,illustration3 ,,color ,,cement ,,tiles ,,and ,,pottery ,illustration3 ,,color ,,cement ,,handicraft ,,pedro,j,,lemos ,,reta,a,,lemos ,,the ,,davis ,,press ,,worcester ,,massachusetts ,copyright1 #aibb by ,the ,davis ,press1 ,inc4 ,worcester1 ,mass4 ,printed in the ,united ,states of ,america ,dedicated to ,,robert ,b4 ,,harshe ,director of the ,chicago ,art ,institute for his early recognition and encouragement of ,color ,cement ,handicraft ,,table ,,of ,,contents ,page ,foreword #i ,chapter #a4 ,materials and ,equipment #aa ,chapter #b4 ,the ,making of ,plaster ,molds #ba ,chapter #c4 ,plain and ,incised ,cement ,tiles #cc ,chapter #d4 ,making ,vases and ,bowls #dg ,chapter #e4 ,the ,use of ,color in ,cement ,tiles #eg ,chapter #f4 ,color ,cement ,relief ,tiles #fg ,chapter #g4 ,the ,majolica ,tile #ge ,chapter #h4 ,sgraffito ,color ,cement ,work #hg ,chapter #i4 ,modeled and ,carved ,color ,cement #ie ,chapter #aj4 ,color ,cement for ,bowls and ,vases #ajc ,chapter #aa4 ,glass ,mosaic ,tiles #aaa ,chapter #ab4 ,flower ,boxes and ,other ,straight ,forms #aai ,chapter #ac4 ,color ,cement for the ,garden #abi ,chapter #ad4 ,the ,making of ,candlesticks and ,book ,supports #ada ,chapter #ae4 ,color ,cement for ,interior ,decoration #adg ,chapter #af4 ,surface ,finishes #aei ,chapter #ag4 ,decorations in the ,open #afe ,chapter #ah4 ,tile and ,pottery with ,color ,magnesite ,cement ,work #agc ,chapter #ai4 ,color ,cement ,projects for the ,schoolroom #agi ,chapter #bj4 ,designing for ,tiles and ,pottery #aia ,,list ,,of ,,illustrations ,page ,color ,cement ,tiles and ,vases4 ,frontispiece in color ,tools for ,color ,cement ,handicraft #ah ,the ,mixing of ,plaster-of-,paris #ai ,helpful ,material for ,color ,cement ,handicraft #bj ,the ,making of ,plaster ,molds #cj ,the ,making of ,molds #ca ,how to ,make ,color ,cement ,tiles #dd ,cement ,tile ,textures #de ,the ,incised ,tile #df ,vase ,molds #ee ,the ,finishing of ,cement ,pottery #ef ,use of ,color in ,cement ,tiles #fd ,color ,tile ,methods #fe ,plaster and ,clay ,modeled ,cement ,tiles #gc ,color ,cement ,tiles and ,pottery by ,art ,school ,students #gd ,the ,majolica ,tile #hc ,slip ,painted ,tiles #hd ,slip ,painted ,tile ,methods #he ,sgraffito ,tile and ,sgraffito in ,architecture #ic ,modeled and ,carved ,cement ,tile ,methods #ajb ,color ,cement ,vases #ajh ,color ,cement ,vases #aji ,mosaic ,tile ,method #aaf ,mosaic ,tiles #aag ,mosaic ,stone ,tiles #aah ,three ,cement ,box ,methods #abf ,the ,making of a ,cement ,box #abg ,helps in ,cement ,garden ,pottery #acg ,application of ,cement ,tiles to ,architectural ,use #ach ,color ,cement ,flagstones used for a ,bridge1 ,garden ,pathway and ,entrance #aci ,color ,cement ,used for ,chimney ,stones and ,flagstones #adj ,book ,support and ,candlestick ,molds #ade ,color ,cement ,tiles for ,interior ,decoration #aed ,color ,cement ,tiles for the ,fireplace #aee ,tile ,patterns for ,wall or ,floor #aef ,the ,unit ,tile and ,application #aeg ,cement ,tiles and ,woodwork #aeh ,a ,surface ,finish for ,cement ,handicraft #afd ,decorations ,painted with ,color ,cement #aga ,cement ,color ,painted ,decorations ,applied #agb ,the ,making of ,magnesite ,cement #agg ,magnesite ,objects ,cast from ,molds #agh ,schoolroom ,projects in ,cement #ahe ,a ,tile in ,cement made in the ,grammar ,grades #ahf ,a ,tile made in the ,intermediate ,grades #ahg ,color ,cement ,tiles and ,pottery made by the ,students of a ,high ,school #ahh ,problems in ,cement by ,students of an ,art ,school #ahi ,helpful ,design ,principles for ,color ,cement ,work #aih ,outline ,patterns for ,color ,cement ,handicraft #aii ,tone ,patterns for ,color ,cement ,handicraft #bjj ,egyptian1 ,roman1 and ,aztec ,relief ,decorations #bja ,,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 age4 ,industrial and vocational educators have recognized this importance and thousands of school children have received instruction in its use and application to objects of utility4 ,its use has been the subject of many books1 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 objects4 ,we heretofore have thought of cement in terms of rough surfaces and crude retaining walls1 little thinking that beautiful patterns and textures are possible with proper combinations of color with cement1 presenting possibilities for producing art tiles1 pottery1 and decorations of a high art quality4 ,after a study some years ago of the various forms of producing clay pottery and its possible relation to school arts and industrial education1 the handicap of necessary firing to give permanency loomed large against its general adaptation by schools4 ,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 pottery4 ,particular attention was given to simplifying the process of securing permanent form to many of the plastic forms of schoolroom art1 which have been presented in clay and other perishable mediums4 ,with the projects presented in the following chapters permanent useful objects can be secured by students in their school art subjects4 ,attention was also given to the enriching or refining by decoration the many objects heretofore made in cement and concrete by vocational classes4 ,the problems and methods explained in the following description solve this need4 ,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 needs1 in that the necessary working equipment is simple and the work can be done within small space4 ,the following chapters by no means complete the story of color cement4 ,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 achievements4 ,the results achieved have been accomplished through several years' patient experimenting by the authors1 but the realization that many other teachers1 craftsmen and students will be aided in continuing this delightful1 durable handicraft1 is in itself an enjoyable reward to the authors for their efforts4 ,reta ,a4 ,lemos ,pedro ,j4 ,lemos ,illustration ,,chapter #a ,materials and ,equipment ,illustration ,,in ,,the ,,making ,,of ,,color ,,cement ,,handicraft the chief material used is ,portland cement4 ,while this material has assumed a most important part in the building history of our present time1 there are not many who know its history and source1 and as every craftsman is a better craftsman if he knows something of the story of the material with which he works1 here is the brief story of ,portland cement4 ,,portland ,,cement ,,derives ,,its ,,name because of resemblance in color to a stone quarried near ,portland1 ,england1 and it was named by its inventor1 ,joseph ,aspdin in #ahbd4 ,it is a manufactured product produced by a scientific process4 ,at the beginning of the ,christian era the ,romans used a natural cement very extensively1 and many fragments of color frescoes and friezes remain from the work of the ancients1 showing that they used color with their work4 ,,the ,,principal ,,ingredients ,,of ,,portland ,,cement are lime1 silica1 iron1 and alumina4 ,these materials are mixed in definite proportions and then subjected to a degree of heat that almost causes them to melt1 forming a clinker or slag4 ,this clinker is ground until it is reduced to a powder1 and this is the ,portland cement4 ,portland cement is generally mixed with an aggregate to produce strength and this aggregate is usually stone1 gravel or sand4 ,the third material needed to complete the combination is water4 ,,success ,,in ,,the ,,use ,,of ,,cement depends largely upon cement that is fresh4 ,cement is very sensitive to moisture and if kept where fogs1 dew or moisture of any nature is absorbed into it1 the first set or 8hydration0 takes place and destroys its use for fine handicraft4 ,,to ,,test ,,fresh ,,cement when the cement sack is open1 thrust the hand into it and see that no hard lumps are in it4 ,fresh cement will feel slippery and soapy when rubbed between the finger tips4 ,if it feels gritty and sandy it may do for the rough parts or body of vases and tiles1 but only fresh cement should be used to mix with color and for surfacing purposes4 ,,the ,,proper ,,care ,,of ,,cement requires that it be kept in a covered receptacle and kept in a dry place1 preferably up from the floor if the floor is near the ground4 ,it should be kept in a dry1 tight work-shop and the doors should be kept closed at night to avoid any moisture from the night air reaching it4 ,nothing can restore spoiled cement and it should not be used as the results will be discouraging4 ,,good ,,grades ,,of ,,aggregates ,,should ,,be ,,used in cement work4 ,clean sand should be used and a sand that is not too fine is preferable4 ,gravel and crushed rock used in large work such as garden seats1 large bowls and outdoor problems should be of a good grade to form a good mixture4 ,,the ,,water ,,used ,,in ,,cement ,,work should be free from all impurities4 ,moderately warmed water will hasten the setting or hardening of cement while very cold water retards the hardening4 ,,there ,,are ,,two ,,colors ,,of ,,cement1 gray and white4 ,portland cement is gray in color and a white cement is also made that is a refined form of cement4 ,white cement is not as hard or durable as gray cement1 but gives a smooth surface and sets as satisfactorily as the gray cement4 ,it is more expensive than the gray cement and should not be used later than six months after the sack is opened4 ,,when ,,cement ,,is ,,used ,,alone ,,it ,,is ,,termed 8,,neat40 ,when it is mixed with rock1 gravel or sand it is termed 8concrete40 ,concrete produces strength and the neat cement produces a smooth texture and surface4 ,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 8flowed0 to the top1 producing a smooth surface4 ,,molds ,,are ,,used ,,for ,,forming ,,cement ,,and ,,concrete1 and are made from wood1 metal or plaster-of-,paris4 ,the forms in all instances should be tied or braced together to prevent the moisture of the mixture from running out1 as the water is essential to the successful hardening of the cement4 ,in the making of cement pottery and tiles1 plaster-of-,paris molds or forms are generally used and plaster-of-,paris therefore forms an important material in the making of color cement handicraft4 ,plaster-of-,paris is made in different degrees of setting periods4 ,these are quick-setting1 medium-setting1 and slow-setting4 ,casting plaster or sculptor's plaster should be asked for and a medium-or slow-setting plaster is preferable for the beginner4 ,,cement1 ,,aggregates1 ,,water ,,and ,,plaster ,,form ,,the ,,main ,,parts of our working materials excepting the color1 which is especially described in the chapter on ,color4 ,,the ,,equipment for concrete pottery is simple1 and much of it may be pressed into service from material to be found about the house or workshop4 ,inventive ingenuity on the part of the worker will find clever uses for many discarded kitchen utensils and unused tools4 ,following is a list of convenient things needed to produce pottery4 ,these may be added to or elaborated through personal requirements4 ,,working ,,equipment4 galvanized iron pans about #b x #c feet #b large spoons #d or #e pans #b ladles #a large file or rasp #b table knives #c pieces of ordinary glass about #ab x #ah inches #a palette knife #a lb4 modeling wax #a bristle brush inch wide #b small sable oil brushes1 ,no4 #a or #b #a small clay-modeling tool #b pieces of thin wood for mixing paddles doz4 small saucers or butter dishes strips of thin metal thin soft wire #a sifter #b pails muller and pestle several pieces of surfaced wood about #ab inches square4 ,with a flat table to work on1 running water or a pail of water handy1 a box to receive waste plaster-of-,paris and cement1 the proper environment for color cement is set4 ,,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 end1 reserve for making scrapers and other useful tools4 ,cut the remaining metal into three rectangular sections for trays4 ,to make the trays1 lay one of these pieces over a strong box with an even edge and hammer into tray shape as shown in the accompanying plate4 ,the corners should be bent so as to make the trays waterproof without soldering4 ,a wooden mallet should be used for hammering the metal as a metal hammer may cut the metal4 ,,molding ,,case4 ,several pieces of board hinged together with one series of edges coming so that they will rest evenly on a flat surface1 will produce an adjustable case to use in making molds4 ,a strong cord will keep it in place4 ,a strip of metal 7tin1 brass or iron7 may be used as a cylinder1 the circumference being pressed in and tied to conform to the dimensions of the object to be molded4 ,,mixing ,,paddles4 ,paddles for mixing plaster or cement can be made out of firm wood strips and handles shaped to fit the hand4 ,,incising ,,tools4 ,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 point4 ,nut picks may be filed down slightly for this purpose4 ,two or three points of varying widths will be handy to have1 particularly when some of them disappear occasionally as all small tools will4 ,,scraper4 ,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 produced4 ,for class use two strips of wood are fastened to the bench1 the desired width separating the strips4 ,between these strips a piece of strong paper should be laid and the clay or plasticene pressed firmly onto it between the strips4 ,the scraper will shave the surplus clay if it is moved along so that the wire rests on the wooden strips4 ,measure off the six-inch or eight-inch squares1 cut across with a knife from strip to strip and remove the squares by sliding the paper out4 ,this will give a smooth1 even surface on which to model or incise designs4 ,,the ,,other ,,items ,,of ,,equipment all have their part to play as follows3 #b large spoons--,for handling plaster and cement4 #a large file or rasp--,for occasional use on the tile edge4 #c pieces of glass--,on which to cast tiles4 #b table knives--,for paring molds1 etc4 #a palette knife--,for working color into cement4 #a bristle brush--,with which to oil molds4 ,small modeling tool--,to use on clay and plasticene4 ,nut picks--,for incising4 doz4 small saucers--,in which to mix colors4 ,thin soft wire--,for cutting molds4 ,sifter--,to sift cement and color for glazes4 #b pails--,in which to mix cement and plaster4 ,muller and pestle--,grinding mineral colors with cement4 ,it may be unnecessary to add that the old axiom 8,a place for everything and everything in its place10 will do wonders toward keeping the temper sweet1 and a good temper is a most necessary ingredient for producing good cement handicraft4 ,illustration3 ,tools for ,color ,cement ,handicraft ,illustration3 ,the ,mixing of ,plaster-of-,paris ,illustration3 ,helpful ,material for ,color ,cement ,handicraft ,illustration ,,chapter #b ,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 cement4 ,it is not at all difficult and for those who have not used plaster1 there awaits an interesting medium for all forms of plastic applications or adaptations4 ,our concern with it will be in the making of successful molds for the producing or reproducing of our cement tiles and pottery1 but a whole book could be written upon the making of plaster objects4 ,the uses of plaster form a large industry and many art objects are produced in plaster for many forms of applied art4 ,,plaster ,,is ,,sensitive to moisture1 and should be kept in a dry place4 ,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 pulverize4 ,it is always safer to purchase an entire sack than to purchase a small lot from the hardware dealer1 grocer1 or druggist1 for the chances are that his plaster has been exposed in a bin so long that its strength has vanished4 ,this is mentioned because instances have been known where trouble in cast making was traced to just such conditions4 ,,on ,,receiving ,,the ,,sacks ,,of ,,plaster ,,and ,,cement the tendency will be to let contents remain in the sacks4 ,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 made4 ,a tin tray under the box or barrel will catch all waste that may drop around the edge1 preventing the material from being tracked over the floor4 ,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 it4 ,,there ,,are ,,various ,,grades ,,of ,,plaster1 but the best for this purpose is molding plaster4 ,the plaster should always be kept in a good dry location4 ,,to ,,mix ,,plaster ,,successfully for molds observe the following directions3 ,a bucket or pan large enough to contain the required amount of plaster needed should be used4 ,then half the water for the amount of plaster used should be poured into the bucket4 ,sift the plaster-of-,paris through the fingers into the water1 until the water absorbs it no longer4 ,this can be determined by small portions of the plaster remaining on the surface4 ,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 slowly4 ,,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 height4 ,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 break4 ,care should be taken that the plaster is not too thick before being poured4 ,this stage of the proceedings requires one having their wits alert1 and discussing ,futurist art or any other topic may result in 8try1 try again40 ,if the plaster appears too thin more plaster should be added until it is the proper consistency4 ,after the plaster is poured it should set for about half an hour 7varying according to the dryness of the atmosphere7 before any attempt is made to remove it4 ,meanwhile all buckets1 paddles1 ladles1 etc41 containing plaster should be cleaned while the plaster is soft and easy to remove4 ,,when ,,the ,,plaster ,,mold ,,is ,,ready ,,to ,,remove1 a table knife slightly inserted between partitions and carefully pryed will cause the parts to separate4 ,a most important part of casting molds and the using of the plaster molds is the oiling4 ,all parts of the molds to come in contact with fresh plaster1 cement or concrete must be thoroughly oiled or greased to prevent them sticking to each other4 ,if wood1 glass or metal is used with plaster1 cement or concrete1 remember to oil or grease such surface before pouring the plaster or cement on it4 ,if you do not1 you will have to use a chisel and with discouraging results4 ,the best way to oil the surface is as follows3 ,,glass--,apply salad oil with brush or cloth removing as much as will come with the palm of the hand4 ,,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 cement4 ,wipe off surface moisture with soft cloth1 and replace with oil1 before using for molding4 ,if oil is left thick or in brush streaks1 it will leave its influence on the surface of the casting4 ,,wood--,a smooth-surfaced wood should always be used1 and oiled well4 ,a good grease formula for all surfaces is as follows3 ,three parts paraffin and one part tallow1 melt and add one pint of kerosene4 ,this is applied with a brush4 ,,as ,,an ,,experiment ,,problem for the use of plaster so as to become familiar with its use1 we will proceed with the casting of a simple flat plaster tile4 ,taking a piece of glass1 smooth board1 marble or oil cloth1 brush the surface with a little salad or lubricating oil1 or linseed oil4 ,there should be no free oil on the surface or streaks of oil as such will cause an uneven surface4 ,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 mold4 ,these retaining bars or walls may be of various materials4 ,strips of wood or plaster are excellent and strips of linoleum1 metal and even glass are used4 ,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 down1 by being placed as shown in the diagram4 ,,to ,,oil ,,the ,,retaining ,,bars1 brush the surface to come in contact with the plaster and then hold the wood in position over the diagram below1 using modeling wax or clay to keep it in position4 ,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 poured4 ,,plaster ,,hardens ,,slowly ,,in ,,cold ,,weather and hardens rapidly in a warm temperature4 ,salt added to plaster will cause it to set more rapidly and to harden more firmly4 ,no exact proportion can be given--just a little sprinkled in a pan of plaster will cause it to set more rapidly4 ,,different ,,plasters ,,set ,,at ,,different ,,periods4 ,as has been described before1 casting plasters can be secured in quick-setting1 medium-or slow-setting mixtures4 ,medium-setting or slow-setting will be found to be good average mixtures for use4 ,,to ,,release ,,the ,,plaster ,,tile after it has hardened 7generally a half hour will insure the hardening action as being completed71 the bars can be released and the tile gently lifted at one corner will cause it to come apart from the oiled surface4 ,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 separated4 ,if oilcloth is used the tile can be turned over and the oilcloth peeled off easily4 ,this of course is necessary only where any sticking occurs1 for most times the tile will separate easily4 ,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 oiling4 ,plaster dries rapidly and will dry in the sun more rapidly4 ,when plaster is damp it can be scraped or carved easily4 ,temperature and the age of the plaster affect its drying periods4 ,,large ,,tile ,,molds should be strengthened by having burlap strips or wire imbedded into the back while the plaster is soft4 ,this creates a stronger layer than where plaster alone is used4 ,wood strips should not be used for backing plaster unless thoroughly dried as otherwise it causes cracking by its shrinkage1 and it is best not to use it for reinforcing4 ,,to ,,correct ,,faults ,,in ,,plaster ,,casts use a little of the plaster scraped from the back to fill in holes or defects4 ,if a corner or portion is broken off1 gouge a hole or cavity so that a little plaster mixed and placed on that section will become firmly connected4 ,as it hardens1 a little of it can then be scraped with a knife to connect correctly with the surrounding parts or surface4 ,a ,,second ,,practice ,,problem is to take the plaster tile and incise a line pattern in the surface4 ,to make the incising easier1 dip the tile in water and then trace the design previously prepared onto the plaster4 ,pressure alone on the paper with a pencil will make an indentation on the plaster that can be easily followed in the incising4 ,,the ,,designs ,,for ,,incised ,,patterns are best where the lines enclose a shape4 ,the parts are more comprehensive and confusion of the lines will not result if simple outlines are used4 ,in the chapter on ,design1 line patterns are shown that are adaptable to incised work4 ,,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 side4 ,if any undercuts are produced the cast or plaster that is poured into it will become locked and refuse to separate4 ,the tile is next immersed in water1 taken out and after the water is absorbed1 a brushing of oil is given to it4 ,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 cement4 ,otherwise repeated brushing of damp plaster with the oil brush will gradually wear the edges and details of the mold away4 ,,to ,,make ,a ,,cast ,,from ,,the ,,plaster ,,mold1 it is surrounded with the retaining bars after they have been oiled and held in position with the modeling wax or clay2 this time they are placed firmly against the sides of the plaster mold4 ,,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 cast4 ,the cast in turn may become a mold for another cast4 ,,to ,,separate ,,the ,,cast ,,from ,,the ,,mold the bars are removed and a knife edge is pressed between the parts to separate them4 ,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 break4 ,if it refuses to come apart easily when completely dry1 a little wooden wedge tapped into the crevices in one or two places will cause it to part easily4 ,sometimes plaster flows over the sides of the mold and binds the edges together4 ,on removing the mold and cast from the retaining bars1 examine it to see if any plaster is binding it and if so remove it4 ,,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 again4 ,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 located4 ,,the ,,two ,,plaster ,,tiles ,,should ,,be ,,retained for they can be used in casting plain cement and color cement tiles in various finishes4 ,when they have completely dried they should be given two or three coats of thin shellac1 a day apart1 on the surface only1 which will make them good durable molds for future use4 ,,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 ,vases1 directions for casting objects in the round will be given here4 ,,as ,a ,,good ,,test ,,problem take any small object or toy and1 if it is wood1 oil it well4 ,if it is porcelain or glass it will not need to be oiled4 ,a simple form1 animal or bird1 can be made in modeling wax or clay to be used as the original or model from which to make a mold4 ,the best objects are those modeled in broad surfaces with but little detail4 ,,preparing ,,for ,,casting4 ,the equator or half-way mark should be marked on the surface of the object1 as one-half of the mold should be made at a time4 ,instead of one-half1 one-third is often used on round objects to permit easier release of the molds4 ,mold divisions when possible should follow corners of objects4 ,,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 molds4 ,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 plate4 ,in this method a strip of linoleum or metal can be placed around it to make a retaining wall for the plaster4 ,,after ,,the ,,first ,,section is cast1 the model is removed from the plaster and if the plaster has risen past the equator it should be scraped back and indentations or 8keys0 made in the plaster portions that are not those producing the parts of the model4 ,the model is replaced in its hollow and the entire surface of the mold that is exposed is oiled1 including the sides of the metal1 linoleum or whatever is used as retaining walls4 ,plaster is again poured for the second half after which it is permitted to dry before separating the mold sections4 ,,oiling4 ,it must be remembered that the molds must be oiled after each casting as each pouring absorbs the oil4 ,all surfaces coming in contact with the next pouring of plaster must be oiled to cause separation4 ,,pouring4 ,a hole must be cut in the molds to permit the plaster to enter4 ,air holes leading upward as shown in the engraving are scraped upward out of the molds to permit the escape of the air2 otherwise air bubbles may be formed in the plaster causing defects4 ,,to ,,hold ,,mold ,,parts ,,together tie a cord or wire around parts4 ,notches cut on corners or edges of molds to hold the tieing cord will prevent them from slipping4 ,molds should fit closely together4 ,if for any reason they do not1 the crevices can be filled with modeling wax as a temporary filler4 ,the best results are obtained1 however1 from perfect molds and it is a saving of time to make a mold over if it is not perfect in the first casting4 ,,releasing ,,cast4 ,after the plaster has set long enough to harden1 the molds are opened by gentle prying or tapping with a wooden wedge4 ,often an obstinate cast is released by placing the mold over a stove or flame for a few seconds4 ,this causes the steam formed in the mold to separate the mold from the cast4 ,,cement ,,bowls ,,and ,,vases are made by pouring thin cement into the molds and rotating the mold and pouring out the surplus cement4 ,after a few minutes another layer is poured in and the operation repeated4 ,this method is explained more fully in the chapter on ,bowls and ,vases4 ,illustration3 ,the ,making of ,plaster ,molds ,illustration3 ,the ,making of ,molds ,illustration ,,chapter #c ,plain and ,incised ,cement ,tiles ,illustration ,a ,,knowledge ,,in ,,mixing ,,cement is the next step necessary in ,color ,cement ,handicraft4 ,the steps necessary toward mixing cement are simple1 the main point being that the cement should be fresh4 ,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 mixture4 ,as formerly explained the cement should have a smooth1 slippery feeling when passed between the fingers4 ,,neat ,,cement is the term applied to cement mixed with water without the addition of any sand or gravel4 ,neat cement produces a very smooth surface and responds to reproducing every change in the surface of the model4 ,it should be used on the surface only and not for the entire tile or pottery4 ,if used without any sand or gravel1 it is termed 8too fat10 and has the fault of cracking sooner or later4 ,therefore neat cement is always backed up with a concrete mixture4 ,,concrete is a mixture of sand and cement1 gravel and cement1 or rock and cement4 ,in all instances where such a mixture is made1 the two parts should be mixed dry before any water is added4 ,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 harden4 ,,to ,,secure ,a ,,very ,,fine ,,smooth ,,surface for tiles or pottery the cement should be used neat4 ,it must be sifted dry through a fine sieve and enough water added to make it of easy working consistency4 ,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 cement4 ,cement or concrete can stand for an hour or two and again be used by adding more water and mixing thoroughly4 ,this cannot be done with plaster and should be avoided with cement or concrete4 ,if chemical action has commenced and the cement has partly set1 it naturally will have lost much of its strength for second use4 ,a ,,concrete ,,mixture of one part cement and two parts sand or gravel will give good strength4 ,the sand or gravel must be clean4 ,if it contains any vegetable matter or other sediment1 it should be avoided4 ,to test your sand quality put a four-inch layer in an ordinary quart jar1 fill with water within three inches of the top4 ,cover and shake well4 ,then permit the sand to settle4 ,if the sediment or loam which remains at the top of the sand is one-half inch or more1 the sand is not fit for use in concrete4 ,,cement ,,mixtures ,,adaptable ,,to ,,various ,,uses are given below4 ,these may be used for backing and reinforcing large problems1 in garden pottery1 garden furniture or walls4 #a4 ,,rich ,,mixture #a part cement #b parts sand #e parts gravel #b4 ,,standard ,,mixture #a part cement #b parts sand #d parts gravel #c4 ,,medium ,,mixture #a part cement #b parts sand #c parts gravel #d4 ,,lean ,,mixture #a part cement #c parts sand #f parts gravel ,cement and sand mixed dry first1 then with water4 ,the gravel is mixed wet with other mixture and thoroughly combined4 ,builders use the ,rich ,mixture for columns and high stresses1 and where water tightness is necessary4 ,standard ,mixture is used for arches1 for tanks and sewers1 and for machine foundations4 ,the ,medium ,mixture is used for piers1 sidewalks1 and heavy walls4 ,the ,lean ,mixture is used for walls1 foundations and for unimportant work4 ,,the ,,first ,,problems ,,in ,,cement should be the casting of cement tiles without the use of color4 ,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 layer4 ,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 sand4 ,this will result in a tile with the top and sides surfaced with neat cement4 ,the surfaces of the bars and the glass or other under surface have of course been properly oiled previous to the pouring4 ,,before ,,proceeding ,,with ,,tile ,,making it may be necessary to make a number of plaster bars to use as retaining walls4 ,these are made as follows3 ,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 oil4 ,the distance between the strips of wood should be about ten inches1 as the length will then serve for producing eight-inch tiles or any size under this dimension4 ,the edges of the wood facing inward should always be oiled1 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 glass4 ,this will leave a channel between the two wooden strips into which the plaster is poured4 ,the two ends of the channel may be stopped with blocks of wood or blocked with wax or clay4 ,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 plaster4 ,run this back and forth to trim off the surplus1 so that the plaster will have an even thickness when removed from its bed4 ,,to ,,remove ,,the ,,plaster first remove the wooden strips and then tap the layer of plaster lightly on the edge with a hammer4 ,this will loosen it4 ,then with a ,t square and sharp nail mark off bars five-eighths inch wide and also bars one and one-quarter inches wide4 ,at least twelve bars of each width should be made4 ,after drying for three days the bars may be sawed apart with any sharp saw1 care being taken to hold the saw within the groove made by the nail4 ,the edges of the bars may be further smoothed if necessary with a knife or file4 ,,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 walls4 ,,to ,,make ,,an ,,incised ,,tile in plain cement proceed as follows3 ,roll out clay or modeling wax to about one-half inch thickness and cut to the desired size of tile4 ,cover this smooth surface1 place a design which has been made on thin paper and trace with a pencil4 ,the paper should be held so as not to slip and the result should be a slight indentation of the design on the clay4 ,these lines are then incised over with the incising tool to the desired depth1 care being taken that no over-hanging edges remain on the edges of the incisions4 ,the incisions should have sides slightly sloping inward and if the tool is correctly shaped it will produce such lines4 ,,the ,,design should be planned to be at least one-half inch from edge and simple in construction4 ,avoid a tangle of ever crossing lines4 ,a geometrical arrangement dividing the square into pleasing spaces will produce the best results4 ,place the tile on a level surface and take four bars of the one and one-fourth inch plaster strips or wood1 soak in water for fifteen minutes1 wipe dry and oil4 ,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 wax4 ,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 dimensions4 ,onto this pour plaster-of-,paris1 pour into the center letting it run toward the edges forcing all air ahead of it as it enters the incisions4 ,level off surface and remove the plaster cast from the mold as soon as it has hardened4 ,,to ,,release ,,the ,,plaster ,,cast first remove the surrounding bars and lift the plaster tile off the clay4 ,the plaster tile will have the design in relief on the surface4 ,if any clay is adhering to these relief lines1 it is evidence that there are overhanging edges and such edges should be trimmed with a knife before the next step4 ,the next step is as follows3 ,after plaster tile is dry put it in water for a few minutes1 then oil the surface well4 ,place back in the bars and repeat previous operations excepting that this time a cement mixture is used instead of plaster4 ,a mixture of neat cement should be used half way up and permitted to remain for five minutes before the concrete 7one-third concrete1 two-thirds sand7 is poured in for the remaining half4 ,,in ,,mixing ,,sand ,,and ,,cement it should be remembered that they should be mixed together thoroughly while dry before any water is added4 ,after the cement has been poured into the form1 if it is to be used for floor or wall purposes1 four small squares of cardboard should be pressed into the exposed cement which is the back of the tile4 ,this should be done about fifteen minutes after the cement has been poured1 when it is not too soft4 ,the tile may be removed after it has remained in the form for twenty-four hours4 ,a thin cement mixture of another color may be made and brushed over the tile and the surplus removed1 leaving the last color only in the incisions4 ,,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 less1 making a mold of this tile and in turn casting a concrete tile4 ,the result will be a surface with relief section and low spaces1 the relief being concrete and rough in texture4 ,these low spaces are then filled with a colored cement of another color1 or neat cement1 and brought to the level of the relief surface4 ,such a tile secures a pattern adaptable to tile walks1 or any surface which is subjected to wear1 in that the design is not only a thin surface layer1 but a thick portion of color that will not disappear with the wearing of the surface layer4 ,a ,,simple ,,method ,,of ,,making ,,tile ,,molds is to cut a design from a thick piece of cardboard or sections of a design1 and glue these in proper position to carry out a design arrangement4 ,these pieces should be cut with tapering sides so as to permit of proper 8draught0 or releasing conditions when the plaster cast is made for mold purposes4 ,the pieces of cardboard should remain glued until dried to avoid the moisture of the soft plaster moving the parts around4 ,,without ,,the ,,use ,,of ,,color a number of pleasing and varying textures can be secured with plain cement1 as the gray color of the cement has an artistic quality1 and it is well to become well grounded in the use of cement before combining color with it4 ,,several ,,ways ,,of ,,using ,,plain ,,cement ,,for ,,tiles beside those already given are explained in the following descriptions4 ,these are termed ,traced ,cement1 ,burnished ,cement1 ,scraped ,cement1 ,concrete ,tile1 ,cement and ,concrete ,tile1 ,glazed and ,dull ,cement ,tile1 ,glazed ,relief ,line ,tile4 ,,the ,,traced ,,cement ,,tile is made by pouring a half-inch mixture of concrete 7one-third cement1 two-thirds sand7 into a mold made with the usual retaining bars of any desired dimensions4 ,over this concrete mixture a layer of about one-quarter of an inch of sifted neat cement mixed with water should be placed4 ,at a certain degree of hardness this layer of neat cement will yield to a slight indentation or traced outline4 ,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 soft4 ,a good plan is to pour the mixture in the evening and it is generally in right consistency to work upon on the following morning4 ,the surface should be nearly hard but still sensitive to pressure with a point4 ,,having ,,prepared ,,the ,,design on a piece of paper about the weight of business writing paper1 the design is placed on the surface of the tile and kept in the same location while a blunt1 soft lead pencil is traced over the pattern1 pressing firmly to create a good indented line in the cement surface4 ,the design for this work is best where the pattern is easily expressed in lines or outlined forms4 ,the forms can be increased in strength by rubbing the pencil on the outer edge of the lines to be slightly modeled in separate appearance4 ,when the design has been completely gone over1 the tile is placed in water for several days1 after which it is dried and a thin coating of color wash 7see chapter on ,surface ,finishes7 may be added to it which will further the pattern by coloring the traced lines4 ,,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 manner1 excepting that the spaces between the forms are burnished smooth with the dull pointed pencil or a smooth small stick4 ,this results in some parts being burnished or pressed down while others remain in slight relief4 ,a change in this is also produced by scraping the smooth surface off between the lines in certain places instead of burnishing it4 ,this results in parts of the surface being of a different texture and also of a little different color1 as the scraped parts are different in both these respects to the cement which has dried and remains untouched on the surface4 ,a ,,second ,,burnished ,,tile ,,effect is to pour a layer of neat cement first in the mold and a concrete mixture last4 ,when this is hard enough to remove1 and still soft enough to work upon 7the 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 layer7 it should be removed and the design traced upon this neat cement surface4 ,if a leather tool or smooth hard point is used1 certain parts as desired can be worked upon1 smoothed down or pressed in1 through the paper which will create a change of surface texture4 ,,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 cement1 the entire design being produced without a plaster mold being used4 ,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 problems4 ,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 ,cement4 ,,the ,,concrete ,,tile4 ,varying finishes may be secured in casting any cement tile by the kind of aggregate used with the cement4 ,a rough irregular small crushed rock will give one kind of texture1 while a round small white gravel will give another and each change will present different effects4 ,without going into extremes of finishes or having too many changes in the surface of a tile1 pleasing effects can be secured by one to three changes of texture secured by putting different mixtures in different parts4 ,this may be done by mixing and applying with a brush or spoon the different mixtures into the mold1 placing the mixtures each in their proper section of the mold4 ,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 mold4 ,where a concrete mixture is to appear rough in texture1 the sand or gravel and cement should be mixed dry1 just enough water added to cause it to mix up to a damp consistency so that it can be shaped with the hand4 ,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 mold4 ,this will result in a porous1 open texture1 producing good contrast with neat cement parts that have been previously placed or are to be added4 ,,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 concrete4 ,the design for such a tile is best where the parts are separated either by an incision or a relief line4 ,the plaster mold should therefore present separate portions1 some of which can be considered for the cement parts and others for the concrete parts4 ,by mixing neat cement until it is of a thin mixture1 the mixture can be placed on the mold wherever wanted by dripping it from a brush4 ,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 plaster4 ,after the cement has been placed1 a concrete mixture is made and poured into the space up to the desired height to produce the necessary thickness4 ,this will at the same time fill in the remaining surface spaces of the tile4 ,,the ,,glazed ,,and ,,dull ,,cement ,,tile is produced by filling in with clay or glued cardboard bits cut to shape1 those parts that are to be glazed gray cement4 ,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 finishing4 ,after the cardboard or clay is dry a layer of neat cement is poured in1 and backed with the usual concrete mixture4 ,after the tile is released1 the cardboard bits or clay is removed and cleaned out1 the surface under it is roughened with scratched lines and the tile is put in water for an hour4 ,the spaces are then filled with a mixture of neat cement and permitted to harden in a shallow tray of water4 ,,to ,,make ,,glazed ,,cement ,,surface it is important that these steps be watched3 #ast4 ,that the surface be roughened wherever the glazed surface is to appear4 #b;d4 ,that the tile be soaked in clean water until it has fully absorbed water4 #c;d4 ,that a little dry neat cement be placed on the spaces to have glazed effect4 #dth4 ,that the neat cement should be sifted and dripped on with a brush and not gone over a second time4 #eth4 ,that the tile is taken out and dried and the glazed and dull neat cement will create the change of surface texture as planned4 ,a bloom or chalk-like powder often comes on the surface of tiles1 but will disappear within a short time and need not cause any anxiety4 ,,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 surface4 ,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 lines4 ,the tile is set in a shallow layer of water to harden4 ,,other ,,variations ,,in ,,tile ,,effects can be made by combining these methods and with the use of color in these different methods described1 unlimited avenues are opened to the worker in color cement4 ,it should be remembered also that most of these methods of surface treatment are also possible in other forms beside flat or tile surfaces4 ,the student should know these methods of working with plain cement and concrete as they are the foundation of successful ,color ,cement ,handicraft4 ,illustration3 ,how to ,make ,color ,cement ,tiles ,illustration3 ,cement ,tile ,textures ,illustration3 ,the ,incised ,tile ,illustration ,,chapter #d ,making ,vases and ,bowls ,illustration ,,making ,,vases ,,and ,,bowls is a little more complicated than the making of tiles1 but by following the directions carefully it will be found that once the process is worked out1 it can be easily repeated4 ,,four ,,definite ,,operations are necessary to produce a bowl or vase and they may be termed as follows3 #ast4 ,making or preparing the original model4 #b;d4 ,making the molding case from the model4 #c;d4 ,pouring the concrete into the molding case4 #dth4 ,releasing the mold and completing the object cast4 ,,the ,,first ,,step1 making the original model1 is as follows3 ,with clay or modeling wax build a form of the vase or bowl desired4 ,the inside need not be considered2 that is1 do not make the form hollow but build it solid4 ,care should be taken to see that the contour is even and alike when viewed from all sides4 ,a templet cut from metal1 wood or stiff cardboard1 will help in securing perfect contour if moved around on the outside and corrections made accordingly4 ,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 bottom4 ,the form is then ready to make a mold from it4 ,,any ,,vase ,,or ,,bowl ,,can ,,be ,,duplicated in cement by making a plaster mold from it4 ,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 wax4 ,if the surface is glazed it need not be oiled before casting1 but all dull or rough surfaces should be oiled4 ,,the ,,second ,,step1 making the molding case1 is as follows3 ,take the model 7clay or vase to be duplicated7 and place it upon an oiled glass or other smooth surface4 ,marking off about one-third of its diameter1 build a narrow strip of clay or wax on two sides from top to bottom4 ,this ridge or wall should extend far enough out to meet the molding case or metal strip1 and the two walls of clay and the metal or case should be made proof against the plaster running out anywhere1 when it is poured into this well4 ,after the plaster is set1 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 7see working plate74 ,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 made4 ,to make the third or last piece of the mold the two first sections are retained in position 7always boring keys and oiling exposed edges71 the case or metal wall again placed in position and the plaster poured into the opening4 ,the plaster should not be too thin and if a little is poured into the bottom and allowed to set before pouring the whole amount1 it will not be forced out through the bottom4 ,of course all openings must previously have been stopped with clay or wax4 ,,to ,,strengthen ,a ,,mold strips of burlap or wire screening can be imbedded in the plaster while it is soft4 ,this makes a durable mold capable of withstanding much handling4 ,,to ,,make ,,the ,,mold ,,for ,,the ,,bottom the three sections are turned upside down 7the model still being in position7 and the plaster parts all being oiled1 a ring of clay is placed around the bottom so as to make a cup shape into which the plaster is poured4 ,,the ,,third ,,step is the most important part as the mixture or 8slip0 for the pouring is important4 ,the first mixture should be neat cement and water and should be rather thick1 for if too thin it will not adhere to the walls of the mold4 ,when the neat cement is ready it should be poured into the bowl about half-way full4 ,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 mixed4 ,then after a half-hour or so another mixture of slip should be rotated4 ,this mixture should be composed of a one-third cement and two-thirds sand mixture and be thinner in consistency4 ,if the bowl is large and the walls need to be thick a third and fourth layer may be necessary4 ,,the ,,last ,,layer ,,of ,,slip can be of neat cement which will finish the inside with a smooth surface4 ,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 vase4 ,,the ,,fourth ,,step or releasing the mold1 should occur the second or third day after the pouring has taken place4 ,this elapse of time depends all upon weather conditions4 ,in summer cement dries more rapidly and not so well4 ,in winter the hardening is more slowly accomplished but more perfectly4 ,,the ,,drying ,,of ,,cement is best when it occurs gradually4 ,never place cement in the sun or use artificial heat to force it4 ,checking1 cracking and breaking will surely result if this is done4 ,for this reason the tiles and pottery made with cement should dry gradually in the shade but not in a draughty location4 ,to release a vase or bowl from the mold1 the cords are untied and the plaster mold parts opened4 ,the cement cast1 if successful1 will separate from the mold without trouble4 ,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 surface4 ,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 week4 ,,to ,,finish ,a ,,vase it is removed from the water1 permitted to dry well1 the surface is brushed clean and it can then be waxed or surface finished as described in another chapter of this book4 ,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 breaking4 ,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 surface1 a two-piece mold is sure to result in the breaking of parts4 ,,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 tiles4 ,,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 pouring4 ,in this instance1 however1 the divisions of the plaster molds should be planned so as not to break through the designs4 ,if a continuous design motif is essential1 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 rotation4 ,,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 brush4 ,after the last slip has been added to a bowl1 a design can be added with a brush by using a different color1 placing the color slip in the center of the inside portion of the bowl4 ,this can also be done on the outside surface of any bowl or vase1 creating a change and surface enrichment4 ,,vases ,,with ,,square ,,sides should be produced from plaster molds which have the connecting lines coming on the corners4 ,in this way the casting lines that always show to some extent on the cast surface when it is removed from the mold1 will occur where it will be easy to remove them and if a little does remain it becomes a part of the corner4 ,if any incised lines or relief parts are on the sides of these square formed vases1 a separate piece for each side will be necessary in the plaster mold4 ,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 pan4 ,,where ,,large ,,relief ,,surfaces are to be produced and undercut surfaces molded1 it is then necessary to use glue for the molds4 ,this requires skill in handling4 ,for those who wish to produce molds for such work the following is given3 ,after modeling the surfaces or figures in relief1 if they are to be used on garden pottery1 book-ends1 vases1 etc41 or any design that has undercut surfaces1 it should be covered over entirely with a one-half inch layer or blanket of wet clay or modeling wax4 ,if the modeling has been done in clay it should remain overnight without the usual wet cloth over it1 before placing this second clay layer4 ,if wax is used the clay layer can be placed over it without waiting4 ,deep sections should be lightly filled with clay to reinforce the one-half inch layer4 ,two or three nails should be used to hold the original firmly to a board base4 ,a little plaster-of-,paris should be poured around its base to help make it firm4 ,over this clay blanket lay a strip of clay along the highest part or equator of the surface1 so that the surface is directly in line with the equator4 ,place a casing around and fix so that plaster can be poured1 and a rough casing produced of one half4 ,remove the clay strips and with a pointed piece of metal bore several holes or 8keys0 in the exposed edge of the plaster4 ,oil this edge and cast the second half4 ,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 escape4 ,after the plaster is set it will be found that a casing or shell is produced which when placed over the original model 7the one-half inch clay blanket having been removed7 will leave a space around the entire original model4 ,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 surface4 ,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 replaced4 ,these marks are very necessary4 ,the casings are then given two coatings of shellac and wood alcohol 7one part alcohol1 three parts shellac71 and when dry are oiled well or greased with axle grease4 ,shellac is also applied to the original model whether clay or plaster4 ,plasticene or similar wax need only be oiled slightly4 ,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 table4 ,stop the cracks on the casing with clay dipped in plaster and bind over the casing in the same way 7or with the use of cords7 to prevent the glue from floating the casing4 ,,the ,,glue ,,is ,,prepared as follows3 ,white fish glue or gelatine glue is washed well in water4 ,put in dry can1 placing it in second pan of water and boil until creamy in consistency4 ,when the finger can be dipped into it without burning1 the glue is poured into the casing as follows3 ,a funnel of clay or wax is roughly made and the glue poured into the opening of the casing1 filling the space between the model and the plaster casing4 ,let stand for twelve hours4 ,remove casing and cut the glue shell along the half-mark made by the equator division1 cutting from the under side through at one stroke4 ,the glue can be lifted 7as it will give7 so as to permit cutting from underneath4 ,to cut from the outside will not produce a clean cut4 ,with ,french chalk or talcum1 chalk the inside of the plaster casing well over the shellac and fit the glue shells back into each half4 ,then with a solution of powdered alum and water 7two teaspoonfuls in one-half cup of water7 brush the entire inner surface of the glue to harden the surface4 ,let stand for one hour4 ,,if ,,cement ,,is ,,to ,,be ,,used1 the glue must receive two coats of white lead or varnish and left to dry two days4 ,when plaster is used no white lead or varnish is necessary4 ,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 surface4 ,after setting for twelve hours more is added and again revolved until the desired thickness is produced4 ,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 shell4 ,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 result1 then there is no hope for you in ,color ,cement ,handicraft4 ,a ,,diagram ,,illustrating ,,glue ,,molds is shown at the end of ,chapter ,two1 on ,the ,making of ,plaster ,molds4 ,a little study of this with the above directions will make the process clearer4 ,illustration3 ,vase ,molds ,illustration3 ,the ,finishing of ,cement ,pottery ,illustration ,,chapter #e ,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 form4 ,the lime action in the cement will nullify and disintegrate any color of a vegetable or chemical source so that no hue remains4 ,a ,,limited ,,range ,,of ,,colors is therefore presented to the worker in ,cement with which to secure results1 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 wares4 ,,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 chapter2 and that their color cement productions will be such that it will add correct line1 form and color to this new handicraft4 ,this will enable its growth among the art handicrafts to be without handicap or prejudices resulting from its use in incorrect design or application4 ,,the ,,following ,,colors ,,are ,,possible in mineral colors for us in ,color ,cement3 ,black1 ,brown1 ,red1 ,dull ,yellow1 ,blue1 ,green4 ,a ,color ,scale and ,mineral ,colors are as follows3 ,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 cement4 ,no exact rule can be quoted as colors vary in quality in different localities4 ,experimenting only can solve the correct proportions4 ,also1 anything that will nullify the action of disintegration upon the color by the lime in the cement is desirable4 ,the ,petroma ,cement ,colors made by the ,american ,crayon ,company of ,sandusky1 ,ohio1 fulfill these requirements for the craftsman1 and will aid in successful schoolroom results1 avoiding loss of time and waste of material4 ,,colors ,,may ,,be ,,glazed1 ,,mat ,,or ,,dull ,,finish according to how and when it is placed on the cement tile4 ,each finish requires different treatment and the easiest is the ,dull ,finish4 ,,the ,,dull ,,color ,,finish is produced when the color is dropped or placed into the mold and concrete or cement is used as a backing4 ,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 mold4 ,,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 hardened4 ,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 water4 ,if the surface to receive color has been roughened or lines scraped into it when first released from the mold and the cement slightly soft1 the color will adhere even more surely4 ,we know that metal craftsmen often roughen the surface of metal where enamels are to be placed and fired in1 to insure more perfect attachment1 and a similar treatment to the cement will do likewise for the cement color4 ,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 brush4 ,no back stroke is possible without injuring the finish4 ,finish each section and then leave it alone4 ,a ,,safe ,,working ,,method is to place the tile in shallow water to avoid any part becoming dry while the color is being applied4 ,a pan or shallow dish will serve the purpose4 ,,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 only4 ,the surface is treated otherwise similarly to the glazed process and this results in the color being dull in finish4 ,,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 surfaces4 ,a ,,colored ,,sketch should be made in every instance where color is to be applied to cement4 ,,materials ,,for ,,mixing ,,colors are as follows3 ,two sizes of small sable-hair brushes1 a palette knife 7or putty knife71 several small dishes1 a spoon1 a fine-mesh sieve1 and a piece of glass4 ,,to ,,mix ,,the ,,colors proceed as follows3 ,place a little of the desired color on the glass1 to this add dry cement reducing the color intensity to the desired strength4 ,portland cement being gray will do this harmoniously4 ,to this add a few drops of water until the color is of the desired consistency4 ,the color should always be tested on a tile surface and dried in the sun to determine final color1 adding color or cement to the wet mixture to correct the color4 ,where a tint of color is wanted a white cement should be added instead of ,portland cement4 ,to produce a plain surface color on tiles1 the desired quantity of color is mixed and strained1 to eliminate all coarse particles4 ,the mixture may be sifted while dry or strained after the cement has been added4 ,,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 cement4 ,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 used4 ,,to ,,apply ,,the ,,color either in the mold or to the surface of the object after it is removed from the mold1 the color should be applied with a brush4 ,,as ,a ,,test ,,color ,,problem use an incised pattern plaster mold and the colors may be planned for the incised tile as follows3 ,working from a color sketch1 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 surface4 ,if the brush is stroked it will not leave enough oil on the surface and the color will stick to the tile4 ,next drip the cement color from a brush with a shaking motion4 ,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 set4 ,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 incisions4 ,,colors ,,can ,,be ,,mixed one with another while dry or when wet to produce other shades4 ,violet will be produced by the mixture of mineral orange and ultramarine blue4 ,,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 mixture4 ,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 in4 ,or the plain cement or concrete tile can be removed and covered with a color layer which will be dull or glazed in finish4 ,a ,,plain ,,tile ,,to ,,be ,,applied ,,with ,,color should be placed in water immediately on being removed from the mold1 and allowed to remain there for a quarter of an hour1 before applying the color4 ,when taking the tile out of the water do not let the fingers come in contact with the surface to be colored4 ,let the tile stand a few minutes to drain1 before applying the color4 ,then a thin layer of neat cement mixed with water is applied4 ,next place a spoonful of the color upon the surface of the tile1 slightly shaking the tile while level1 then pour off the surplus color as it overflows the edges4 ,if bubbles occur the surface should be recoated for the bubbles will break in the drying1 producing a defect4 ,to prevent bubbles1 the color should be stirred with the spoon slowly so as to avoid the arresting of air which produces the bubbles4 ,the point of a pin will often help to dissolute the bubbles if used immediately after the surface is coated4 ,when satisfactorily coated1 place the tile carefully in a tray and add water until it reaches a little more than half way up the side of the tile4 ,be careful that water is not splashed or dropped on the newly coated tile1 for this will ruin the surface and necessitate doing the tile again4 ,the tile should remain in this water for four or five days1 water being added when it has become absorbed or evaporated4 ,,to ,,color ,,an ,,incised ,,design the plaster cast from the original becomes the mold for the color cement tile4 ,the plaster1 having become thoroughly dry1 is shellaced with one or two thin layers of shellac and after drying for one or two days is ready for use with color cement4 ,it is then oiled well but not so that surplus oil remains on the surface4 ,a dry brush will be good to use for removing surplus oil4 ,the color having been mixed to harmonize with the previously prepared color sketch1 one of the color mixtures is taken up with a brush and dripped with a shaking motion onto the correct area1 which in an incised design is divided into spaces4 ,if a drop of color falls where it is not wanted1 take a clean brush and pick the color out of the space1 after which a little oil should be brushed carefully into the space to renew that which was removed with the misplaced color4 ,if any color falls onto the back of color already placed do not worry over it as it will not appear on the finished surface4 ,,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 finished4 ,,after ,,covering ,,the ,,entire ,,surface ,,with ,,color let it remain for half an hour before backing it up with the concrete mixture1 as otherwise the weight of the concrete may force gravel particles through the thin color deposits and mar the face of the color design4 ,,to ,,complete ,,the ,,tile remove after two days1 and place in water after the edges and slight faults have been corrected4 ,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 ways4 ,,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 developed4 ,,old ,,color ,,and ,,cement or dried cement color should not be used4 ,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 discarded4 ,illustration3 ,use of ,color in ,cement ,tiles ,illustration3 ,color ,tile ,methods #a4 ,relief ,tile4 #b4 ,persian ,relief4 #c4 ,relief ,line with ,mold ,color4 #d4 ,relief ,line1 ,majolica ,color4 #e4 ,intaglio ,tile4 #f4 ,sgraffito ,tile4 ,illustration ,,chapter #f ,color ,cement ,relief ,tiles ,illustration ,,to ,,begin ,a ,,relief ,,tile1 a model should first be planned on clay or modeling wax4 ,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 underneath4 ,,to ,,model ,,the ,,surface a wooden modeling tool1 such as is used by sculptors1 or a leather modeling tool or even small whittled pieces of wood can be used4 ,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 detached4 ,,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 removed4 ,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 corrected4 ,,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 mold4 ,a slight jarring of the table or surface on which the mold is placed will cause the plaster to settle1 producing a level surface and also cause any bubbles to break or come to the surface4 ,,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 spaces1 forcing it toward the edges4 ,once the surface is covered in this way the remainder of the mixture can be poured in more rapidly4 ,,to ,,correct ,,bubble ,,defects that appear on the finished plaster or cement casting1 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 holes4 ,where cement is repaired this way it should be permitted to dry for another day before it is placed into water to harden4 ,,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 bars4 ,the color should be then mixed with the cement and water added to make it of a pouring consistency1 it is then poured into the mold4 ,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 face4 ,,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 bars1 as the retaining bars would prevent free access to the surface with the brush4 ,after the various colors have been placed1 the plaster cast is then placed within the bars and the color being permitted to set1 it is then backed with a layer of concrete4 ,,the ,,concrete ,,backing ,,may ,,be ,,colored either with color throughout or with a topping of color to give it a finish4 ,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 layer4 ,,to ,,avoid ,,the ,,color ,,falling ,,out in color relief work1 the following should be observed4 ,when preparing to pour in the backing1 observe whether any of the color cement placed on the tile has become too dry4 ,if so1 it should be sprayed with a light coating of water or brushed with a brush full of water1 and its upper exposed surface slightly roughened so that the backing will adhere firmly4 ,if it becomes dry and smooth the second layer of cement poured onto it will come in close contact but not adhere1 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 out4 ,,to ,,avoid ,,color ,,prematurely ,,drying1 the plaster cast should be placed in water for fifteen minutes at least before the color is placed into it4 ,to permit free absorption of water the plaster tile should never be shellaced on the bottom but only on the sides and the top4 ,,another ,,way ,,to ,,model ,a ,,relief ,,design is to carve it on plaster direct without making the relief on clay or modeling wax4 ,this method has the advantage of being proof against overhanging edges1 though some care must be taken against undercut surfaces4 ,,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 surface4 ,if a larger piece of plaster than the desired size is used it can be cut down4 ,,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 cut1 and a similar cutting on the reverse side1 just opposite to the cutting on the first side will enable the plaster to be broken easily4 ,or by laying it on a straight edge with the line of cutting over the edge1 a quick pressure with the hand will snap the two pieces apart4 ,,after ,,the ,,design ,,is ,,traced a chiseled nail point1 nut pick or other hard edged point is used for scraping the surface of the plaster1 modeling it or carving it to the desired shapes4 ,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 downward1 that is the natural surface will be the maximum height and all variations in the surface produced below that4 ,,background ,,treatments are produced where a design appears in low relief against a background4 ,the background may be stippled with the tool point or lines scraped or crossed lines used to create interesting background qualities4 ,,to ,,build ,,up ,,plaster ,,surfaces1 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 brush4 ,after this is dry it can be carved or scraped with the tools used in the modeling of plaster4 ,,to ,,finish ,,the ,,plaster ,,carving1 it is dried1 shellaced1 and used for casting just the same as the other relief forms described4 ,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 shelf1 when not in use4 ,where a mold has been repeatedly used and the shellac become worn1 the mold should be carefully dried and the shellac coating renewed4 ,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 grates1 furnaces and similar purposes4 ,this clay is convenient in that only the amount needed may be mixed up for use1 leaving the balance of the powdered fire clay always in good condition4 ,,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 surfaces4 ,,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 surface4 ,,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 work4 ,if the tile is removed and dried and again placed in water it will increase the hardness4 ,,after ,,the ,,tile ,,is ,,hardened it is dried thoroughly and brushed well with a brush4 ,it may be waxed or first given a thin coat of shellac and then waxed4 ,shellac should never be applied until the cement tile is thoroughly dry1 as otherwise the shellac will remain sticky4 ,illustration3 ,plaster and ,clay ,modeled ,cement ,tiles ,illustration3 ,color ,cement ,tiles and ,pottery by ,art ,school ,students ,illustration ,,chapter #g ,the ,majolica ,tile ,illustration ,,majolica ,,pottery derived its name from the island of ,majorca1 ,italy1 where during the sixteenth century glazed pottery reached its highest perfection4 ,glazed color may be placed in hollows in the surface of pottery or on the surface4 ,a better method is to produce a raised line or rim to retain the glaze1 and this is the method we will use in the cement or concrete pottery4 ,,the ,,cement ,,majolica ,,tile is made as follows3 ,first design a subject that will have each motif1 part or section defined with lines4 ,these lines must be part of the design and used much as lines are used in stained glass work4 ,the design should be simply planned4 ,a confusing overcrossing tangle of lines is to be avoided4 ,a few geometrical forms rightly related will be most pleasing4 ,keep the design at least one-half inch within the edge of the space4 ,then oil a piece of glass as directed1 place over a card that has the tile dimensions squared off on it as a guide for placing the casting bars on the glass4 ,clay or wax should always be used to hold the casting bars in place4 ,into this now pour plaster-of-,paris1 pouring into the center1 letting it flow to the outer edge4 ,level off evenly and remove after fifteen minutes4 ,on releasing this plaster tile a smooth surface will be found on the side which came next to the glass4 ,,the ,,design is then transferred to the plaster tile by tracing with a carbon paper4 ,the paper should be thumbtacked onto the sides of the plaster tile to prevent it from slipping while tracing4 ,the design should also be traced on backwards so that the completed majolica tile will be in the same position as the design4 ,the design is then incised with the incising tool1 care being taken that at whatever depth the line is made the incision has sides sloping upward4 ,if these grooves have overhanging edges the cement to be poured in will flow under these edges and lock the tile1 causing these lines to break before the cement tile can be released4 ,,when ,,incising1 see that the bottom of the groove is sufficiently wide1 as this bottom is to be the surface of the line on the completed surface4 ,a line one-sixteenth or one-eighteenth of an inch is not too wide4 ,the plaster should not be too soft or too hard to secure the best incision and avoid crumbly lines4 ,when the incising is completed oil the surface and surround the tile with four retaining bars4 ,the bars should be soaked in water and be of double width as they extend above the plaster cast4 ,this extension above the tile represents the thickness of the tile to be made4 ,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 mold4 ,pour in the center steadily1 for cement poured on the 8installment plan0 will show a mark wherever each installment occurred4 ,when the cement in the mold has dried for twenty-four hours remove by slightly prying1 after the retaining bars have been removed4 ,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 grooves4 ,if lines are broken and remain in the mold it is because the grooves have overhanging edges and locked the cement line4 ,to repair these lines1 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 brush4 ,,after ,,drying for an hour put the whole tile in water for a day or overnight and it is then ready to add the color4 ,meanwhile the plaster mold with the defective grooves should have the grooves cleared by scraping the overhanging edge with an incising tool4 ,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 cells4 ,it is into these that we are to place the color and it should be worked as follows3 ,while the surface of the tile is moist1 drip in the color with a brush1 spreading it to fill the required space4 ,thin pieces of metal 7or material that will not absorb the moisture7 may be used to spread the color1 producing a smooth1 even surface4 ,the color after once commencing to set should not be touched1 and for this reason should be rather liquid so as to permit handling without too rapid drying4 ,,the ,,color ,,surface appears better when the lines of the design remain uncovered with color4 ,if the color is thickest in the center of the spaces and then bevels down as it comes in contact with the lines1 the whole tile or surface will appear more professional4 ,if color becomes blurred or disturbed1 it is better to wash the whole out under the faucet and begin anew1 or remove the section at fault and work over4 ,no amount of patching or rubbing will perfect the surface after it is partly dry or completed4 ,after the coloring is finished put in a tray1 carefully pour water into the tray without dropping any onto the tile and let harden for five days4 ,the water should reach a little more than half-way up the side4 ,after removing it from the water let stand until dry1 polish with a soft flannel slightly waxed to remove white sediment on surface4 ,,another ,,method ,,without ,,the ,,lines is to use the color directly onto cement or concrete surface without any retaining lines4 ,the colors may be placed so that they intermingle or so that they just touch1 or the color spots may be separated one from another similar to stencil work4 ,the color for this method is mixed thoroughly with cement and water until the mixture is a fine thick liquid or 8slip40 ,,slip ,,painting is a method of painting a design in one or several colors over a cement or concrete surface4 ,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 surface4 ,,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 work4 ,therefore let us work out the first method of producing a design slip painted in slight relief as follows3 ,,first3 ,make a design for a six-inch square1 the design to denote the colors to be used4 ,second3 on a glass place retaining bars which have been soaked in water and oiled1 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 cement4 ,third3 after standing for twelve hours1 release this cement tile and it will be a plain1 smooth surface4 ,this is placed in water for an hour and the design traced upon its surface4 ,chalk of any visible color should be rubbed on the back of the drawing to act as a tracing medium4 ,carbon paper or graphite should not be used as any greasy substance will prevent the slip painting from adhering to the cement tile surface4 ,,the ,,colors ,,for ,,the ,,slip ,,painting should be mixed so as to match the colors of the color sketch4 ,when matching the colors1 dry a small dab of each color on a glass to see the dried color effect4 ,,to ,,mix ,,the ,,colors ,,properly1 select the color you wish1 emptying a little upon a glass or marble slab4 ,take a little clean water and mix with a palette or putty knife and grind the color until it becomes a thin liquid paste4 ,having ground this color thoroughly1 scrape it up and place on one side of the glass1 then proceed with the next color until you have mixed the complete palette of colors to match those on the sketch4 ,,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 colors4 ,there is one exception to this rule and that is in using the orange4 ,the orange in the mineral colors when mixed with blue will produce a violet4 ,to gray the colors add gray cement1 and to lighten the colors add some of the white cement4 ,,to ,,place ,,the ,,color ,,on ,,the ,,tile1 take it up with the brush and drip onto the cement surface1 being guided by the tracing previously made4 ,the color should be thin enough to flow from the brush easily and not so thick that it drips in lumps4 ,more water should be added if too thick and more color is added if too thin4 ,in both instances1 whether water or color is added it must be ground in thoroughly4 ,if the color settles on the glass it should be stirred again to keep the mixture uniform4 ,,the ,,relief ,,of ,,the ,,colors can be regulated by how much color is flowed from the brush1 and surfaces can be built up by repeating the strokes of color4 ,avoid repeating a stroke after the color has commenced to set1 as a second stroke in such an instance will destroy the surface lustre4 ,where colors run over the boundaries they may be scraped back or taken off with a moist1 clean brush4 ,the direct clean stroke will produce the best final results1 and if preceding each stroke a little thought is given1 mistakes will be avoided4 ,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 so4 ,water should never be permitted to fall upon or touch the surface of the slip painting or tile as the color will be destroyed4 ,the tile is placed carefully into shallow water to continue hardening and in four or five days will be hard enough to remove4 ,after drying out of water several days it is ready to use or it may be given a gasoline wash or wax rub if needed4 ,tiles will harden as they age4 ,those that appear to be partly chalky when completed will harden in a month's time1 when the moisture from the center of the tile has completely evaporated4 ,,the ,,second ,,method ,,of ,,slip ,,painting is used where three different planes or heights of color are wanted4 ,for instance we will suppose that the subject is to be a decorative design of trees and distance landscape in three colors4 ,this would be worked out as follows3 ,first1 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 desired4 ,this color should be the background color of the sketch4 ,second1 while this coating is soft1 take the lightest color 7for clouds1 water1 boats1 flowers1 etc47 and with a full brush place the color onto this soft coating4 ,it will blend and sink into the background color and remain equally flat4 ,third1 after these colors have commenced to set1 with a full brush paint in the foreground part of the design 7trees1 etc471 working in large masses and building up the color by repeated strokes until the right relief is secured4 ,avoid shading the parts and keep all parts flat in tone1 even though they may be in relief4 ,it will be found that the later color is added to the first coating the less it will sink into the background4 ,any design can be worked out accordingly either in relief or flat4 ,a little experimenting will solve many questions1 and reveal greater possibilities4 ,to complete the tile it is placed in shallow water until it hardens1 then let dry for several days after which it may be given a toning wash1 or gasoline wash1 and a wax rub4 ,a ,,third ,,method is to take a flat surface and slip-paint a design onto it in relief4 ,after the color has set for a short time it can be trimmed carefully with a knife so that the sides are nearly vertical4 ,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 sides4 ,,avoid ,,leaving ,,any ,,part ,,of ,,the ,,surface ,,drying or setting when painting on the surface2 or the tile hardening in the water too long before being painted upon1 as it will prevent it from becoming durable4 ,surfaces can be covered smoothly when slip-painted if the color is used very thin4 ,first cover the surface with a coating of the color to be used1 immediately adding more of the color and it will flow and settle evenly4 ,a slip-painted color will dry dull if placed upon a tile shortly after it has come out of the mold4 ,to secure a glaze to a color the tile should remain in the water for two days before the color is placed onto it4 ,,for ,,large ,,surfaces on which color is to be slip-painted1 the surface on which the color is to go should be roughened1 so that the color will become anchored4 ,,three ,,degrees ,,of ,,surface can be secured by different treatment4 ,these finishes are1 first1 ,dull ,surface2 second1 ,mat ,surface2 third1 ,glazed ,surface4 ,,dull ,,finish is secured by putting the color into the mold4 ,the mold absorbing the water from the surface causes it to dry dull4 ,,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 minutes4 ,,glazed ,,surface is secured by letting the tile or other object harden in water for several days and then draining off the surplus water1 after which the color is slip-painted onto the desired surfaces4 ,,tile ,,should ,,not ,,be ,,permitted ,,to ,,dry at any time before color is added1 as the color will not become attached to the surface4 ,,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 ,finish4 ,illustration3 ,the ,majolica ,tile ,illustration3 ,slip-,painted ,tiles ,illustration3 ,slip-,painted ,tile ,methods ,illustration ,,chapter #h ,sgraffito ,color ,cement ,work ,illustration ,,sgraffito is the name applied to the incised ware of the ,italians1 and used by them from a very early period dating as far back as the twelfth and thirteenth centuries4 ,the ware was made by covering the clay body with a layer of slip of another color1 and this was then scratched through with a tool showing the color of the ware beneath against the superimposed surface1 after which it was fired4 ,this process has been used from the most primitive times1 but it remained for the ,italians of the fifteenth century to dignify it as an art4 ,,color ,,cement ,,sgraffito is produced with a layer of cement and color being used instead of colored clay and the cement is hardened without firing1 water only being used to finish the surface to a durable quality4 ,,there ,,are ,,two ,,ways to produce a sgraffito surface on a tile and these are1 the glazed surface and the dull surface tile4 ,no mold is needed for the design as a sgraffito design must necessarily be a freehand production1 though molds may be used for duplicating the sgraffito effect after the original one has been made1 if no undercut edges are left4 ,,to ,,produce ,a ,,sgraffito ,,tile1 the retaining bars are set to give the desired shape and dimensions1 after which the space is filled with a half inch layer of concrete1 either of sand and cement mixture or of gravel and cement4 ,when this layer has dried so that the top section is moist but firm in surface1 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 thick4 ,,to ,,smooth ,,the ,,layers after the color has been poured in1 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 finish4 ,,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 in4 ,otherwise the tile when finished will be found to be thicker on one side than on the other4 ,a glass or pan of water or a spirit level will quickly show whether or not the surface is level4 ,,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 color4 ,this second layer should be even thinner than the first4 ,a layer one-sixteenth of an inch is a good dimension to plan on1 though these dimensions need not be accurately adhered to4 ,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 layers1 the split coming between the layers of colors that were permitted to dry too long4 ,a ,,third ,,layer ,,of ,,color may be added over the second layer if the design being planned calls for three divisions of colors4 ,these layers are to respond to the next step in the process1 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 produced4 ,,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 texture4 ,,to ,,produce ,a ,,tile ,,with ,a ,,dull ,,surface throughout1 the pouring stages should be reversed in their steps4 ,that is1 the color that is to be the top surface should be poured first and the other colors in their proper relation1 the last layer being the cement and sand or other concrete mixture4 ,this will result in the layer first poured in coming next to the glass1 having a dull finish when it is released from the mold4 ,,to ,,produce ,,the ,,sgraffito ,,design on the sgraffito tile1 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 upon4 ,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 pattern1 without the use of carbon paper or other transfer medium4 ,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 color4 ,,the ,,top ,,layer ,,of ,,color should be used to tell the main part of the design story4 ,if the subject is to be that of a bird or a ship1 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 edge4 ,,the ,,second ,,color ,,layer can then play a secondary part in both the color scheme and the design arrangement1 giving with its color placing a contrast to the upper main layer used for the design4 ,,the ,,background ,,color should be brilliant or dull depending upon the surface color4 ,if the surface color is brilliant1 the bottom color should be duller4 ,if the upper color is dull1 the background color can then be the bright intenser color4 ,,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 work4 ,,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 commences4 ,,to ,,do ,,the ,,tooling1 a scratch point should be used for incising or scraping down along the line of the portion to be scraped out4 ,the portion within this boundary should then be scraped out down to the next layer of color1 care being taken not to gouge or cut deeply into the under color4 ,if the design is one of three layers1 the center layer can be included in the scraping out if the bottom color or layer is to appear in that portion of the design4 ,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 design4 ,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 rests4 ,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 colors4 ,,the ,,sides ,,of ,,the ,,sgraffito ,,layers should gradually slope outward1 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 finish4 ,if the corners are to be sharp or rounded in finish1 see that the treatment is carried out similarly in all parts so that a general unity of finish will remain4 ,,the ,,last ,,step ,,in ,,finish is to place the sgraffito tile in water so that it is entirely immersed1 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 dry4 ,,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 vases4 ,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 intervals4 ,,sgraffito ,,for ,,architectural ,,work holds great possibilities1 and is being gradually recognized by those builders who desire the charm of hand wrought enrichment that graces so many of the ,old ,world buildings4 ,sgraffito decorative pillars and panels for buildings1 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 larger1 more unified sections in that there are no kiln limitations to be considered in doing the color cement4 ,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 source1 both combined in perfect harmony with the building as a whole4 ,,sgraffito ,,can ,,be ,,applied ,,to ,,many ,,forms such as book ends1 fern boxes1 garden bowls1 the requirement for success being mainly the placing of the successive layers of color on each other when neither too dry or too wet1 and the scraping away of those parts desired when the cement is in the proper condition4 ,illustration3 ,sgraffito ,tile and ,sgraffito in ,architecture ,illustration ,,chapter #i ,modeled and ,carved ,color ,cement ,illustration ,,from ,a ,,standpoint ,,of ,,good ,,design modeling1 when applied to a flat surface or any other surface1 should not be high in relief4 ,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 independent1 detachable ornament to that surface1 then it is not truly decorating the surface1 but detracting from the object decorated4 ,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 used4 ,,cement ,,tiles ,,with ,a ,,modeled ,,surface are produced as follows3 ,take a flat1 smooth piece of clay or modeling wax1 cut to the size of the tile to be produced4 ,such a surface may be made by rolling clay or wax with a rolling pin or other rounded surface4 ,having drawn the design to be modeled on a piece of thin paper1 place this over the clay and trace lightly4 ,this will produce a slight indication on the surface sufficient to guide the modeling4 ,if there are sections that are to be low1 these parts are outlined with an incision in the surface and scraped out to the desired level4 ,do this over the entire surface1 bearing in mind that the edges of the tile should generally have a border or other parts retained of the original surface4 ,too much elimination on the tile edge will thin the tile and weaken its construction and design4 ,having scraped out all the low parts1 then clay or wax may be added to such parts that are to be higher than the first surface4 ,with the modeling tool shape the parts1 finishing them so that there are no overhanging edges4 ,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 it4 ,neat cement should be poured first1 and after a few minutes setting1 a concrete mixture is poured in until the desired thickness is secured4 ,in this way a cement tile is secured1 duplicating in form the original clay or plaster hand-made modeled tile4 ,the color of the surface can be any color according to the color added to the neat cement mixture4 ,,different ,,colors on different parts of the surface can be produced as follows3 ,mix cement colors with equal parts of cement4 ,grind these colors with the putty knife or pestle and place each color in a small saucer or pan4 ,oil the surface of the mold with a brush1 dabbing it on in short strokes4 ,the colors are next dripped from a brush onto their right location4 ,this layer of color should be about a quarter of an inch thick and left to stand until firm on the surface4 ,it is then covered with a layer of concrete and smoothed off to a level4 ,,tea ,,tiles ,,or ,,large ,,tiles for inserts into garden furniture or for architectural use can be strengthened by a reinforcement4 ,a reinforcement may be made from the ordinary window screening or any wire fence mesh or so-called hardware cloths used in building construction4 ,this wire should be cut a little smaller than the tile and sunk into the concrete layer while soft4 ,it should be pressed down with the fingers until the concrete closes over it4 ,this will add a considerable strength to the tile4 ,after the tile has set for several days1 it is removed by inserting the knife between the edges and carefully prying it apart1 or steaming apart by placing over a low flame for a few seconds4 ,if part of the color remains sticking to the plaster mold it is because there was not enough oil on that particular spot4 ,therefore remember that a mold surface should be well oiled before placing the color into it1 and care being taken that there is not so much oil that it settles in the hollows and grooves4 ,the tile after drying thoroughly may be polished with wax and used4 ,,for ,,modeling ,,larger ,,objects such as flower pots1 urns or similar forms1 it is best to form some means of reinforcement to approximate fairly closely the final form of the object4 ,close meshed wire can be used successfully for this purpose4 ,it should be tied and braced firmly so that the concrete or cement weight will not destroy its shape4 ,the concrete mixture should be made with one part cement and two parts clean sand4 ,,to ,,hasten ,,the ,,setting ,,of ,,cement add a very small quantity of common washing soda to the water used in mixing the cement4 ,this will cause the cement to set up rapidly so that the work can be done more quickly4 ,,after ,,the ,,mixture ,,has ,,been ,,applied over the wire reinforcement and shaped and modeled until completed1 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 evaporate4 ,,to ,,harden ,,the ,,cement ,,object immerse it well in the water for four or five days4 ,if it stays longer in the water it will not hurt the object4 ,the water will harden or complete the action of hydration necessary to make cement durable4 ,,to ,,secure ,,bisymmetric ,,shapes to forms or to secure true circular shapes1 a templet of sheet metal can be cut and rotated from a centrally located axis4 ,this is used while the mortar or concrete is in plastic condition so that the templet will cut or model the right contour4 ,,carved ,,cement is made possible by scraping or carving out the cement when it is in the right condition4 ,this condition can be determined by scraping the cement to see whether it is hard enough to carve4 ,if it is too hard1 it cannot be carved successfully4 ,about sixteen to twenty hours setting will produce about the right condition but this will vary according to the mixture and climatic conditions1 as temperature will be an important thing to consider in all color cement work4 ,very hot weather is not a good time to do color cement1 the winter days or gray cool days are best to work with cement for perfect hardening results4 ,avoid freezing weather4 ,,to ,,carve ,,cement1 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 chapter4 ,no adding or building of parts is possible1 the whole subject being a process of taking out parts and shaping the parts that are left4 ,backgrounds and portions can be varied in texture and different results will be secured with a little experimenting4 ,,different ,,textures are possible in the carved tile4 ,a glazed surface to the carved tile is secured by carving on the upper side of the tile2 while the dull under surface1 the side molded against the glass or under surface1 will be used if a dull surface for the carved tile is desired4 ,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 cement1 plain or with color as described in the chapter on ,color ,work for ,tiles4 ,,carving ,,on ,,bowls ,,and ,,vases and other forms can be done1 care being taken that the carving does not go so deep as to weaken the surfaces4 ,motifs or spaces can be carved out of cement bowls and vases and bits of stained glass or mosaics1 or color cement can be put into the spaces and neat color cement used to bind the additions into the spaces4 ,,slip-,,painted ,,portions ,,may ,,be ,,added to the carved tile4 ,after the tile is carved and properly moistened in preparation for the cement to be added1 the color cement is mixed to a thin slip and a background pattern or decorations can be added to the surfaces of the carved tile4 ,the tile is then placed in shallow water without permitting the water to reach the surface of the tile1 and permitted to remain for four to six days before removing4 ,it should then be placed in a cool location until completely dried4 ,,the ,,unit ,,tile or the small tiles made to be assembled in patterns1 may have modeled or carved cement surfaces combined with the units to complete the pattern4 ,for instance a number of tiles representing leaf forms may be combined with others representing flower motifs4 ,these may be imbedded into a panel of cement or concrete1 the units grouped in some form of design growth1 the stems and other related portions being modeled in the cement1 or carved in the surface after the cement is somewhat hardened4 ,the units can be in color or mat finish1 the background remaining in dull finish4 ,,modeled ,,cement ,,tiles differ from the cement tile with a modeled surface4 ,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 molds4 ,the modeled cement tile is a modeling of the cement by hand while it is still in a plastic stage4 ,,to ,,prepare ,,cement ,,for ,,modeling1 pour a concrete mixture into the mold so as to allow for a second added layer of about one quarter inch of neat cement4 ,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 it4 ,this color should be added in the dry form to the dry cement1 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 mold1 until it covers the entire surface4 ,a gentle jarring of the mold will settle the color evenly and it should then be permitted to stand until of a good modeling consistency4 ,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 form4 ,if the cement as laid up on edge stays in position and does not have the tendency to fall or settle1 it is then ready to model1 as it will hold its form when built in relief4 ,,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 surface4 ,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 in4 ,the smaller parts are then detailed in and the different parts finished just as one would in working with clay or modeling wax4 ,if it is found that parts do not hold up1 it is because under sections of the cement have not dried sufficiently and it will be necessary to wait until it hardens a little more4 ,,the ,,finished ,,result may be complete with the strokes of the tool or the modeling instrument showing over the entire surface4 ,if the technique is shown in this way1 care should be taken that the strokes are pleasing in direction and not carelessly left4 ,as the tile hardens it will be found that the surfaces or edges can be shaped1 and even when the surface is almost hard1 it can be slightly indented or carved to produce different textures and varying qualities4 ,,good ,,modeling ,,tools are those that are made from pear wood for sculptors use4 ,metal modeling tools also can be used4 ,good home-made modeling tools can be made from manicure sticks1 pencils1 dowel sticks or ordinary small hardwood pieces shaped with a knife4 ,these pieces should be smoothed down very evenly with fine sandpaper and then rubbed with beeswax or paraffin to avoid any rough surfaces4 ,rough surfaces will cause the cement to stick to the tool4 ,experience will be a good guide to the worker in color cement for determining the best shape to make the modeling tool1 as individual needs and ways of working will determine the best form for each person4 ,illustration3 ,modeled and ,carved ,cement ,tile ,methods ,illustration ,,chapter #aj ,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 mixture4 ,the color should be of the right consistency for rotating inside of the molds1 which can be best determined by a trial4 ,it will fall off the sides if too thin and if it is too heavy it will fail to roll evenly4 ,,to ,,prepare ,a ,,vase ,,or ,,bowl ,,mold for color1 the parts to come in contact with the color should be oiled after they have been immersed in water4 ,the parts are then assembled and tied together4 ,corresponding marks or figures can be placed on the molds so that there can be no mistake in combining the correct sections4 ,such marks will avoid confusion1 particularly where the mold may be composed of a number of sections4 ,molds for vases are not shellaced4 ,,the ,,first ,,rotation is then made by taking a quantity of the color cement or slip1 mixed only with neat cement of thick quality1 and pouring it into the mouth of the mold into the bottom4 ,a spoon may be used to place the color if the mouth of the mold is large enough4 ,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 pan4 ,if the color at first refuses to attach to the inside1 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 color4 ,,the ,,second ,,rotation is accomplished in the same way that the first rotation was but not until the first layer has fairly set4 ,the surplus from the first mixture may be used4 ,it is placed or poured carefully in and the rotating done and the surplus again poured out1 excepting that it is poured out from the opposite side so as to equalize the thickness of the neck section of the vase or bowl4 ,a ,,third ,,rotation may be necessary if the bowl is a large surface or if the slip used has been very thin4 ,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 color4 ,the second and third mixtures should be thinner than the first4 ,,the ,,wall ,,mixture is then rotated over the color stratas and is made of one part of cement and two parts sand4 ,this mixture is necessary to give the bowl or vase strength and to make it waterproof4 ,if neat cement alone is used the vase will check and crack in time1 particularly if water is ever poured into it4 ,,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 color4 ,this finish layer may be of any color desired within the range of color cements or of neat gray cement only4 ,,the ,,finish ,,rotation is the layer that will appear as the inside lining4 ,this is made of color and neat cement and is rotated so as to cover the cement and sand mixture4 ,this mixture may be placed in the mold after the vase or bowl has been removed from the mold1 and this permits the possibility of carrying the inside color over the edge of the mouth and partly down the side as a decoration4 ,,after ,,the ,,rotated ,,colors ,,have ,,dried1 which generally takes from two to five days1 the mold is carefully opened and the vase removed4 ,flaws or bubbles on the surface1 if any1 are corrected by scraping with a moistened knife parts of the neck that are not to remain and others filled in4 ,the false neck or that portion that extends above the actual vase is now carefully trimmed away1 leaving only the actual bowl or vase4 ,,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 mold4 ,glazed color may be placed into the spaces carved or scraped from the surface if the surface is moistened well with water1 then adding neat cement over which the color is dripped following the instructions as given for the tiles4 ,,to ,,harden ,,the ,,object molded it is immersed in a bucket of water and left for several days4 ,if the surface has had color added to it after it has come from the mold1 it cannot be immersed in water as the color would be floated off4 ,it should have water poured on the inside and left to dry in a cool place4 ,,toning ,,washes can be made of thin color and brushed onto the surface after the bowl has been well dampened4 ,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 used1 it gives pleasing effects4 ,,glazing ,,bowls ,,and ,,vases is much more difficult than coloring tiles4 ,the curved surface requires careful application4 ,prepare a quantity of desired color to be applied4 ,then spread it out in a pan or dish 7a platter will do very well71 revolve the bowl on the fingers so that the surface comes in contact with the color4 ,the color will adhere and the bowl should be kept slowly revolving until the color sets4 ,the bowl can then be filled with water and left to dry4 ,if the bowl is kept in one position before the color is set1 the moisture will cause it to run and mar the surface4 ,after the first color has set an additional color can be dripped on at the top or other colors added into or onto this surface4 ,different effects will be possible1 depending upon how soon the color is added to the first coating4 ,dry color can be sprinkled onto the wet color and permitted to become absorbed1 giving an interesting effect4 ,the color may be applied with a brush or palette knife1 and other ways of producing variations on the surface may be produced by experimenting4 ,a ,,vase ,,form ,,with ,,majolica ,,surface will need to have the surface turned as it is worked upon4 ,this can be done by revolving with the hand inside of it1 or if too small turned on a right angle support1 padded so that it will not injure the neck of the vase4 ,the vase may have one end supported on something to keep the worked part from coming in contact with the surface4 ,after a part has been filled in1 it should be left to set for a minute before turning the surface1 otherwise the color will drop out4 ,after the color is all in position1 stand the vase upright and with a funnel fill with water and let it harden for several days4 ,the water will supply the color surface with moisture preventing it from drying too rapidly4 ,any cement surface 7tile or vase7 before it is very hard can have motifs scraped into it so that the design is a series of shallow openings in the surface4 ,the color cement can then be dripped into these openings similar to majolica work and completed in the same way4 ,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 way4 ,,for ,,slip ,,painting tile or pottery surface1 various colors to be used should be mixed and ground on glass or marble with palette or putty knife until thoroughly smooth4 ,the colors should be placed in order on a glass or enamel palette4 ,other hues may be produced by the mixture of these colors or lightened by adding a white cement4 ,a small brush is used to apply the color4 ,the surface to which they are being applied should always be damp and the complete surface to be colored should be done at one sitting4 ,the tile or vase is then placed in water as previously explained4 ,it is best that the color be thin rather than thick1 and avoid going over a surface a second time4 ,a second stroke will destroy the lustre which will otherwise remain on the surface4 ,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 surface4 ,the bowl or vase is carefully filled with water and left to set for several days1 care being taken that no water drops onto the slip painting4 ,the object worked upon must be set in the shade to dry1 where nothing will come in contact with it4 ,illustration3 ,color ,cement ,vases ,illustration3 ,color ,cement ,vases ,illustration ,,chapter #aa ,glass ,mosaic ,tiles ,illustration ,,fragments ,,of ,,stained ,,glass can be secured from almost any stained glass works without cost1 as much of the odds and ends of glass are thrown away4 ,these fragments can be used in making ,glass ,mosaic ,tiles1 and used correctly will produce charming and interesting results4 ,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 effect4 ,semi-precious stones or glass beads can be used in many ways such as handles and tops or as rests for tea tiles1 etc4 ,the beads can be sunk into the cement until the hole through the bead is concealed4 ,,to ,,make ,a ,,glass ,,mosaic ,,tile there are four steps as follows3 #ast4 ,making and tracing the design4 #bnd4 ,cutting the glass4 #crd4 ,pouring the cement backing4 #dth4 ,releasing the tiles and finishing4 ,,first ,,step3 ,,making ,,and ,,tracing ,,the ,,design4 ,to make a design for glass mosaic1 plan a very simple design for the first problem4 ,a few squares joined by simple bars1 composed in a simple pleasing arrangement will be hard enough4 ,objects such as flowers1 birds1 trees1 etc41 must be planned in simple forms4 ,remember that each piece is to be cut from glass and intricate outlines1 etc41 must be abbreviated4 ,decide what direction of line will tell the most in the shortest length4 ,it will be found that designing for glass mosaics or for stained glass is one of the best influences for recording large masses1 for producing the maximum amount of subject with the minimum means of line4 ,after the design has been drawn out on paper it should be colored to correspond with the stained glass fragments that have been secured4 ,right here it may be well to state that the glass mosaic need not be entirely covered with glass sections4 ,much of the background may be cement and the colored portions 7stained glass and mother-of-pearl7 may be only a certain portion or design running across the tile surface4 ,after the design has been colored1 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 fully4 ,the stained glass sections are assembled upon this glass as they are cut4 ,,second ,,step3 ,,cutting ,,the ,,glass4 ,a small glass cutter with a wheel can be purchased at any hardware store and with a little practice glass can be easily cut4 ,once the wheel is placed upon the glass it should be pressed slightly so that it grips the surface4 ,then draw the cutter firmly toward you without changing the angle of the handle and without turning the handle to one side or another4 ,a few taps with the tip of the handle on the under side of the glass and a 8bending and pulling apart0 motion of the glass with the fingers will cause it to come apart after the cutting4 ,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 fingers4 ,do not run the cutter wheel over a cut line in the glass a second time1 as it will injure the wheel4 ,practice cutting clear glass as well as stained glass4 ,the glass cutter should be placed with the wheel in turpentine to preserve the cutting edge4 ,to cut the glass in the right shape use either of the following methods3 ,trace the design upon stiff paper and number each section of the design to correspond with numbers on the original sketch4 ,cut these sections apart and use them as patterns to lay on the glass4 ,the glass cutter is then run around the edge of the pattern in cutting the glass4 ,the second method is to trace the sections to be cut directly onto the glass4 ,if carbon paper is used1 the line will be definite enough to follow4 ,,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 glass4 ,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 cutter4 ,the sections of glass when all cut may be trimmed to truer forms by using a corborundum stone or file4 ,,after ,,the ,,glass ,,has ,,been ,,cut1 place a tracing upside down on the table and a glass over the tracing4 ,the tracing on the underside of the paper should be visible through the glass1 and of course is reverse in position4 ,take each piece of glass and touch the right side with glue and place it onto the glass over its location defined by the tracing4 ,assemble all the glass in this way1 all the pieces being glued face downward onto the glass4 ,mother-of-pearl1 metals1 etc41 can be assembled the same way1 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 tile4 ,,third ,,step3 ,,pouring ,,the ,,cement4 ,after the glass has been glued and left remaining for several hours 7to permit the glue to dry7 the retaining bars are placed on the glass1 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 secured4 ,this mixture may be color cement or the neat ,portland cement1 care being taken to pour it in slowly from the center to avoid formation of bubbles4 ,,fourth ,,step3 ,,finishing ,,the ,,tile4 ,when the tile has set for several days it may be removed and an incised line made around the edge of each glass mosaic4 ,place the tile in water to harden for several days4 ,remove and let dry1 then give the entire surface a gasoline wash of gray or other color4 ,a slight polishing of the surface will finish the tile4 ,it will be found that the moisture has softened the glue so that the whole tile releases from the glass surface4 ,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 visible4 ,this should be done before the tile is placed in the water to harden4 ,illustration3 ,mosaic ,tile ,method ,illustration3 ,mosaic ,tiles ,illustration3 ,mosaic ,stone ,tiles ,illustration ,,chapter #ab ,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 containers4 ,,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 sides2 thereby making the entire elimination of any joints remaining on the object 7from where the molds come together7 an easy matter of removal4 ,,one ,,of ,,the ,,ways ,,to ,,proceed ,,in ,,the ,,making ,,of ,a ,,flower ,,box is as follows3 ,take any ordinary good proportioned small wooden box1 or block of wood of the right shape1 and place a thin layer of modeling wax over the surface until it is smooth and evenly coated4 ,model the design desired on the four sides1 avoiding1 as has been before cautioned1 having undercut or overhanging portions4 ,,the ,,design ,,may ,,be ,,secured ,,without ,,modeling by taking the box and covering the sides with cut cardboard designs1 the cut sections producing the motifs or the spaces between the cut and applied portions being the motifs4 ,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 top4 ,the reason for this is to prevent locking of the plaster which will be poured over the surfaces to produce the molds4 ,,if ,,the ,,cardboard ,,is ,,used ,,for ,,the ,,design after the glue is dry1 the entire surfaces of the portions to come in contact with the plaster is given two coats of shellac1 the second coat to be given after the first coat is dry4 ,the shellac should be permitted to dry well4 ,,to ,,make ,,the ,,molds the box with the design is turned upside-down and a mold is made of the bottom first4 ,this is done by surrounding the four sides with wooden retaining walls so that the sides extend at least an inch above the edges4 ,into the space formed by the four projecting walls1 plaster is poured and permitted to dry4 ,this will result in a slab of plaster to reproduce the bottom of the flower box in the final cement casting4 ,if legs or irregular portions are on the bottom1 the mold should include these portions4 ,as soon as this bottom section is hard1 the keys are bored into it and one of the sides is next molded4 ,when molding the sides1 turn the model so that the plaster is poured onto the sides and not so that it is poured alongside the surface4 ,this is done by turning each side to be molded so that it is horizontal or flat4 ,,when ,,all ,,the ,,molds ,,are ,,made and dried they are ready for casting the cement box4 ,they should be placed in water until all parts have absorbed moisture4 ,next they are oiled well and assembled4 ,if more than one color is to be used1 the molds for those sides to have color should have the color cement placed on the molds while the surfaces are flat4 ,when this color has set sufficiently to permit the sides to be placed upright1 without the color running1 the sides should be assembled with the bottom mold and the whole set tied together ready for the pouring of the cement4 ,,the ,,first ,,mixture ,,of ,,cement should be a thick mixture1 just as thick as will run easily when the mold is rotated4 ,the first mixture of cement should be of neat cement and may have color mixed with it4 ,it is poured into the mold or placed in with a spoon1 and the mold is rotated slowly until the mixture has covered all the inside surfaces4 ,the surplus1 if any remains1 is poured out from one of the corners4 ,,the ,,second ,,mixture ,,of ,,cement should be poured in after the first layer has set4 ,this usually takes from an hour to half a day depending on climatic conditions4 ,the second mixture should be of sand and cement and of a thinner mixture than the first4 ,this is necessary as the first layer will absorb moisture very rapidly from the second layer and therefore it should be very thin4 ,,the ,,last ,,layer ,,or ,,mixture should have color in it also and is added in the same manner as the second mixture1 after the previous layer has set4 ,this is the finishing layer and the color should be arranged to be in harmony with the outside color4 ,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 color4 ,,there ,,are ,,two ,,important ,,things ,,to ,,remember in making pottery or boxes where the molds are rotated4 ,one is that the mold to be rotated should not be shellaced4 ,the reason for this is that the plaster molds must absorb some water from the cement mixture to produce the thin lining or inside coating4 ,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 poured4 ,as the lining is inclined to be thicker where the pouring out occurs1 using an opposite side for the second pouring out will equalize the lining of color4 ,,the ,,second ,,method ,,to ,,produce ,a ,,flower ,,box is by spreading the color in the mold with a knife1 pressing it up against the sides with a palette knife or small trowel4 ,this is possible because the opening is large enough to permit seeing the sides4 ,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 upon4 ,,when ,,spreading ,,the ,,color ,,cement or lining1 the mold should be turned so that as the mixture is placed and spread a flat surface is being worked upon4 ,this makes it easier to work and insures the cement adhering to the mold4 ,after the sides are fully covered1 a thin mixture may be poured into the bottom and this whole mixture 7the bottom and walls7 permitted to harden4 ,,if ,,drain ,,holes ,,are ,,needed in the bottom of the flower box1 two cylinders of clay or modeling wax may be placed upright in the bottom of the mold4 ,these cylinders should be long enough to protrude above the bottom layer of cement that is poured in1 and after the cement layer has hardened1 they may be removed4 ,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 box4 ,,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 dry1 the surplus rubbed off with a cloth4 ,a wax rub given with a soft cloth and floor wax afterwards will smoothen up the entire surface producing a velvety surface4 ,,the ,,third ,,way ,,to ,,produce ,a ,,box in color cement is by pouring1 and the method is as follows3 ,when making the molds instead of making the parts as usual1 make a mold part for the top instead of the bottom1 as the pouring mold is made upside down4 ,when the four sides and top portion of mold are ready1 they are assembled and the metal inside mold is placed inside of the plaster mold4 ,,the ,,metal ,,inside ,,mold is a metal pattern which when folded together represents the inside space of the box4 ,within this metal pattern or box1 strips of wood or plaster should be placed to keep the metal or tin form in shape when the pouring of the cement commences4 ,a good way to secure a perfect fitting brace inside of the metal form is shown in the working plate accompanying this chapter4 ,when this metal box with enclosed bars is placed in the right position within the plaster mold1 the cement mixture is then poured into the spaces between the outside mold and the metal box until the space is filled4 ,then the cement pouring is continued until the top of the metal box is covered adding enough more to form the bottom4 ,it will be thus seen that the metal box must be planned low enough so as to permit of a bottom space4 ,,to ,,finish ,,the ,,box1 it is turned over after the cement has sufficiently hardened and the plaster1 or wooden bar1 is removed4 ,the sides of the metal box are folded inward and the entire box removed4 ,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 hardened4 ,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 desired4 ,,other ,,square-,,sided ,,objects may be similarly treated1 in some instances the shapes or proportions requiring different handling4 ,for instance1 a very long narrow box could not be easily produced by rotating and should be made by the spreading or pouring method4 ,large surfaces or very long surfaces should be reinforced by the placing of wire cloth in the walls when the cement is poured in4 ,,tamping ,,or ,,pressing ,,of ,,cement is done by using cement and sand of a consistency like wet sand4 ,this is placed into the mold and pressed firmly with a blunt stick1 and a mallet can be used to tap these wooden chisels so as to press the cement well into the apertures4 ,this results in a very firm surface and is particularly good for large boxes and containers4 ,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 spread4 ,,tiles1 ,,stained ,,glass ,,and ,,mosaics may be included in the decoration of flower boxes4 ,they should be glued firmly into position on the molds or boards forming the mold for the box4 ,after a day or two drying the molds are assembled and the cement is poured in the usual way4 ,the moisture in the cement will be found to soften the glue so that on removal of the molds the tiles1 glass or mosaics will remain with the cement4 ,,to ,,include ,,hanging ,,chains1 ,,rings ,,or ,,hooks in a cement box1 the mold should be arranged so as to accommodate the chain or metal through it4 ,the part or opening through which the metal passes is filled with clay or wax to avoid the running out of the cement4 ,the molds can be held up from the table surface by a few blocks of wood or worked upon after being placed on a trestle4 ,,covers ,,to ,,boxes can be made in the same manner as boxes4 ,a single flat lid may have fewer molded parts but should have enough to permit easy release of the cement4 ,illustration3 ,three ,cement ,box ,methods ,illustration3 ,the ,making of a ,cement ,box ,illustration ,,chapter #ac ,color ,cement for the ,garden ,illustration ,,artistic ,,garden ,,work can be enhanced by the use of color cement4 ,while ordinary cement and concrete construction has been much used1 there are still greater possibilities with the use of color cement4 ,the use of color in the open permits the use of bright colors1 in key with the flowers and foliage2 and with color cement the formal or ,italian garden scheme or the informal or ,japanese manner of garden arrangement is delightfully possible4 ,pottery1 garden furniture1 fountains1 walls1 chimneys1 pools and walks are a few of the possibilities with color cement4 ,,large ,,garden ,,pottery is produced by the same principles as vases and bowls1 but as the proportions are much larger1 the methods of working are different4 ,where a large jardinire is to be made1 the form should first be built up from clay and be formed upside down4 ,bricks or any other solid material may be used for the main body of this form1 and the clay built over it as it will not then require so much clay4 ,if a long nail or rod or strong stick is placed in the center of this mass1 it can serve the purpose as an axis to a templet which will form the contour of the jardinire when moved around in a circular direction4 ,the metal must be good and heavy and sometimes it is necessary to reinforce the templet with wood4 ,after the clay form is built1 cases are made in several sections from the plaster the same as for small forms2 and cement and concrete used in large quantities after the same method as for small forms4 ,large dish-pans1 pails1 etc41 may be used for securing the inside form for garden pottery4 ,oil the outside and bottom of the pail or pan used and place it upside down on a table4 ,if only a certain part of the bottom is wanted1 clay should be built up around it1 so that only the part wanted is exposed4 ,with a strip of tin or linoleum for a moulding case surround the inverted utensil and then pour the concrete around and over it4 ,,to ,,form ,,the ,,garden ,,pottery more accurately on the outside1 take it out from the mold in two or three days and trim with a knife to the desired form 7in winter let the form stay in the mold four or five days74 ,if extensions or additions are wanted the vase1 bowl or jardinire1 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 forms4 ,to secure smaller parts independent from the larger parts such as fishes or cup forms for fountains1 etc41 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 form4 ,this can then be built together by the addition of a little cement4 ,,garden ,,seats4 ,the seat and ends can be made by using wooden forms which can be released easily4 ,openings in the ends can be arranged by either the use of wooden blocks or clay bars placed in the right location4 ,these blocks or bars should be taken out after the cement has dried three or four days4 ,a few nails in the blocks will make it easier to lift them out4 ,tiles made as previously explained can be inserted into the ends by scraping an opening to accommodate them while the cement is still soft4 ,a little cement poured into the back and around the edge will fasten the two together4 ,,garden ,,fountains4 ,the bowl for fountains should be made independent of the base or pedestal1 but arranged so that the two groove together4 ,this can be planned by taking a clay impression or a plaster casting from the surface4 ,for instance1 in making a bowl to rest on a pedestal1 the bottom of the bowl should have keys or projections planned4 ,now supposing the bowl is finished1 a pedestal should have depressions in it to correspond with the projections on the bottom of the bowl4 ,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 made4 ,these keys or grooves can be scraped out of the pedestal top when soft if care is taken to secure the right location4 ,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 8register0 between the two parts4 ,when making plaster mold cases for large pieces1 burlap1 coarse cloth1 etc41 should be dipped rapidly into the plaster and used to build up the molding case4 ,this produces greater strength in the plaster case4 ,a ,,design ,,unit used on large pottery or as a border to any large surface can be planned and modeled in modeling wax4 ,from this model a mold is made in plaster4 ,the clay can be pressed into this mold1 lifted out and placed upon the surface to receive it4 ,a slight pressure and joining of the edges will make it conform to the surface4 ,,to ,,reinforce ,,large ,,pieces1 wire1 iron rods1 wire mesh1 or any such material will serve the purpose4 ,any narrow junction point or narrow part connecting two large parts should be reinforced4 ,,pipe ,,connections ,,for ,,water1 ,,gas1 ,,or ,,electric ,,wires must be planned for often in garden furniture4 ,a round wooden rod with a smooth surface and oiled1 having a larger diameter than the pipe to be used should be used in the mold4 ,this is then withdrawn to make room for the iron pipe4 ,a pipe can be used in place of the wooden rod1 but of course it is then held firmly in place1 becoming part of the mass4 ,all pipe should be threaded for proper connections1 and it is very advisable that you confer with a plumber or electrician so that no mistakes will be made4 ,straight-sided forms can be made from tiles as follows3 ,take four tiles1 soaked in water1 afterwards imbed them on edge upside down in a layer of clay4 ,they should be placed vertical and at right angles to each other4 ,it is also better that the corners do not meet4 ,within these four tiles a clay cube is placed leaving a certain space all around for the wall4 ,the cube should also be lower than the height of the tile to allow for the bottom as the box is made upside down4 ,with clay or cardboard stop the corners and then pour in cement to the top of the tiles4 ,let harden for a few days2 then remove clay1 smooth up corners1 and set in water to harden4 ,fern dishes1 plant holders1 etc41 can be made in this way with as many sides as desired4 ,the accompanying chart further explains this problem4 ,,garden ,,walks can be made with large irregular cement slabs or stones formed with concrete4 ,this will produce all the beauty that comes from natural flagstones and enables anyone to secure the effect even when flagstones are not securable4 ,flat tile or irregular tile can be produced as a finish surface to the concrete base underneath1 the whole being one solid mass1 eliminating much of the breaking up and loosening that comes when separate tiles are placed in a surface4 ,,color ,,cement ,,flagstones are made as follows3 ,first prepare a solid earth under-foundation4 ,to do this the surface is pressed with an iron roller or tamped with an iron tamper or heavy wooden block4 ,if the surface has been previously walked upon for some time1 it will be good and solid4 ,on this surface indicate by scraping with a stick or trowel the shapes of the flagstones desired1 and scrape the earth out of these areas to a depth of one to two inches4 ,this surface is then sprayed with water until it remains damp and is ready for placing the concrete mixture4 ,,the ,,concrete ,,proportions should be one part cement to two parts or three parts gravel4 ,these parts are mixed well together dry and then water is added while it is mixed again4 ,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 sections4 ,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 cement4 ,after a box has been used several times1 the cracks and crevices will become filled and the mixing tray will become more waterproof4 ,,when ,,the ,,concrete ,,is ,,thoroughly ,,mixed a portion is then taken and placed in one of the scraped areas and shaped with a trowel4 ,the sides should be left thick and preferably tapering slightly upward4 ,this prevents breaking edges later when in use such as occurs if the edges overhang4 ,,the ,,top ,,layer should be of colored cement and may be a very thin layer1 but in order to be durable it should be composed of one-half part of cement and one-half part of gravel or sand4 ,this is mixed with color sufficiently to tint it1 but the color should not be too great in quantity for it will weaken the strength of the mixture4 ,,the ,,colors ,,for ,,the ,,cement ,,flagstones is dry color and may be ,venetian red1 yellow1 ochre1 ,indian red1 lamp black1 burnt umber1 or burnt sienna4 ,this mineral color should be mixed in well with the dry concrete before water is added4 ,colors can be changed by mixing one color into another4 ,for instance1 the red can be made less intense by the addition of burnt umber or with the addition of a little lamp black4 ,when adding another color to a cement mixture to which water has been combined1 do not add the color dry but mix it with water first until it is a paste before mixing it into the first mixture4 ,,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 pouring4 ,when this strata has partly set1 it can be surfaced with trowel marks or a few twigs or weeds can be held in the hand and whipped over the cement surface1 producing a roughened texture4 ,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 drying4 ,do not permit the sun to prematurely dry the stones as the slower a cement dries the more durable it will be4 ,,bridge ,,work ,,for ,,the ,,garden can be constructed with cement1 and the use of color combined with cement will enhance the project if used reservedly and in good arrangement4 ,iron posts or supports can be used as under parts of the bridge or a temporary support of wood can be used4 ,a wooden barrel has been used successfully to form the opening under a cement garden bridge1 the staves being knocked in to remove the barrel after the bridge was completed4 ,stones and tree limbs can be combined with the cement bridge toward creating informal effects4 ,the ,japanese garden is delightfully arranged with many surprise effects of stone work and pools1 all of which can be duplicated with cement4 ,,natural ,,effects can be secured with the proper use of cement and the possibilities are only limited by the time and interest of the worker4 ,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 worker4 ,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 creation4 ,a ,,tile ,,effect for walks or courts in regular pattern can be made by pouring a color layer over a concrete solid layer4 ,previous to the pouring thin strips of wood are placed so as to divide the space into the tile shapes4 ,these strips are afterwards taken out and the tile edges scraped round1 and the spaces where the wood was placed is then filled with gray cement4 ,this produces at considerable less expense the same result as the inlaid tile surface4 ,,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 brush1 forming a design motif4 ,these motifs may appear at regular or irregular intervals depending upon the pattern arrangement of the stones1 and can be of flowers1 quaint birds or animals1 preferably in abstract arrangements4 ,,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 added4 ,these should be poured onto a fairly hard ground surface which has been previously watered4 ,the stones can be of varying shapes and sizes and with varying tints of colors4 ,gray cement alone will give a good color to which may be added those made of ,venetian red1 ,indian red1 and lamp black or yellow ochre4 ,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 water4 ,to this add one-fourth to one-sixth part ,portland cement4 ,the lime should be prepared previously to combining with the sand by adding water to it1 letting it remain for a half day to two days in order that it will become slackened4 ,lime gives adhesiveness to the plaster1 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 pressed4 ,many other fascinating uses of color cement will develop into successful applications in the hands of the craftsman who is interested in beautifying the garden4 ,illustration3 ,helps in ,cement ,garden ,pottery ,illustration3 ,application of ,cement ,tiles to ,architectural ,use ,illustration3 ,color ,cement ,flagstones ,used for a ,bridge1 ,garden ,pathway1 and ,entrance4 ,illustration3 ,color ,cement ,used for ,chimney ,stones and ,flagstones ,illustration ,,chapter #ad ,the ,making of ,candlesticks and ,book ,supports ,illustration ,,to ,,make ,a ,,candlestick ,,with ,,straight ,,sides the molds should be made in sections1 the divisions occurring where the corners come4 ,this results in the object coming from the mold with the mold lines where they can be easily removed4 ,,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 vase4 ,the mold lines occurring on the surface can be obliterated as soon as the object is removed from the mold4 ,a ,,mold ,,for ,a ,,candlestick ,,differs ,,from ,a ,,vase ,,mold in that it is made upside down4 ,as a candlestick is made solid instead of hollow like a vase1 the mold is filled from the bottom1 the open part to hold the candle being a projecting section into the space of the mold into which the cement is poured4 ,,to ,,make ,,the ,,mold ,,sections the small section to reproduce the hole for the candlestick is first made4 ,the original model1 made either from clay or modeling wax1 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 candlestick4 ,,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 model1 the exposed portions of the plaster are oiled and the side section 7round or straight section7 is next made1 leaving the bottom open4 ,the completed parts of the mold are assembled and dried before using them for the cement cast4 ,,to ,,pour ,,the ,,candlestick ,,cast1 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 opening4 ,if a color is to be used1 the color should be poured in and the mold rotated until the color covers the inner surface4 ,surplus color should be mixed and kept to use later in completing the bottom4 ,after the lining has set1 a mixture of sand and coarse cement should be poured into it and permitted to settle4 ,jarring or tapping the mold will help the cement to settle4 ,if it settles1 more cement should be poured in4 ,after it has settled1 the color surplus similar to the surface lining is poured on to finish the bottom4 ,,when ,,the ,,mold ,,is ,,opened the sides are opened first and the small mold section forming the candlestick hole is carefully twisted out4 ,if when making this part of the mold1 a ,t shape wire has been inserted it will strengthen the mold4 ,,to ,,make ,,the ,,book ,,support1 a model should first be designed and modeled in clay or modeling wax4 ,this design must be considered from its practicability and the structural design therefore must be carefully planned4 ,the base on the book support should be heavy enough to overbalance the upright portion so as to prevent the book support from falling over4 ,the upright portion may be of any simple shape and enriched in any of the methods previously described for the decorating of tiles4 ,a ,,wooden ,,base ,,or ,,back ,,for ,,the ,,model may be used on which to place the modeling wax4 ,a thin layer of the modeling wax may be placed over the entire surface1 and variations to the shape also can be made with the modeling wax4 ,a panel of plaster or a tile design can be incorporated into the model instead of modeling4 ,this method has been often used and found to give good results4 ,,gesso ,,or ,,reliefo ,,modeled ,,panels ,,can ,,be ,,used for book support designs by attaching them to the surface of the model4 ,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 handicraft4 ,,after ,,the ,,model ,,is ,,completed the first part of the mold to be made should be the portion with the design4 ,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 base4 ,different shaped bases or irregular shaped bases will require individual consideration when planning the molds4 ,the main thing to consider is that the parts of the molds must be made so that the cast will release easily from the molds4 ,,the ,,sides ,,of ,,the ,,book ,,support are next made1 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 sections4 ,the top of the model is also cast1 the bottom being the only portion not made1 as the book support like the candle is cast upside down4 ,,preceding ,,the ,,pouring ,,of ,,cement the mold sections are soaked in water1 taken out and oiled1 assembled and put closely together1 and tied firmly in position4 ,the colored cement slip is then poured in1 the mold is rotated and the concrete or cement filler is poured in and permitted to settle4 ,the bottom or last layer is then poured on in the same color as that used for the lining4 ,,to ,,insure ,,quick ,,assembly ,,of ,,mold ,,parts when working1 the molds should be marked with corresponding numbers so that the correct parts can be put together rapidly4 ,,to ,,finish ,,the ,,book ,,support it is removed from the mold1 trimmed as needed1 placed in water to harden for several days1 taken out and permitted to dry slowly and then brushed well and waxed4 ,a thin coating of shellac may precede the wax4 ,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 other4 ,illustration3 ,book ,support and ,candlestick ,molds ,illustration ,,chapter #ae ,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 handicraft4 ,it enables the home builder1 the art student1 or the busy housewife who has some idea of decoration1 to plan and execute durable tiles or panels for the floor1 walls or fireplaces1 and to execute them with but little space and equipment4 ,,to ,,make ,,tiles ,,for ,,the ,,floor1 the tiles should be made in flat surfaces and without relief parts that will project so as to become worn from being walked upon4 ,for floor surfaces pressed tiles are better than poured tiles4 ,manufacturers of common cement tiles for architectural purposes produce them in presses with several tons pressure4 ,the craftsman can secure very good pressed effects by using backing cement that has very little moisture in it and tapping it in well1 using a block of wood and a mallet4 ,the retaining sides of the mold should be of wood or of some durable material that will withstand the pressure1 and hold together firmly4 ,,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 durable4 ,one or two coatings of shellac and a covering of floor wax will further increase the durability of the wearing surface4 ,,plain ,,tiles ,,for ,,floor ,,use can be used with decorated tile and various interesting patterns can be made 7a few of which are shown7 by interspersing the tile in different arrangements4 ,a glazed tile can be made and used as a variation in combination with mat finish or dull finish tiles4 ,several small tiles may be used to fill a space and produce patterns in contrast to larger tiles4 ,it will be found that with a little design arrangement many interesting floor arrangements can be made with tiles4 ,,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 once1 and the first color placed in each tile consecutively and then the next color1 until all the colors have been placed in the six1 eight1 ten or whatever number of molds is being made at the same operation4 ,after the color has set1 the backing mixture of concrete is made and poured into all the tiles4 ,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 design4 ,the templets should duplicate the portions of a design and the design should be the first step in the problem to be solved4 ,,the ,,design ,,for ,,templet ,,patterns should be simple in form and division4 ,geometric patterns and straight line forms are the best for use4 ,good divisions of squares and rectangles and these divisions changed slightly to floral or leaf shapes should be as far as any elaboration should go4 ,,after ,,the ,,templet ,,pattern ,,is ,,cut it is assembled and glued into position on another card or glass surface and given two coats of shellac4 ,it is then placed within the retaining bars and a cast is made in plaster4 ,this cast in plaster is afterwards shellaced and becomes the mold for casting the cement tile4 ,,to ,,cast ,,the ,,cement ,,tile the colors selected from parts of the design are first mixed and placed into the mold4 ,after the colors have been all placed and permitted to harden1 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 days4 ,after being hardened in water for several days after its removal from the mold1 it is then ready to be cemented in position for floor use4 ,,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 position4 ,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 poured4 ,after the cement has dried thoroughly and the tile is ready to be removed from its mold1 these cards can be easily removed4 ,,to ,,use ,,wall ,,tiles they should always be immersed in water before the mortar is applied4 ,this prevents the moisture being absorbed out of the mortar by a dry tile and assures better sticking of the tile to a perpendicular surface4 ,,to ,,make ,,good ,,mortar1 building lime is placed in a mixing box or bucket and water poured over it4 ,next day it can be taken and mixed with sand until a rich1 thick plaster results4 ,to this add one-quarter or one-eighth part of ,portland cement to make it strong4 ,,to ,,apply ,,tiles ,,to ,,an ,,upright ,,surface1 spray the brick or rock surface with water4 ,this can be done with a whisk broom or a large brush4 ,a cloth immersed into water and dabbed onto the surface will serve very well4 ,the tile which has been placed in a bucket of water to absorb moisture is then covered with mortar on the reverse side4 ,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 mortar1 causing the two layers 7the one on the tile and the one on the wall7 to adhere to each other4 ,,to ,,connect ,,tiles ,,onto ,,an ,,old ,,cement ,,surface the following method should be used3 ,clean the old cement surface well with a brush and water1 removing the dirt and dust4 ,sprinkle a thin layer of neat cement onto this surface while the floor is still moist4 ,work this neat cement into the surface well1 pressing it and working it with a flat trowel4 ,onto this add a layer of strong mixture cement into which the tiles are pressed4 ,,to ,,finish ,a ,,tile ,,floor the spaces between the tiles are filled with cement2 a small narrow cement trowel or strip of metal is passed over the strip to smooth the cement in between the tiles4 ,after the first day the tiles and entire surface should be sprinkled with water to insure good hardening of the cement4 ,,the ,,spaces ,,between ,,the ,,tiles can vary in width1 depending upon the size of the tiles4 ,a half-inch space of cement between six-inch tiles is a good average4 ,a tile surface either upright or flat looks better with a liberal space between the tiles than where too close a connection is attempted4 ,the tiles also look more interesting if the cement in between is left a little lower than the surface of the tile4 ,a color may be added to the cement used between the tiles1 creating a pleasing contrast in color and values4 ,this color may be a thin coating of color cement and need not be used throughout the entire cement section4 ,,to ,,secure ,a ,,level ,,tile ,,floor with the color cement tiles1 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 sand4 ,the tiles are then pressed onto this layer1 more of the moist cement being pressed under the tiles until the tiles are level with each other4 ,to test the level surface a straight edged board is placed straight edge downward along the surface4 ,if it rocks on any part of the surface1 that part should be pressed downward or lowered by the removal of some of the cement4 ,if parts are too low1 they will show a light opening underneath the leveling edge and should be built up4 ,after the tiles are all level1 the spaces between are filled with a soft mixture of cement and finished smooth4 ,,tiles ,,for ,,inserts ,,in ,,wall ,,panels can be made in the same way as described in the chapter on ,tiles1 excepting that they may be made thinner to conform with the thickness of the wood or other surface to which they will be added4 ,where the wood or wall surface is grayed or toned with a paint wash or tint1 the tint can be carried over the tile insert which will help the unity of the tile with the wall4 ,,color ,,cement ,,tiles ,,for ,,furniture ,,inserts can be made in colors to harmonize with the wood background4 ,the surface finish given the wood1 whether wax or gray tone1 can be also applied to the tile4 ,the tiles may be applied to boxes1 chairbacks1 flower stands so that they become the bright spot of color motif to a design produced by the pattern of the wood1 or a carved or relief enrichment on the surface4 ,,unit ,,tiles ,,for ,,wall ,,surfaces can be made and planned so that various arrangements can be made by using the same motifs or elements4 ,these elements can be combined into a group that may be inserted into an over mantel or into a wall or corridor space4 ,unit tiles admit of arranging a vertical or a horizontal border or of combining both borders each produced with the same motifs4 ,,color ,,tile ,,borders for plain cement floors will make an otherwise plain floor a thing of beauty4 ,a series of tiles for the border can be made and special tiles for the corner arranged4 ,the whole series can then be set at the same time that the center plain gray or tinted portion of cement is spread4 ,,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 days4 ,abrasion or powdering of cement floors indoors often occurs because of prematurely drying when constructed4 ,where walks out-of-doors are benefited by the dew or moisture at night1 inside floors do not receive this moisture and often dry too rapidly4 ,to remedy the abrasion1 or powdering of cement floors1 wash the floor thoroughly with clean water removing all dirt and particles with a stiff scrub brush4 ,after the surface has dried1 apply a solution of one part water-glass 7sodium silicate7 of #dj degrees ,baum and three to five parts water1 the water depending upon the absorbing quality of the cement4 ,this mixture is applied with a large brush and should be mixed well and used within an hour4 ,when this has dried mop the surface with clean water and repeat the wash of water-glass three times1 letting the floor dry after each operation4 ,the silicate penetrates the pores1 comes in contact with the other alkalies in the concrete1 forming an insoluble and very hard material1 preventing dusting and makes a better wearing floor4 ,illustration3 ,color ,cement ,tiles for ,interior ,decoration ,illustration3 ,color ,cement ,tiles for the ,fireplace ,illustration3 ,tile ,patterns for ,wall or ,floor ,illustration3 ,the ,unit ,tile and ,application ,illustration3 ,cement ,tiles and ,woodwork ,illustration ,,chapter #af ,surface ,finishes ,illustration ,,color ,,cement ,,tiles ,,are ,,surface ,,finished generally after they are dry4 ,as the tiles or pottery dry a lime or white powder dries on the surface and the colors appear to become dull4 ,to bring out the colors and remove this powder1 a soft cloth or soft brush is used to brush or dust off the tile surface thoroughly4 ,,an ,,oil ,,rub can be given to the surface of the tile with raw linseed oil on a soft cloth1 and a brisk rubbing of the cloth will give a soft dull polish4 ,this should be done only on the cast and dull finish tiles and not on the slip-painted or glazed surfaces4 ,a ,,thin ,,shellac ,,coating may be given a color cement tile or pottery as a preliminary to a wax polish or a gasoline wash4 ,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 thoroughly4 ,shellac should be applied after the surface is thoroughly dried to prevent a sticky surface4 ,,the ,,gasoline ,,wash is made by mixing white oil paint 7flake white or zinc white7 with black paint 7ivory black or lamp black7 until a gray tone is secured4 ,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 water4 ,to this mixture green or blue paint or other color should be added until the right hue is secured4 ,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 filled4 ,after the wash has dried thoroughly1 a soft cloth is used to rub off all the surplus4 ,this will leave the gasoline wash remaining only in the bottom or lower portions giving a pleasing finish4 ,after this has dried a wax rub may be placed over it4 ,a ,,wax ,,rub is produced by taking either wax tan shoe polish or floor wax and rubbing it onto the cement with a soft cloth4 ,the cement should be thoroughly dry before the wax is placed upon the surface4 ,after a few minutes a soft brush or woolen cloth should be used to polish the waxed surface4 ,a wax rub can be applied over a gasoline wash1 but only after the wash has been given time to thoroughly dry4 ,if the gasoline wash is not dry1 the wax will remove it in parts and destroy the effect produced by the gasoline wash4 ,a ,,color ,,cement ,,surface ,,finish is made by mixing a thin mixture of color and cement which is then brushed onto the tile4 ,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 mold4 ,previous to the application of the cement color1 the tile should be well moistened4 ,after the color has dried for several hours upon the surface1 a cloth balled or gathered so as to form a padded surface should be used to remove the color from the high parts4 ,a ,,slip ,,surface ,,finish is where the tile or surface has been completed in single or several colors and when hardened sufficiently in water1 a thin slip of color cement is placed over the entire surface and permitted to settle into the hollows1 leaving the higher portions to appear more clearly through the colored slip4 ,if the surface is a tile1 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 portions4 ,if the object is a vase1 it may be filled with water to harden the outer surface properly4 ,if the color has been used as a layer on the inside1 the bowl or vase should be placed in a pail and water poured into the pail so that the object is surrounded with water4 ,a weight or board can be placed so as to prevent the object from floating if it commences to do so4 ,,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 7termed fixitive7 onto charcoal or pencil drawings4 ,the color should be repeatedly stirred to keep it well mixed and if the sprayer becomes clogged1 it should be rinsed in water4 ,too much color should not be sprayed at a time as it will fail to be absorbed and run on the surface1 resulting in streaks4 ,,spattered ,,color ,,for ,,surfaces is secured by dipping a short-haired bristle brush 7the bristles are best when they are about one inch long7 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 brush4 ,this will cause the bristles to release suddenly1 throwing pigment in the opposite direction onto the object4 ,a trial should first be made on paper surface before the actual surface is used to avoid too much color1 such as would come from an overcharged brush or too vigorous rubbing4 ,the surface of the object should be moist or dampened well previous to the spattering4 ,,sprinkled ,,dry ,,color can be applied to surfaces4 ,this will give a pleasing effect in certain places where an antique or scattering of dry color will enter into the nature of the design4 ,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 moist4 ,this is necessary in order that the dry color will absorb sufficient moisture from the other color to amalgamate with the first color4 ,,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 surface4 ,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 color4 ,,repeated ,,surface ,,coloring may be done where the first coloring is not satisfactory4 ,it will be found that a more pleasing effect is often produced by the second surface coloring being placed over the first4 ,care should be taken that so much rubbing does not occur that it wears parts of the tile or pottery surface that are soft4 ,,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 choice4 ,a brilliant color wash will often bring out the pattern in pleasing contrast1 and at other times it may be over absorbed and produce a mottled undesirable quality4 ,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 finishes4 ,illustration3 ,a ,surface ,finish for ,cement ,handicraft ,illustration ,,chapter #ag ,decorations in the ,open ,illustration ,,color ,,as ,,outer ,,architectural ,,decoration was much used on the buildings of ,egypt and ,assyria4 ,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 cities4 ,,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 architecturally4 ,the great ,acropolis was resplendent in bas-reliefs on the outer walls in color1 gold and silver4 ,,the ,,romans ,,used ,,color ,,out ,,of ,,doors on their buildings and the ,etruscans built in terra cotta coloring the outer walls with gorgeous decorations4 ,they recognized that architecture could be dignified and noble with proper use of color decorations to enrich the building as a whole4 ,,mural ,,decorations ,,in ,,the ,,open were used by the ,egyptians1 examples of which remain in our museums today1 and so permanent were their colors that the color schemes are apparent even at this day thousands of years after their artists applied them4 ,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 surroundings4 ,,the ,,chinese ,,used ,,colors ,,similar ,,to ,,the ,,pompeians and their decorations give brilliant notes to their buildings creating pleasing effects4 ,the ,chinese medium has been one largely of lacquer which has been used over their gold and painted color1 producing transparent qualities making it difficult to know where the actual surface begins4 ,,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 cities4 ,,color ,,in ,,american ,,architecture ,,is ,,possible with the use of color cement and with careful analysis of the colors used and methods of hardening1 the patient worker can accomplish much toward realizing this much sought possibility4 ,,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 rapidly4 ,if it does so1 it will disintegrate and chalk away gradually4 ,the drying of color cement should be retarded as much as possible and kept moist as long as the hardening process has not completed4 ,it is impossible1 of course1 to apply water to the face of a working surface without destroying the glaze of the color1 or the surface setting layer once the surface commences to dry4 ,water applied at this time will cause the surface to float in sections and ruin the entire surface4 ,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 afterwards4 ,,where ,,the ,,mural ,,is ,,to ,,be ,,applied ,,to ,,the ,,wall the surface must be first roughened1 next thoroughly dampened with water1 then a layer of wet neat cement placed upon it4 ,the bed of cement or sand and cement is next applied and the subject then applied onto this surface all at one sitting4 ,this is necessary to avoid any part drying1 as it will be impossible to dampen the surface for postponed work4 ,,better ,,result ,,on ,,wall ,,decoration is possible where the color cement can be applied before the wall mass has dried out4 ,if the forms or board walls can be removed before the cement has thoroughly set1 whatever color cement or cement underlayers necessary to the color surfacing are placed upon it1 will stand greater chances of remaining as a permanent part of the whole structure4 ,,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 metal4 ,this is to hold the mural cement slab onto which the subject is to be painted4 ,,the ,,cement ,,slab ,,is ,,made by surrounding an oiled surface 7wood or glass7 with wooden retaining walls similar to those used in making tiles4 ,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 hardening4 ,the mixture of sand and cement 7one part cement and two parts sand or gravel7 is next poured into this space and permitted to set for several hours4 ,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 knife4 ,,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 colors4 ,if the color sinks in too rapidly and becomes lost1 the under surface is too wet and the painting should be delayed for several hours or until the color applied lays upon the surface properly4 ,,the ,,cement ,,slab ,,is ,,transferred ,,to ,,the ,,metal ,,tray as soon as it is removable from its surface4 ,in fact1 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 tray4 ,if the sides are well set the retaining walls can be removed1 and as soon as the whole layer is set enough so as not to be dissolved by water1 water is poured in the tray until it comes half-way up the side of the cement slab4 ,this will prevent the whole slab drying prematurely as the water will supply all that is needed4 ,if the water becomes absorbed more should be poured in4 ,after it has remained in the tray for a week1 it may be withdrawn and permitted to dry gradually4 ,wet cloths around it will prevent too rapid drying4 ,,when ,,working ,,upon ,,the ,,surface1 the surface should be completed as the space is covered1 avoiding returning to work upon any part after it has commenced to set4 ,if the surface has formed a shell or thin layer and reworking breaks this shell1 the color in that section will not harden properly4 ,it requires direct1 confident handling of the subject1 and reworking of the surface such as the painter in oils is accustomed to is not possible with color cement4 ,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 color4 ,the white cement will absorb the color easily and parts of the design may be worked in opaque or solid colors4 ,a ,,dark ,,working ,,background may be used by mixing a layer of dark blue1 brown or green4 ,a layer of black can also be used4 ,brilliant colors can be brushed or dripped into this so that they sink and become a part of the dark surface without being in relief4 ,a slight shaking of the surface or the tray will produce this amalgamation of colors4 ,,water ,,should ,,not ,,reach ,,the ,,color ,,surface until after it is entirely dry4 ,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 undisturbed4 ,,to ,,connect ,,the ,,color ,,cement ,,mural with the building wall1 the space to receive it should be well moistened and covered with neat cement which is well worked into the surface4 ,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 dried4 ,the space or border edge around the panel should be filled in with cement at the same time4 ,illustration3 ,decorations ,painted with ,color ,cement ,illustration3 ,cement ,color ,painted ,decorations ,applied ,illustration ,,chapter #ah ,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 cement1 but is given in this book in order to complete the possible plastic mediums for the worker wishing to mold objects with permanent durable mediums4 ,,magnesite ,,cement ,,is ,a ,,successful ,,industrial ,,material and is used by builders in interior trimmings for floor tiles1 in making of bath-room surfaces and recently used in coating stairways and hallways1 producing a pleasing texture and durable surface4 ,the material is fireproof1 cleanly and better than marble4 ,,magnesite ,,is ,a ,,form ,,of ,,limestone and is a carbonate of magnesia which is produced by burning until all gases have been eliminated1 leaving only the oxide in the form of a pure white powder4 ,it comes from ,europe and is found in ,maryland1 ,massachusetts1 ,new ,york1 ,vermont1 ,california1 and ,washington4 ,it has been used extensively in ,europe and when better known will be used more generally in ,america4 ,,magnesite ,,cement ,,as ,,an ,,enamel has been used as a hardening surface on concrete and cement surfaces and also on clay brick4 ,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 drying4 ,,the ,,materials ,,for ,,producing ,,magnesite are calcined powdered magnesite1 chloride of magnesia1 sulphate of magnesia1 white sand1 white talc and fine sawdust4 ,the magnesite should be kept in a container1 proof against exposure to air and dampness1 in order to preserve its full setting qualities4 ,chloride of magnesia has the appearance of ice or alum and when exposed has the tendency to dissolve but does not deteriorate4 ,it is the chemical which when united with the magnesite produces the binding or cement qualities4 ,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 chapter4 ,the white talc or soapstone used for giving a smooth and polished white background is used as a filler4 ,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 ,cement4 ,,to ,,combine ,,the ,,ingredients proceed as follows3 ,,first ,,mixture4 ,two and one-half pounds of powdered magnesite and one pound of white talc are mixed thoroughly with one quart of fine sawdust4 ,to this mineral1 dry color similar to that used and described for color cement should be added if a color tone is desired4 ,about one-half as much color should be used as there is magnesite4 ,in other words1 one pound of color should be used with two and a half pounds of powdered magnesite4 ,a stone mortar should be used to grind the entire mixture well together4 ,this first combination is a dry mixture and is then mixed with the second mixture which is liquid4 ,,second ,,mixture4 ,take five parts by weight of chloride of magnesia solution with a density of #be tested with a ,baum hydrometer which is a simple glass tube secured at any druggist for registering solutions4 ,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 #ae4 ,,to ,,use ,,the ,,hydrometer1 place water in a container and if the hydrometer is placed in it1 it will register 8#j0 and when the chloride is placed in it1 and dissolves the hydrometer will commence registering the density of the solution4 ,when it records #be no more chemical should be added4 ,more water should be added to correct the density if needed4 ,the same procedure is followed for registering the #ae for the epsom salts4 ,chloride of magnesia will dissolve more rapidly if it is broken up1 and distilled water may be used if the usual available water contains lime1 iron or other injurious minerals4 ,some workers use rain water for many purposes4 ,,the ,,final ,,mixture1 or third step in the mixing1 is to take the first dry mixture and add enough of the second liquid combination to produce a thick creamy mixture of the two4 ,strain this after it has been well mixed4 ,,to ,,produce ,,tiles ,,or ,,other ,,objects1 ,,the ,,material is quickly poured into the molds4 ,a brush may be used for brushing the material well into the edges and corners4 ,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 mold4 ,,for ,,various ,,colors in the same design1 the dry mixture can be mixed with color and the liquid1 or second mixture1 added to it4 ,this can be applied to the mold in the same way as the color was used with cement1 and after it has set1 can be backed with a general color of magnesite cement or with plain magnesite mixture4 ,,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 surface4 ,a thin coating of beeswax or floor wax well polished will finish the article4 ,illustration3 ,the ,making of ,magnesite ,cement ,illustration3 ,magnesite ,objects ,cast from ,molds ,illustration ,,chapter #ai ,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 waxes4 ,many times clay is used in making tiles and the coloring is done with colored chalks or paints4 ,these can be but temporary in effect and are broken easily1 being impractical for use4 ,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 8grown-ups0 use4 ,,commencing ,,with ,,small ,,tiles ,,is ,,the ,,best ,,plan4 ,have the class plan from nature a rosette design for a two-inch tile4 ,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 folds4 ,opening out these folds will often reveal a very interesting design4 ,when the student has completed the design1 it can be traced with a pencil onto a flat layer of modeling wax1 and a pencil1 stick or nail used to cut away portions of the design4 ,the pattern designed may be the part taken out or the background may be the part to be removed4 ,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 outward4 ,if the design is to be simply produced by incised lines only 7and charming results can be thus secured71 the stick1 nail or instrument used should be sharpened so that it scrapes a groove in the clay that remains widest at the surface4 ,the design being completed in the clay or wax1 a few strips of thick cardboard or heavy oiled paper is cut so as to project above the clay or wax tile4 ,this projection must equal the thickness of the mold to be made in plaster-of-,paris4 ,these strips may then be placed up against the tile so as to surround it1 and are to be retained in position with nails or pins or heavy objects4 ,when the pupils have all reached this stage of the tile1 the teacher then may mix up the plaster and pour it into the molds1 illustrating the correct method for the students to afterwards follow4 ,,after ,,the ,,plaster ,,tile ,,is ,,released1 it is brushed well with oil and again surrounded with the strips of paper4 ,cement with any desired color added to it is then poured in and after two or three days the completed tile can be removed4 ,to secure color effects it is only necessary for the teacher to mix two colors of cement sufficient for the student's use4 ,the student then places a thin layer of the color on the plaster mold1 keeping it within a certain portion of the design4 ,the second color is placed on the spaces left1 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 days4 ,,tiles ,,with ,,the ,,design ,,in ,a ,,relief ,,line can be made as follows3 ,the teacher should have previously made a number of plaster tiles with a smooth surface4 ,these can be easily made by flowing the plaster onto glass or other hard1 smooth surface1 the plaster being retained between two strips of wood #d #d inches4 ,cutting these bars of plaster into squares1 one is given to each student4 ,a simple design is made on paper first and traced onto the plaster tile4 ,a nail or hard pencil is then used to incise the design in the plaster1 after which it is brushed well with oil and surrounded with cardboard strips and cement poured into it4 ,this will result in a tile with the design in relief4 ,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 tile4 ,the tile will be hard enough to remove in five days4 ,,simple ,,round ,,paper ,,weights and tiles that are not square can be made by the same method4 ,a little ingenuity in arranging the retaining cardboard strips around the plaster or wax model will solve the producing of irregular forms4 ,,flower ,,and ,,plant ,,holders1 ,,fish ,,ponds1 ,,and ,,book ,,supports can be made by using the tiles as the principle part4 ,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 bottom1 the size of the box to conform to the tiles4 ,pour about an inch of cement into the bottom of the box to form a bottom4 ,when this has partly set1 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 meet4 ,the cement should be poured also into the outside corner spaces4 ,after the complete form has dried for a day1 pour water inside and let it remain for three days or more4 ,release and trim corners and inside as desired4 ,a thin mixture of colored cement placed inside and then poured out will give an inside lining1 producing a finished effect4 ,,sand ,,box ,,animals ,,and ,,toys can be made in a very durable form by the use of cement4 ,the method to follow in class should be as follows3 ,have the pupils outline an animal in simple form on paper4 ,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 easily4 ,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 outline4 ,the metal should be about two inches wide4 ,the outline need not be made entirely of one piece of metal but perhaps of several4 ,when the outline is completed in metal1 it should conform fairly closely to the outline on the paper4 ,this metal rim is then pressed slightly into wax or clay1 or it may be placed on glass or on an oiled card4 ,if clay is used1 the eyes1 wings1 or other parts may be incised in the clay within the metal rim4 ,a one-inch layer of cement is then poured in the metal rim1 and after several days1 the metal rim is removed and the cement around it is evened where necessary and colored if desired4 ,by making the feet of birds or animals first1 combining wire legs with them1 the body can then be cast1 combining the body and the legs through the wire connection4 ,,mosaic ,,cement ,,tiles can be easily produced as follows3 ,secure a number of the small mosaic stone squares used by masons and tile setters for inlaying floors4 ,these come in many colors and different geometric forms4 ,plan a four-inch tea tile arranging a design with the use of two or three different colors of mosaics4 ,when the arrangement or design is decided upon1 the mosaics should be glued face downward to a piece of cardboard or glass4 ,if glass is used1 it should be brushed with oil after the mosaics have been glued into position and before the cement is poured4 ,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 surface4 ,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 secured4 ,it is then left for several days to dry1 after which it is removed from the glass or the cardboard is peeled away from the cement surface4 ,the tile is then finished after being placed in water for a week to harden4 ,glue a piece of soft leather or felt on the bottom when the cement has thoroughly dried4 ,,cement ,,boxes ,,and ,,book ,,supports can be made by the use of mosaics1 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 object4 ,where cement is removed from the mold before it has thoroughly hardened1 it can be shaped with a knife1 and mosaic book supports or boxes made in general form can be shaped easily this way4 ,,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 colors1 after which they can scrape or slip paint the shapes as they are removed from the molds4 ,,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 size4 ,one ingenious teacher placed building paper on the floor of a schoolroom corner section1 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 equipment4 ,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 school4 ,this correlation of the student's work with every day utility is one of the attractions of color cement for the school student1 and innumerable practical applications can be found for color cement4 ,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 classes2 and as a vocational subject it combines design with construction in a sensible proportion4 ,illustration3 ,schoolroom ,projects in ,cement ,illustration3 ,a ,tile in ,cement ,made in the ,grammar ,grades ,illustration3 ,a ,tile ,made in the ,intermediate ,grades ,illustration3 ,color ,cement ,tiles and ,pottery ,made by the ,students of a ,high ,school4 ,illustration3 ,problems in ,cement by ,students of an ,art ,school4 #a to #c are ,elementary ,problems4 #d to #ac are ,secondary ,problems4 #ad is a ,palette ,knife ,painting in ,colored ,cement4 #ae is a ,fish ,bowl and ,sun-,dial ,made in ,cement by the ,use of a ,glue ,mold4 ,illustration ,,chapter #bj ,designing for ,tiles and ,pottery ,illustration ,,principles ,,of ,,pattern ,,design are important for the craftsman to be familiar with1 for the reason that it gives points with which to 8check up0 drawings before they are applied1 as well as to permit greater facility in designing4 ,,many ,,design ,,well without having learned the theories of design1 having a natural sense of good arrangement of details and spaces4 ,however1 natural designers1 as well as those who do not find it easy1 will profit by becoming well grounded in the design principles4 ,,natural ,,forms afford excellent examples of principles1 giving beauty in line1 form and color2 and the more the designer refers to nature for these ever occurring lines of grace and beauty1 the greater will be his development as a designer4 ,,such ,,study ,,from ,,nature should be intelligently pursued4 ,to study nature for design motifs does not mean that 8photographic0 arrangement or life-like sprays should be applied onto surfaces4 ,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 designed4 ,the designer should refer to nature only as a reference from which inspiration is received for motifs to be used4 ,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 source4 ,nature uses patterns in all her kingdoms correctly4 ,the patterns on petals and leaves1 the pattern on bird plumage and animal skins1 as well as nature's designs on minerals are all beautifully arranged to conform to the contours of the surface4 ,it would have been just as easy for the ,great ,creator to produce forget-me-nots and violets in natural splendor upon the leopard1 but the ringed spots varying and converging to the lithe1 graceful lines of the surface without any appearance of being in relief upon the skin are much more beautiful4 ,those who state that 8,nature cannot be improved upon0 as an excuse for natural representation in designing are overlooking nature's real poetic opportunities to the designer4 ,no true artist or designer ever hopes to actually represent nature4 ,it is impossible4 ,the best that can be done is each individual artist's interpretation of nature forms founded upon governing principles4 ,these principles have been tested by centuries of scrutiny and all beautiful forms of historic ornament are governed by principles which1 as has been stated1 originated in nature's design forms4 ,,radiation1 ,,symmetry1 ,,unity1 ,,subordination1 ,,measure1 ,,etc41 are all principles of importance1 but the three that are of great value to the craftsman are ,measure1 ,balance and ,unity4 ,,these ,,three ,,principles can be used to test the line1 form and color of the design before it is applied4 ,,measure is the principle that requires a consistent varying of areas1 line directions or colors4 ,measure creates interest4 ,it does not mean that large and small parts are to be designed without any further consideration4 ,there must be a right proportion of one to the other and balanced as regards their location4 ,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 axis1 it will be more interesting than if located in the center4 ,the working plate illustrates this4 ,,balance is the principle which creates harmony by contrasting measures4 ,if we have a heavy spot on one side of a design1 the eye requires satisfaction by seeing another spot or several parts equal in weight to the large spot on the opposite side of the design4 ,balance is also secured by locating a unit or design spot in the proper location of a space1 without necessarily having a second opposite spot4 ,nevertheless1 it is balance in relation to its background4 ,balance may be secured by ,symmetry1 making parts like-sided or balance may be secured by equal amounts of form on two sides of an axis1 even though not symmetrically placed4 7,see working plate47 ,balance in color requires that if a color is used in a single spot that its location be pleasingly balanced within the space decorated4 ,where a color is to be used in several places in the design1 these different spots should balance each other4 ,,unity is the principle which brings harmony into design by similarity of parts1 by keeping lines of a design parallel to the space outline within which they are designed4 ,again the main lines of a design if radiating from a point or axis within or without the design space produces unity4 ,unity is produced by harmonious values and by harmonious color4 ,a ,,design ,,without ,,unity may be one where the parts are too varied in form1 where they do not pertain or group with each other1 but appear 8explosive40 ,different finishes to the motifs in a design destroy unity4 ,avoid mixing naturalistic or conventional and geometrical motifs in the same design1 and using lines or forms which are not pleasing in direction1 or harmonious with the space in which they are placed4 ,,unity requires that all parts of a design be of similar expression4 ,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 dissimilarity1 and yet such fault is apparent in a large proportion of designs4 ,,all ,,design ,,forms ,,can ,,be ,,divided ,,into ,,four ,,divisions and these divisions can be defined as ,naturalistic1 ,conventional1 ,geometric1 and ,abstract4 ,if any design motif for a tile or any application is started in a ,naturalistic manner1 then all parts should be expressed in the same manner4 ,,the ,,naturalistic ,,division ,,of ,,design is where natural forms and growth arrangements are planned or designed within a given or arbitrary space4 ,the decorative arrangement comes from carefully planning the subject so that it composes in a pleasing way within the space4 ,the ,japanese designs are good examples of this kind of decoration4 ,it will be found that careful attention is given to the background spaces as well as to the parts of the subject being drawn4 ,strong outlines1 double outlines and individual techniques or renderings further increase the decorative quality of a naturalistic design4 ,,the ,,conventional ,,division ,,of ,,design is where a typical form from a nature growth is taken and repeated in regular repetition1 or a general shape formed from a plant form and used to interpret the subject4 ,for instance1 a flower with several petals will have each petal different in contour1 but in conventional design1 one shape is chosen and this shape is repeated4 ,while no two leaves are alike on the plant1 one or two conventionalized shapes are determined and these shapes are then used throughout the design4 ,the veins and stems of the flowers may be elaborated or the leaves may have their centers designed or 8inhabited0 so that added interest may be created in the subject4 ,,the ,,geometrical ,,division ,,of ,,design is when the subject is designed entirely with triangular1 rectangular1 square1 oval1 elliptical1 or circular shapes1 or where the outlines follow straight lines which may go at right angles to each other or in oblique directions4 ,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 art4 ,,the ,,abstract ,,division ,,of ,,design is represented by that form of design which may have little direct representation of the natural forms1 but has been developed from it4 ,we find that the wave border of the ,egyptians and the ,greek fret are abstract designs of the water4 ,the ,peruvian ,inca1 the ,aztec and ,north ,american ,indian used abstract designs of the bird and other nature forms in their textiles and pottery4 ,the abstract design requires a careful arrangement of line and form spaces1 depending as it does on good design for interest rather than its identity to nature forms4 ,,line ,,unity is that principle which appeals to the eye by the relation of lines in the design to the space decorated4 ,curved lines for curved forms and straight lines in the designs decorating straight lined forms will do much toward making all parts consistent4 ,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 rendering4 ,a ,,test ,,of ,,good ,,design is to see if the main lines or 8frame lines0 are pleasing in direction1 decorating the space1 whether any more details are added or not4 ,no amount of filling in and adding of motifs will perfect an imperfect beginning4 ,,blocking ,,in of general forms is considered essential in freehand drawing and it cannot be discarded in designing4 ,first plan the main lines of growth of the design4 ,then block in the masses or motifs to be used4 ,the details and connections as well as the technique of the design will then be a simple matter to solve4 ,,the ,,greatest ,,enjoyment to the craftsman in any line of endeavor lies only through working out of ,good ,design4 ,,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 usage4 ,high relief is not refined or deservable in applied modeling4 ,sculptors everywhere are studying and returning to the chaste1 quiet forms of flat bas-reliefs of which we find excellent examples among the early work of the ,egyptians1 ,byzantines1 the early ,indian and ,chinese carvings1 as well as the work of the ,aztecs and ,maya ,indians of early ,america4 ,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 manner4 ,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 era4 ,keep all parts applied to the curved or flat surface of the bowl1 vase1 box or tile so that it appears to have been always a part of it rather than an afterthought and detachable in relation4 ,illustration3 ,helpful ,design ,principles for ,color ,cement ,work ,illustration3 ,outline ,patterns for ,color ,cement ,handicraft ,illustration3 ,tone ,patterns for ,color ,cement ,handicraft ,illustration3 ,egyptian1 ,roman and ,aztec ,relief ,decorations ,typographical errors corrected by the etext transcriber3 tested with a ,beaume tested with a ,baum pg #age #dj degrees ,baume #dj degrees ,baum pg #aec