MAGNESITE are calcined powdered magnesite, -chloride of magnesia, sulphate of magnesia, white sand, white talc and -fine sawdust.</p> - -<p>The magnesite should be kept in a container, proof against exposure to -air and dampness, in order to preserve its full setting qualities.</p> - -<p>Chloride of magnesia has the appearance of ice or alum and when exposed -has the tendency to dissolve but does not deteriorate. It is<span class="pagenum"><a name="page_175" id="page_175"></a>{175}</span> the -chemical which when united with the magnesite produces the binding or -cement qualities.</p> - -<p>Sulphate of magnesia or epsom salts is an easily secured material and is -used in very small quantities in the formulae for producing magnesite -cement and which is given later in this chapter.</p> - -<p>The white talc or soapstone used for giving a smooth and polished white -background is used as a filler.</p> - -<p>White sand and the fine sawdust should be absolutely clean and are mixed -with the other ingredients to produce the composite mixture to produce -Magnesite Cement.</p> - -<p class="sect">TO COMBINE THE INGREDIENTS proceed as follows:</p> - -<p class="sect">FIRST MIXTURE. Two and one-half pounds of powdered magnesite and one -pound of white talc are mixed thoroughly with one quart of fine sawdust. -To this mineral, dry color similar to that used and described for color -cement should be added if a color tone is desired. About one-half as -much color should be used as there is magnesite. In other words, one -pound of color should be used with two and a half pounds of powdered -magnesite. A stone mortar should be used to grind the entire mixture -well together.</p> - -<p>This first combination is a dry mixture and is then mixed with the -second mixture which is liquid.</p> - -<p class="sect">SECOND MIXTURE. Take five parts by weight of chloride of magnesia -solution with a density of 25 tested with a Baumé hydrometer which is a -simple glass tube secured at any druggist for registering solutions. To -the chloride of magnesia solution add one-half part by weight of -sulphate of magnesia which is epsom salts and test with the hydrometer -until it records 15.</p> - -<p class="sect">TO USE THE HYDROMETER, place water in a container and if the hydrometer -is placed in it, it will register “0” and when the chloride is placed in -it, and dissolves the hydrometer will commence<span class="pagenum"><a name="page_176" id="page_176"></a>{176}</span> registering the density -of the solution. When it records 25 no more chemical should be added. -More water should be added to correct the density if needed. The same -procedure is followed for registering the 15 for the epsom salts.</p> - -<p>Chloride of magnesia will dissolve more rapidly if it is broken up, and -distilled water may be used if the usual available water contains lime, -iron or other injurious minerals. Some workers use rain water for many -purposes.</p> - -<p class="sect">THE FINAL MIXTURE, or third step in the mixing, is to take the first dry -mixture and add enough of the second liquid combination to produce a -thick creamy mixture of the two. Strain this after it has been well -mixed.</p> - -<p class="sect">TO PRODUCE TILES OR OTHER OBJECTS, THE MATERIAL is quickly poured into -the molds. A brush may be used for brushing the material well into the -edges and corners. A gentle jarring of the mold will remove the air -bubbles and the molds with the magnesite is permitted to dry for seven -to ten hours before the cast is removed from the mold.</p> - -<p class="sect">FOR VARIOUS COLORS in the same design, the dry mixture can be mixed with -color and the liquid, or second mixture, added to it. This can be -applied to the mold in the same way as the color was used with cement, -and after it has set, can be backed with a general color of magnesite -cement or with plain magnesite mixture.</p> - -<p class="sect">TO FINISH MAGNESITE let it remain drying for two or three days after -which it can be washed with slightly warmed water to remove the thin -scum on the surface. A thin coating of beeswax or floor wax well -polished will finish the article.<span class="pagenum"><a name="page_177" id="page_177"></a>{177}</span></p> - -<p><a name="THE_MAKING_OF_MAGNESITE_CEMENT" id="THE_MAKING_OF_MAGNESITE_CEMENT"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_177_lg.jpg"> -<img src="images/ill_pg_177_sml.jpg" alt="Image unavailable: The Making of Magnesite Cement" /></a> -<br /> -<span class="caption">The Making of Magnesite Cement</span> -</div> - -<p><span class="pagenum"><a name="page_178" id="page_178"></a>{178}</span></p> - -<p><a name="MAGNESITE_OBJECTS_CAST_FROM_MOLDS" id="MAGNESITE_OBJECTS_CAST_FROM_MOLDS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_178_lg.jpg"> -<img src="images/ill_pg_178_sml.jpg" alt="Image unavailable: Magnesite Objects Cast from Molds" /></a> -<br /> -<span class="caption">Magnesite Objects Cast from Molds</span> -</div> - -<p><span class="pagenum"><a name="page_179" id="page_179"></a>{179}</span></p> - -<h2><a name="CHAPTER_19" id="CHAPTER_19"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 19<br /> -Color Cement<br /> -Projects<br /> -for the Schoolroom - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_179.png" - class="spcdwn" -width="75" -height="75" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_180" id="page_180"></a>{180}</span></p> - -<p class="sect">CEMENT TILES simple in form may be made in any grade where tiles are -made in clay or the modeling waxes. Many times clay is used in making -tiles and the coloring is done with colored chalks or paints. These can -be but temporary in effect and are broken easily, being impractical for -use. The child’s interest will be much greater where he knows that with -cement the results will be durable as well as to know that he is working -with the same materials that the “grown-ups” use.</p> - -<p class="sect">COMMENCING WITH SMALL TILES IS THE BEST PLAN. Have the class plan from -nature a rosette design for a two-inch tile. An excellent way to secure -interesting patterns is to fold a two-inch square paper into four folds -and cut a design in the four folds. Opening out these folds will often -reveal a very interesting design. When the student has completed the -design, it can be traced with a pencil onto a flat layer of modeling -wax, and a pencil, stick or nail used to cut away portions of the -design. The pattern designed may be the part taken out or the background -may be the part to be removed. In either case the part removed should be -scraped out about a quarter of an inch deep and the sides should not -slope in but rather outward. If the design is to be simply produced by -incised lines only (and charming results can be thus secured), the -stick, nail or instrument used should be sharpened so that it scrapes a -groove in the clay that remains widest at the surface. The design being -completed in the clay or wax, a few strips of thick cardboard or heavy -oiled paper is cut so as to project above the clay or wax tile. This -projection must equal the thickness of the mold to be made in -plaster-of-Paris. These strips may then be placed up against the tile so -as to surround it, and are to be retained in position with nails or pins -or heavy objects.</p> - -<p>When the pupils have all reached this stage of the tile, the teacher -then may mix up the plaster and pour it into the molds, illustrating the -correct method for the students to afterwards follow.<span class="pagenum"><a name="page_181" id="page_181"></a>{181}</span></p> - -<p class="sect">AFTER THE PLASTER TILE IS RELEASED, it is brushed well with oil and -again surrounded with the strips of paper. Cement with any desired color -added to it is then poured in and after two or three days the completed -tile can be removed.</p> - -<p>To secure color effects it is only necessary for the teacher to mix two -colors of cement sufficient for the student’s use. The student then -places a thin layer of the color on the plaster mold, keeping it within -a certain portion of the design. The second color is placed on the -spaces left, and after the color has set for a short time it is backed -with ordinary neat cement and the whole tile permitted to dry several -days.</p> - -<p class="sect">TILES WITH THE DESIGN IN A RELIEF LINE can be made as follows: The -teacher should have previously made a number of plaster tiles with a -smooth surface. These can be easily made by flowing the plaster onto -glass or other hard, smooth surface, the plaster being retained between -two strips of wood 4 × 4 inches. Cutting these bars of plaster into -squares, one is given to each student. A simple design is made on paper -first and traced onto the plaster tile. A nail or hard pencil is then -used to incise the design in the plaster, after which it is brushed well -with oil and surrounded with cardboard strips and cement poured into it. -This will result in a tile with the design in relief. Within these -relief lines cement with color added to it may be placed and the tiles -placed in a tray of water with the water coming half-way up the side of -the tile. The tile will be hard enough to remove in five days.</p> - -<p class="sect">SIMPLE ROUND PAPER WEIGHTS and tiles that are not square can be made by -the same method. A little ingenuity in arranging the retaining cardboard -strips around the plaster or wax model will solve the producing of -irregular forms.</p> - -<p class="sect">FLOWER AND PLANT HOLDERS, FISH PONDS, AND BOOK SUPPORTS can be made by -using the tiles as the principle<span class="pagenum"><a name="page_182" id="page_182"></a>{182}</span> part. Take four tiles that have not -been permitted to dry and place them face against the inside wall of a -rough box form without the bottom, the size of the box to conform to the -tiles. Pour about an inch of cement into the bottom of the box to form a -bottom. When this has partly set, place strips of wood across the inside -covers to hold the cement which is then poured in so as to connect the -tiles where the corners meet. The cement should be poured also into the -outside corner spaces. After the complete form has dried for a day, pour -water inside and let it remain for three days or more. Release and trim -corners and inside as desired. A thin mixture of colored cement placed -inside and then poured out will give an inside lining, producing a -finished effect.</p> - -<p class="sect">SAND BOX ANIMALS AND TOYS can be made in a very durable form by the use -of cement. The method to follow in class should be as follows: Have the -pupils outline an animal in simple form on paper. No intricate or small -details should be attempted in this outline and the feet or lower -portions of the animal must be planned so that it will stand up easily.</p> - -<p>After the outline is made then secure thin strips of tin or other sheet -metal and have the pupils bend it with their fingers and with the use of -a ruler to conform to the outline. The metal should be about two inches -wide. The outline need not be made entirely of one piece of metal but -perhaps of several. When the outline is completed in metal, it should -conform fairly closely to the outline on the paper. This metal rim is -then pressed slightly into wax or clay, or it may be placed on glass or -on an oiled card. If clay is used, the eyes, wings, or other parts may -be incised in the clay within the metal rim. A one-inch layer of cement -is then poured in the metal rim, and after several days, the metal rim -is removed and the cement around it is evened where necessary and -colored if desired. By making the feet of birds or animals first, -combining wire legs with them, the body can<span class="pagenum"><a name="page_183" id="page_183"></a>{183}</span> then be cast, combining the -body and the legs through the wire connection.</p> - -<p class="sect">MOSAIC CEMENT TILES can be easily produced as follows: Secure a number -of the small mosaic stone squares used by masons and tile setters for -inlaying floors. These come in many colors and different geometric -forms. Plan a four-inch tea tile arranging a design with the use of two -or three different colors of mosaics. When the arrangement or design is -decided upon, the mosaics should be glued face downward to a piece of -cardboard or glass. If glass is used, it should be brushed with oil -after the mosaics have been glued into position and before the cement is -poured. Where glass is used the design arrangement on paper can be -slipped underneath the glass to show the location and correct position -for gluing the mosaics onto the glass surface. The mosaic pattern is -then surrounded with retaining bars or slips of wood or surrounded with -metal and the cement poured over the mosaics until the right thickness -is secured. It is then left for several days to dry, after which it is -removed from the glass or the cardboard is peeled away from the cement -surface. The tile is then finished after being placed in water for a -week to harden. Glue a piece of soft leather or felt on the bottom when -the cement has thoroughly dried.</p> - -<p class="sect">CEMENT BOXES AND BOOK SUPPORTS can be made by the use of mosaics, gluing -them onto sections of boards and then assembling the boards and tying -them so that they will hold the cement that is poured in to finish the -object. Where cement is removed from the mold before it has thoroughly -hardened, it can be shaped with a knife, and mosaic book supports or -boxes made in general form can be shaped easily this way.</p> - -<p class="sect">VASES AND BOWLS as a problem for the schoolroom can be simplified if the -teacher produces previously several vase molds so<span class="pagenum"><a name="page_184" id="page_184"></a>{184}</span> that the pupils can -make their casts in individually selected colors, after which they can -scrape or slip paint the shapes as they are removed from the molds.</p> - -<p class="sect">THE POSSIBILITIES OF COLOR CEMENT for schoolroom applied arts are many -and the interested teacher can arrange working equipment and methods of -presentation according to space and class size. One ingenious teacher -placed building paper on the floor of a schoolroom corner section, -covered several old tables with oil-cloth and secured excellent results -with her class room problems by permitting a small group of students to -work at a time on account of the limited equipment.</p> - -<p>Another teacher had her students design and make tiles for a new school -building and today they are used as part of the enrichment of the -school. This correlation of the student’s work with every day utility is -one of the attractions of color cement for the school student, and -innumerable practical applications can be found for color cement. The -various problems for which directions have been given in the chapters of -this book can be arranged in more or less simple form for the various -school classes; and as a vocational subject it combines design with -construction in a sensible proportion.<span class="pagenum"><a name="page_185" id="page_185"></a>{185}</span></p> - -<p><a name="SCHOOLROOM_PROJECTS_IN_CEMENT" id="SCHOOLROOM_PROJECTS_IN_CEMENT"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_185_lg.jpg"> -<img src="images/ill_pg_185_sml.jpg" alt="Image unavailable: Schoolroom Projects in Cement" /></a> -<br /> -<span class="caption">Schoolroom Projects in Cement</span> -</div> - -<p><span class="pagenum"><a name="page_186" id="page_186"></a>{186}</span></p> - -<p><a name="A_TILE_IN_CEMENT_MADE_IN_THE_GRAMMAR_GRADES" id="A_TILE_IN_CEMENT_MADE_IN_THE_GRAMMAR_GRADES"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_186_lg.jpg"> -<img src="images/ill_pg_186_sml.jpg" alt="Image unavailable: A Tile in Cement Made in the Grammar Grades" /></a> -<br /> -<span class="caption">A Tile in Cement Made in the Grammar Grades</span> -</div> - -<p><span class="pagenum"><a name="page_187" id="page_187"></a>{187}</span></p> - -<p><a name="A_TILE_MADE_IN_THE_INTERMEDIATE_GRADES" id="A_TILE_MADE_IN_THE_INTERMEDIATE_GRADES"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_187_lg.jpg"> -<img src="images/ill_pg_187_sml.jpg" alt="Image unavailable: A Tile Made in the Intermediate Grades" /></a> -<br /> -<span class="caption">A Tile Made in the Intermediate Grades</span> -</div> - -<p><span class="pagenum"><a name="page_188" id="page_188"></a>{188}</span></p> - -<p><a name="Color_Cement_Tiles_and_Pottery_Made_by_the_Students_of_a_High_School" id="Color_Cement_Tiles_and_Pottery_Made_by_the_Students_of_a_High_School"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_188_lg.jpg"> -<img src="images/ill_pg_188_sml.jpg" alt="Image unavailable: Color Cement Tiles and Pottery Made by the Students of a High School." /></a> -<br /> -<span class="caption">Color Cement Tiles and Pottery Made by the Students of a High School.</span> -</div> - -<p><span class="pagenum"><a name="page_189" id="page_189"></a>{189}</span></p> - -<p><a name="Problems_in_Cement_by_Students" id="Problems_in_Cement_by_Students"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_189_lg.jpg"> -<img src="images/ill_pg_189_sml.jpg" alt="Image unavailable: Problems in Cement by Students of an Art School. 1 to 3 -are Elementary Problems. 4 to 13 are Secondary Problems. 14 is a Palette -Knife Painting in Colored Cement. 15 is a Fish Bowl and Sun-Dial Made in -Cement by the Use of a Glue Mold." /></a> -<br /> -<span class="caption">Problems in Cement by Students of an Art School. 1 to 3 -are Elementary Problems. 4 to 13 are Secondary Problems. 14 is a Palette -Knife Painting in Colored Cement. 15 is a Fish Bowl and Sun-Dial Made in -Cement by the Use of a Glue Mold.</span> -</div> - -<p><span class="pagenum"><a name="page_190" id="page_190"></a>{190}</span></p> - -<p><span class="pagenum"><a name="page_191" id="page_191"></a>{191}</span></p> - -<h2><a name="CHAPTER_20" id="CHAPTER_20"></a></h2> - -<table border="1" cellpadding="8" cellspacing="0" summary=""> -<tr><td colspan="3"> </td> -</tr> - -<tr><td> </td> -<td class="c"> - <br /> -<span class="spc"><img src="images/colophon1.png" -width="30" -height="21" -alt="[Image unavailable.]" - /></span><br /> </td> -<td><span class="spc"> </span></td></tr> - -<tr><td><span class="spc"> </span></td> -<td class="cb">CHAPTER 20<br /> -Designing for Tiles<br /> -and Pottery - -</td> -<td> </td></tr> - -<tr><td> </td> -<td class="c"><img src="images/ill_pg_191.png" - class="spcdwn" -width="75" -height="76" -alt="Image unavailable: [Decorative image unavailable.]" - /></td> -<td> </td></tr> - -</table> - -<p><span class="pagenum"><a name="page_192" id="page_192"></a>{192}</span></p> - -<p class="sect">PRINCIPLES OF PATTERN DESIGN are important for the craftsman to be -familiar with, for the reason that it gives points with which to “check -up” drawings before they are applied, as well as to permit greater -facility in designing.</p> - -<p class="sect">MANY DESIGN WELL without having learned the theories of design, having a -natural sense of good arrangement of details and spaces. However, -natural designers, as well as those who do not find it easy, will profit -by becoming well grounded in the design principles.</p> - -<p class="sect">NATURAL FORMS afford excellent examples of principles, giving beauty in -line, form and color; and the more the designer refers to nature for -these ever occurring lines of grace and beauty, the greater will be his -development as a designer.</p> - -<p class="sect">SUCH STUDY FROM NATURE should be intelligently pursued. To study nature -for design motifs does not mean that “photographic” arrangement or -life-like sprays should be applied onto surfaces. The most deplorable -forms applied to pottery or other handicrafts are those that have been -made with no thought of the surface influence upon the pattern designed. -The designer should refer to nature only as a reference from which -inspiration is received for motifs to be used. In every instance the -forms in nature should be interpreted into design and so transposed that -they beautify the surface irrespective to resemblance to the natural -source. Nature uses patterns in all her kingdoms correctly. The patterns -on petals and leaves, the pattern on bird plumage and animal skins, as -well as nature’s designs on minerals are all beautifully arranged to -conform to the contours of the surface. It would have been just as easy -for the Great Creator to produce forget-me-nots and violets in natural -splendor upon the leopard, but the ringed spots varying and converging -to the lithe, graceful lines of the surface without any appearance of -being in relief upon the skin are much more beautiful. Those who state -that “Nature cannot be improved upon” as an excuse for<span class="pagenum"><a name="page_193" id="page_193"></a>{193}</span> natural -representation in designing are overlooking nature’s real poetic -opportunities to the designer. No true artist or designer ever hopes to -actually represent nature. It is impossible. The best that can be done -is each individual artist’s interpretation of nature forms founded upon -governing principles. These principles have been tested by centuries of -scrutiny and all beautiful forms of historic ornament are governed by -principles which, as has been stated, originated in nature’s design -forms.</p> - -<p class="sect">RADIATION, SYMMETRY, UNITY, SUBORDINATION, MEASURE, ETC., are all -principles of importance, but the three that are of great value to the -craftsman are Measure, Balance and Unity.</p> - -<p class="sect">THESE THREE PRINCIPLES can be used to test the line, form and color of -the design before it is applied.</p> - -<p class="sect">MEASURE is the principle that requires a consistent varying of areas, -line directions or colors. Measure creates interest. It does not mean -that large and small parts are to be designed without any further -consideration. There must be a right proportion of one to the other and -balanced as regards their location. Measure will control the contours or -forms of vases and motifs for if the widest part of the form comes above -or below center of the axis, it will be more interesting than if located -in the center. The working plate illustrates this.</p> - -<p class="sect">BALANCE is the principle which creates harmony by contrasting measures. -If we have a heavy spot on one side of a design, the eye requires -satisfaction by seeing another spot or several parts equal in weight to -the large spot on the opposite side of the design. Balance is also -secured by locating a unit or design spot in the proper location of a -space, without necessarily having a second opposite spot. Nevertheless, -it is balance in relation to its background. Balance may<span class="pagenum"><a name="page_194" id="page_194"></a>{194}</span> be secured by -Symmetry, making parts like-sided or balance may be secured by equal -amounts of form on two sides of an axis, even though not symmetrically -placed. (See working plate.)</p> - -<p>Balance in color requires that if a color is used in a single spot that -its location be pleasingly balanced within the space decorated. Where a -color is to be used in several places in the design, these different -spots should balance each other.</p> - -<p class="sect">UNITY is the principle which brings harmony into design by similarity of -parts, by keeping lines of a design parallel to the space outline within -which they are designed. Again the main lines of a design if radiating -from a point or axis within or without the design space produces unity. -Unity is produced by harmonious values and by harmonious color.</p> - -<p class="sect">A DESIGN WITHOUT UNITY may be one where the parts are too varied in -form, where they do not pertain or group with each other, but appear -“explosive.” Different finishes to the motifs in a design destroy unity. -Avoid mixing naturalistic or conventional and geometrical motifs in the -same design, and using lines or forms which are not pleasing in -direction, or harmonious with the space in which they are placed.</p> - -<p class="sect">UNITY requires that all parts of a design be of similar expression. To -have one part of a design based upon a poppy or bird with a section -drawn naturalistic and another part conventionalized and possibly a -third section in geometric arrangement is to produce disorder or -dissimilarity, and yet such fault is apparent in a large proportion of -designs.</p> - -<p class="sect">ALL DESIGN FORMS CAN BE DIVIDED INTO FOUR DIVISIONS and these divisions -can be defined as Naturalistic, Conventional, Geometric, and Abstract. -If any design motif for a tile or any application is started in a -Naturalistic manner, then all parts should be expressed in the same -manner.<span class="pagenum"><a name="page_195" id="page_195"></a>{195}</span></p> - -<p class="sect">THE NATURALISTIC DIVISION OF DESIGN is where natural forms and growth -arrangements are planned or designed within a given or arbitrary space. -The decorative arrangement comes from carefully planning the subject so -that it composes in a pleasing way within the space. The Japanese -designs are good examples of this kind of decoration. It will be found -that careful attention is given to the background spaces as well as to -the parts of the subject being drawn. Strong outlines, double outlines -and individual techniques or renderings further increase the decorative -quality of a naturalistic design.</p> - -<p class="sect">THE CONVENTIONAL DIVISION OF DESIGN is where a typical form from a -nature growth is taken and repeated in regular repetition, or a general -shape formed from a plant form and used to interpret the subject. For -instance, a flower with several petals will have each petal different in -contour, but in conventional design, one shape is chosen and this shape -is repeated. While no two leaves are alike on the plant, one or two -conventionalized shapes are determined and these shapes are then used -throughout the design. The veins and stems of the flowers may be -elaborated or the leaves may have their centers designed or “inhabited” -so that added interest may be created in the subject.</p> - -<p class="sect">THE GEOMETRICAL DIVISION OF DESIGN is when the subject is designed -entirely with triangular, rectangular, square, oval, elliptical, or -circular shapes, or where the outlines follow straight lines which may -go at right angles to each other or in oblique directions. Such straight -line designs are technically required for rug or textile designs and due -to the ruggedness and strength or interest achieved through a straight -line rendering are often adapted for decorating many other forms of -applied art.</p> - -<p class="sect">THE ABSTRACT DIVISION OF DESIGN is represented by that form of design -which may have little direct representation of the<span class="pagenum"><a name="page_196" id="page_196"></a>{196}</span> natural forms, but -has been developed from it. We find that the wave border of the -Egyptians and the Greek fret are abstract designs of the water. The -Peruvian Inca, the Aztec and North American Indian used abstract designs -of the bird and other nature forms in their textiles and pottery. The -abstract design requires a careful arrangement of line and form spaces, -depending as it does on good design for interest rather than its -identity to nature forms.</p> - -<p class="sect">LINE UNITY is that principle which appeals to the eye by the relation of -lines in the design to the space decorated. Curved lines for curved -forms and straight lines in the designs decorating straight lined forms -will do much toward making all parts consistent. A line not too curved -and with a blending of straight lines with the curved direction produces -a line of character and strength for design rendering.</p> - -<p class="sect">A TEST OF GOOD DESIGN is to see if the main lines or “frame lines” are -pleasing in direction, decorating the space, whether any more details -are added or not. No amount of filling in and adding of motifs will -perfect an imperfect beginning.</p> - -<p class="sect">BLOCKING IN of general forms is considered essential in freehand drawing -and it cannot be discarded in designing. First plan the main lines of -growth of the design. Then block in the masses or motifs to be used. The -details and connections as well as the technique of the design will then -be a simple matter to solve.</p> - -<p class="sect">THE GREATEST ENJOYMENT to the craftsman in any line of endeavor lies -only through working out of Good Design.</p> - -<p class="sect">WHEN MODELING FOR COLOR CEMENT HANDICRAFT or for any applied art it will -be found that three forms that are least modeled will be most pleasing -in the years of usage. High relief is not refined or deservable in -applied modeling. Sculptors everywhere are studying and returning to the -chaste, quiet forms of<span class="pagenum"><a name="page_197" id="page_197"></a>{197}</span> flat bas-reliefs of which we find excellent -examples among the early work of the Egyptians, Byzantines, the early -Indian and Chinese carvings, as well as the work of the Aztecs and Maya -Indians of early America. A few examples of these types are shown and -workers in color cement will find ultimately that they have chosen a -good influence if they will work their projects in color cement -handicraft in this manner.</p> - -<p>High projecting parts and naturalistic representation of flower or -foliage masses are neither pleasing nor artistic and a visit by anyone -to the good museums will fail to find any such productions from the art -ages of the past recorded as good examples of the era.</p> - -<p>Keep all parts applied to the curved or flat surface of the bowl, vase, -box or tile so that it appears to have been always a part of it rather -than an afterthought and detachable in relation.<span class="pagenum"><a name="page_198" id="page_198"></a>{198}</span></p> - -<p><a name="HELPFUL_DESIGN_PRINCIPLES_FOR_COLOR_CEMENT_WORK" id="HELPFUL_DESIGN_PRINCIPLES_FOR_COLOR_CEMENT_WORK"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_198_lg.jpg"> -<img src="images/ill_pg_198_sml.jpg" alt="Image unavailable: Helpful Design Principles for Color Cement Work" /></a> -<br /> -<span class="caption">Helpful Design Principles for Color Cement Work</span> -</div> - -<p><span class="pagenum"><a name="page_199" id="page_199"></a>{199}</span></p> - -<p><a name="OUTLINE_PATTERNS_FOR_COLOR_CEMENT_HANDICRAFT" id="OUTLINE_PATTERNS_FOR_COLOR_CEMENT_HANDICRAFT"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_199_lg.jpg"> -<img src="images/ill_pg_199_sml.jpg" alt="Image unavailable: Outline Patterns for Color Cement Handicraft" /></a> -<br /> -<span class="caption">Outline Patterns for Color Cement Handicraft</span> -</div> - -<p><span class="pagenum"><a name="page_200" id="page_200"></a>{200}</span></p> - -<p><a name="TONE_PATTERNS_FOR_COLOR_CEMENT_HANDICRAFT" id="TONE_PATTERNS_FOR_COLOR_CEMENT_HANDICRAFT"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_200_lg.jpg"> -<img src="images/ill_pg_200_sml.jpg" alt="Image unavailable: Tone Patterns for Color Cement Handicraft" /></a> -<br /> -<span class="caption">Tone Patterns for Color Cement Handicraft</span> -</div> - -<p><span class="pagenum"><a name="page_201" id="page_201"></a>{201}</span></p> - -<p><a name="EGYPTIAN_ROMAN_AND_AZTEC_RELIEF_DECORATIONS" id="EGYPTIAN_ROMAN_AND_AZTEC_RELIEF_DECORATIONS"></a></p> - -<div class="figcenter"> -<a href="images/ill_pg_201_lg.jpg"> -<img src="images/ill_pg_201_sml.jpg" alt="Image unavailable: Egyptian, Roman and Aztec Relief Decorations" /></a> -<br /> -<span class="caption">Egyptian, Roman and Aztec Relief Decorations</span> -</div> - -<p><a name="transcrib" id="transcrib"></a></p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="padding:2%;border:3px dotted gray;"> -<tr><th align="center">Typographical errors corrected by the etext transcriber:</th></tr> -<tr><td align="left">tested with a Beaume=> tested with a Baumé {pg 175}</td></tr> -<tr><td align="left">40 degrees Baume=> 40 degrees Baumé {pg 153}</td></tr> -</table> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Color Cement Handicraft, by -Pedro J. 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