DECORATION OF KITES.
Kites may be decorated in three general ways. Piece work in covering;
overlaying, called aplaca; and brush work. The decoration of kites
presents some unique problems. The great distances at which the
decorations are to be seen force a study of the carrying qualities of
colors.
[Illustration: FIG. 116.]
The star kite is probably the best for decoration, as the spacing falls
in easier relationships than some of the other forms. In the kite shown
in Fig. 116 the covering is applied so as to give a decorative effect,
and it showed up splendidly in the air. The colors did not stand out as
well as might be expected, however, and while high in the air it was
nearly overlooked by the judges. When brought nearer it received the
first prize. Another way of combining colors is to make one half one
color and the other half another, giving a light and shade effect to
each point, Fig. 117.
Fig. 37 shows a pleasing arrangement of spaces. The kite is first
covered with the body color, then the bandings are put on, and lastly
the spots. A banding around the outside of the stars in the tail is
effective and in keeping. Passe-partout is excellent for banding in
some places.
The five-pointed star kite, Fig. 38, is neat and artistic. The
framework is given to the left.
=The Six-pointed Star=, Fig. 118, has interesting spaces and paths.
The wide paths running to the center are divided by passe-partout. The
discs at the points are in keeping with the large one at the center.
The main cover was in two tones of grey green. The one spine and two
bowed tailless kite gives good opportunity for decoration. Fig. 119 is
designed as a banner kite, Fig. 120 a conventionalized bull pup, and
Fig. 121 a flower form. The two stick tailless kite is not as easy to
space well as some of the others, yet a number of excellently decorated
kites of this form have been exhibited. Fig. 122 has a blue body and
black paths with gilt over the black. The gilt was put on by hand. Fig.
123 is very similar in design but with light paths between dark. Fig.
124 has a red, white and blue combination with black paths and gilt
stripes on the color spaces. In Fig. 125 the radiating lines would be
curved in the air.
[Illustration: FIG. 117.]
[Illustration: FIG. 119.]
The Japanese square kite, Fig. 126, is like a canvas, ready for a
grotesque figure, a beautiful landscape, or a conventional design, and
many of these have been very artistically decorated.
For box-kites with bands as a part of their construction, the banding
designs seem more consistent, and so are used more. See Figs. 127-133.
Fish, bird, butterfly, boy, man, and clown kites and all forms of
representative kites require considerable brush work. Fig. 134 is a
beautiful brown kite all decorated with the brush. The school building
in the center was painted with water colors. The fish kite, Fig. 135,
is all hand work. Fig. 136 is the head for a dragon kite and should
have considerable fierceness. Fig. 137 has the decorative feature
in carefully planned lettering which possesses a good space filling
quality.
[Illustration: FIG. 118.]
[Illustration: FIG. 122.]
[Illustration: FIG. 120.]
[Illustration: FIG. 121.]
[Illustration: FIGS. 123, 124, 125, 126.]
[Illustration: FIG. 129.]
[Illustration: FIG. 127.]
[Illustration: FIG. 128.]
Some very satisfactory results are obtained by using good colors, say
blue and black, relieved with gilt. Red and white makes a pleasing
combination, also red and black. A circle divided into three parts
presents a little problem in color harmony analysis. There are three
primary colors: red, yellow, and blue. We may use blue in a color
scheme. Combining the other two colors, red and yellow, we get orange.
Orange is called the complement of blue, but orange is too strong, and
a better color harmony is formed by the addition of some of the third
color, the blue to the orange, which will give a brown. Now brown and
blue make a better color harmony than orange and blue. So it runs, two
primary colors give a secondary, but the colors are more pleasing when
subdued with the third color or by the addition of grey or white. Red
and olive will need dividing paths of some strong color, black or
white. When gilt is used it must be edged with black or some very dark
color or it loses its effectiveness. While orange is too strong for
combination with blue, it is good with black. When yellow is used with
the purples it should be a modest yellow.
[Illustration: FIGS. 130, 131, 132, 133.]
[Illustration: FIG. 134.]
[Illustration: FIG. 135.]
Just as in landscape where the highlights are warm colors, we seek a
cool color for shadows, and vice versa, so with color combination we
strike across the color circle and choose a warm and cool color for
balance. Some of the analogous hues are very pleasing, but unless
quite a little variation of color is used, the design soon loses out
in the distance. Browns, greens, reds, blues, etc., may be used in
their individual color schemes, but the throwing in of some opposite
color has a spicing up effect that is helpful. A dark brown, medium
brown, a dull yellow, and a light but not brilliant yellow, give a good
combination. Some color schemes that are very beautiful for rugs and
interior decoration do not carry far enough to be used on a kite. Some
very brilliant colors that might shock us close by, are charming when
far up in the air.
But this is not a treatise on color work, and the subject is so
great, that we must leave it here. Sometimes striped effects are
made with gummed papers similar to passe-partout. The little mirrors
mentioned are such as are used on gowns and draperies. They are set
in little rims of light brass and with a good allowance of paste may
be stuck sufficiently well to any portion of the kite to hold during
a tournament. The mirrors might be found at Chinese stores. Whirling
devices, to be treated in a following chapter, may also be used for
ornamentation. Tassels, streamers, and banners all serve a purpose of
artistic makeup when properly used.
[Illustration: FIG. 136.]
[Illustration: FIG. 137.]