Form Of Decoration Are Fast-drying: Fine example of a marbled Wall designed in panels and enriched by a painted
mirror.
filled. Most commercial products for this form of Decoration are fast-drying, very hard, and permanent.
Graining and marbling. Economic conditions, short leases, and frequent changes of residence today often require substitution for the more expensive materials of decoration. While, judged purely from the point of view of esthetic morals, such substitutions are indefensible, they are often practical and necessary. Within this class of work comes the graining or marbling of surfaces to imitate natural wood or real marble. Such work is a highly developed craft, and can by no means be accomplished by the amateur, but painters and artists in all periods have been able to develop an extraordinary technique in this line. Although it would be impossible for the average decorator to do this type of work himself, it is his duty to design the surface of the Wall in panels, planks, or other divisions that would be consistent with the material that he wishes imitated.
The preparation and application of the patented materials used for the effect of rough plaster are simple. The material, in the form of a flour-like powder, is mixed with water and, in some cases, with oil. Powdered color may be added to the mixture, thus finishing the Wall in one operation. It is also possible to apply the white, colorless plaster—a thick pasty sub¬stance—alone, and when it is thoroughly dry, to add the desired color by means of a thin glaze, to give the effect of age.
For applying the plaster, a trowel or brush is customarily used. For textural variations, all sorts of implements may be employed. These plasters, as a rule, will not crack, and if cracks do occur, they may be easily filled. Most commercial products for this form of Decoration are fast-dry¬ing, very hard, and permanent.Mural Decoration of walls is not necessarily limited to formal interiors. In early Colonial farmhouses, many murals were used; in these the painting was crude, but it was in harmony with the architecture and Decoration of walls. The interior walls and woodwork were often lavishly treated with landscapes, farm scenes, and flowers. The journeyman painters who were called upon to paint both houses and fences, portraits and murals, could hardly be expected to exhibit excellence of technique. Many of these compositions, however, had a naive appeal and great decorative charm.
The use of Oriental rugs. It has often been stated that a room in which a large and beautiful Oriental rug is used needs little else in the way of Decoration of walls. Certainly it needs little else in the way of patterned surfaces. As a consequence, plain or inconspicuously patterned coverings for chairs and sofas are usually necessary to avoid confusion and to act as a foil and contrast. From a decorative angle, the dominant colors in an Oriental rug should set the color scheme for the room and should be re¬called in the draperies, upholstery coverings, and walls, if possible. Orien¬tal Rugs should be used only in formal rooms. They are suitable for all the sophisticated types of Decoration of walls that are based upon the historic periods.
On The Other Hand See Patterns—a Decoration Which:The Ming dynasty (1368-1644). During the Ming dynasty all the arts received great encouragement from the emperors. The advancement in the making of porcelain was designated by a greater variety of beautiful colors. Plain-colored glazes, which had, in previous dynasties, furnished the chief patterns—a Decoration which, were supplanted in popular favor by monochrome pattern patterns—a Decoration whichs, although the plain glazes continued to be used side by side with more ornate pottery. New motifs such as birds and fish were added to the old floral patterns. This was the period of the blue-and-white porcelains, in which flower patterns in several shades of blue were placed on a cream-colored field and the whole covered with a glaze of a very faint bluish tinge. These were the porcelains that were popular with the Europeans and that had a great influence on English porcelain. Occa¬sionally the colors were reversed and white flowers were placed on a blue background. In the latter part of the Ming period, additional variety in the technique of color patterns—a Decoration which was developed, and the beginning of polychrome patterns—a Decoration which was evident in Ming enamelled ware and in Ming "three-color" ware, which took its name from its patterns wrought in the combinations of three colors. These colors were usually selected from a palette of dark violet-blue, turquoise, aubergine-purple, yellow,
and white.
Great age of porcelains, jades, and cut stone, with elaboration of form and patterns—a Decoration which of pottery. Extensive trade with Europe.
The last two Chinese dynasties were those that greatly influenced Western art in the 18th century, because of the exportations of pottery to England and France.
The Ming dynasty (1368-1644). During the Ming dynasty all the arts received great encouragement from the emperors. The advancement in the making of porcelain was designated by a greater variety of beautiful colors. Plain-colored glazes, which had, in previous dynasties, furnished the chief patterns—a Decoration which, were supplanted in popular favor by monochrome pattern patterns—a Decoration whichs, although the plain glazes continued to be used side by side with more ornate pottery. New motifs such as birds and fish were added to the old floral patterns. This was the period of the blue-and-white porcelains, in which flower patterns in several shades of blue were placed on a cream-colored field and the whole covered with a glaze of a very faint bluish tinge. These were the porcelains that were popular with the Europeans and that had a great influence on English porcelain. Occasionally the colors were reversed and white flowers were placed on a blue background. In the latter part of the Ming period, additional variety in the technique of color patterns—a Decoration which was developed, and the beginning of polychrome patterns—a Decoration which was evident in Ming enamelled ware and in Ming "three-color" ware, which took its name from its patterns wrought in the combinations of three colors. These colors were usually selected from a palette of dark violet-blue, turquoise, aubergine-purple, yellow,and white.
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