Technique : revue industrielle = industrial review, 1 décembre 1951, Décembre

[" Sèvres, Manufacture Nationale française J.-J.Maheu et R.de la Godelinais Twelve Months\u2019 Vacation a Year Wilfrid Werry Le jouet: plaisir et formation André Favreau The Evolution of Modern Industry and Commerce Ian McLeish Projet de construction Index de 1951 Index No 10 Vol.XXVI MONTREAL Décembre December 1951 Photo article page 669) CT aaa Manufacture Nationale de Sèvres TECHNIQUE REVUE INDUSTRIELLE organe de L\u2019Enseignement Spécialisé du MINISTÈRE DU BIEN-ÊTRE SOCIAL ET DE LA JEUNESSE INDUSTRIAL REVIEW a publication of Technical Education of the DEPARTMENT OF SOCIAL WELFARE AND OF YOUTH DIRECTEURS \u2014DIRECTORS EDOUARD MONTPETIT Directeur de l\u2019enseignement spécialisé Director of Technical Education JEAN DELORME Directeur général des études Director General of Studies ROSARIO BÉLISLE Ecole Technique de Montréal Montreal Technical School W.W.WERRY École Technique de Montréal Montreal Technical School PHILIPPE METHE Ecole Technique de Québec Quebec Technical School JOSAPHAT ALAIN Ecole Technique des Trois-Rivières Trois-Rivières Technical School MARIE-LOUIS CARRIER Ecole Technique de Hull Hull Technical School C.N.CRUTCHFIELD Institut Technique de Shawinigan Shawinigan Technical Institute ANDRÉ LANDRY Ecoles d\u2019Arts et Métiers Arts and Crafts Schools JEAN-MARIE GAUVREAU Ecole du Meuble, Montréal Furniture-Making School, Montreal L.-PHILIPPE BEAUDOIN Ecole des Arts Graphiques, Montréal School of Graphic Arts, Montreal GASTON FRANCOEUR Ecole de Papeterie, Trois-Rivières Paper-Making School, Trois-Rivières STÉPHANE-F.TOUPIN Ecole des Textiles, S.-Hyacinthe Textile School, St-Hyacinthe SONIO ROBITAILLE Office des Cours par correspondance Correspondence Courses M.L\u2019ABBÉ ANTOINE GAGNON Ecole Technique et de Marine, Rimouski Technical and Marine School, Rimouski Editeur Publisher PAUL DUBUC Secrétaire de Editorial la rédaction Supervisor WILLIAM EYKEL ABONNEMENT Eig: 3250 BUREAU \u2014 OFFICE: 506 EST, STE-CATHERINE, MONTREAL \u2014 HA.6181 fanaa countries SUBSCRIPTION L'IMPRIMERIE DE LAMIRANDE, 2425 RUE HOLT, MONTREAL, (36) Nf REV UE INDUSTRI SZ itt z- A wort A At ASA 4 La ; INDUSTRIAL REVIEW DECEMBRE VOL.XXVI = DECEMBER 1951 No 10 Photo de couverture Cover Photograph Artisan de la Manufacture Nationale de porcelaine de Sèvres à Poeuvre dans l\u2019atelier actuel de mouleur- répareur.Il effectue les dernières retouches et réparations aux sculptures ornementales dun vase aux proportions imposantes sorti des fours de I\u2019illustre fabrique francaise deux fois centenaire.A porcelain craftsman at work in the moulding and repairing shop at the Sévres Manufacture Nationale.He is retouching and repairing small sculptures on a large vase made in the kilns of the well known French manufacture established more than two hundred years ago.Sommaire * Contents 667 « TECHNIQUE » Jean Delorme 669 Sèvres, manufacture nationale francaise de porcelaine J.-J.Maheu et R.de la Godelinais 675 Twelve Months\u2019 Vacation a Year Wilfrid Werry 685 La ville grandit quand méme Gérard Morisset 693 The Evolution of Modern Industry and Commerce Ian McLeish 699 Le jouet: plaisir et formation André Favreau 709 The Constructive Atom David A.Keys 717 Le dynamomètre au service de automobile Joseph Carignan 719 Canada\u2019s Largest Stress Relieving Machine 720 Eprouvez vos connaissances en physique nucléaire Roger Boucher 721 The Second Product Design Competition 723 Projet de construction: table a dessiner moderne Jean Isabelle 731 Index des articles \u2014 Index of Articles 734 Index des collaborateurs \u2014 Index of Collaborators Publiée dix mois par année, TECHNIQUE est la seule revue scientifique bilingue du Canada.Les auteurs assument la responsabilité des opinions émises dans leurs articles dont la reproduction est autorisée à condition d\u2019en indiquer la provenance et après en avoir obtenu l\u2019autorisation de TECHNIQUE.\u2014Autorisée comme envoi postal de 2° classe, ministère des postes, Ottawa.With ten issues per year TECHNIQUE is the only bilingual scientific review published in Canada.Authors are responsible for the ideas expressed in their articles which may be reprinted providing full credit is given TECHNIQUE and authorization is obtained from the review.\u2014 Authorized as 2nd class mail, Post Office Department, Ottawa.Année des 25 Silver noces d'argent Anniversary Year x SORTE PSE ARE SEE Page(s) manquante(s) ou non-numérisée(s) Veuillez vous informer auprès du personnel de BAnQ en utilisant le formulaire de référence à distance, qui se trouve en ligne : https://www.banq.qc.ca/formulaires/formulaire_reference/index.html ou par téléphone 1-800-363-9028 .148F TOURS DE PRECISION SOUTH BEND La performance remarquable des Tours South Bend dans l\u2019industrie, au point de vue rendement et sûreté dans les conditions rigoureuses d\u2019usage qui s\u2019y présentent, les recommande pour l\u2019entraînement des élèves dans l\u2019atelier de mécanique de l\u2019école.Ces qualités essentielles à un tour \u2014 rendement et sûreté \u2014 plus leur facilité de contrôle, leur facilité de fonctionnement, leur précision invariable, leur versatilité extraordinaire et leurs caractéristiques intégrantes de sûreté font que les Tours de Précision South Bend sont tout indiqués pour installation dans les ateliers de mécanique de toute école où les caractéristiques primordiales de l\u2019enseignement sont un entraînement supérieur et complet.Il est certainement avantageux pour les élèves de s\u2019initier, à l\u2019école, à l\u2019emploi d\u2019un tour qu\u2019ils utiliseront probablement quand ils travailleront.Ecrivez aujour- d\u2019hui pour avoir le Catalogue 100-D et de plus amples renseignements.Faites venir \u201cMODERN SCHOOL SHOPS\u201d Un livret de 24 pages, de 11\u2019\u2019 x 814\", préparé pour ceux qui s\u2019intéressent à la modernisation des ateliers de mécanique à l\u2019école, et de l\u2019outillage qui s\u2019y trouve.Un grand nombre de ses pages sont entièrement réservées à la présentation d\u2019excellentes installations d'ateliers de mécanique dans diverses écoles.Envoyé gratis aux Commissions Scolaires.Surveillants et Instructeurs. TECHNIQUE, Décembre 1951 SÈVRES, MANUFACTURE NATIONALE FRANÇAISE DE PORCELAINE par J.-J.MAHEU DECORATEUR, E.N.S.A.D.DE PARIS, Documentation photographique PROFESSEUR A L'ECOLE DU MEUBLE, obligeamment DE MONTREAL prétée par la Manufacture Nationale et R.DE LA GODELINAIS de Sèvres DIRECTEUR DU CENTRE DE DOCUMENTATION DE L'HABITATION, DE PARIS L'art de la céramique remonte à la plus haute antiquité, et jusqu\u2019au XVI siècle, tout au moins en Europe et particulièrement en France, il se cantonna dans des réalisations de traditions strictement locales dont nos poteries régionales offrent les exemples les plus caractéristiques.À partir du XVI° siècle, après que des marins portugais eurent réussi à doubler le cap de Bonne Espérance, les portes de l\u2019Extrême-Orient s\u2019ouvrent et les navigateurs rapportent de ces pays lointains des porcelaines dont la finesse et la translucidité transportent nos pères d\u2019admiration.De nombreuses tentatives sont faites pour imiter les orientaux; les premiers essais ont lieu en Italie; et il faut attendre la fin du XVII° siècle pour voir sortir du four de la fabrique Poterat, de Rouen, une véritable porcelaine dure et translucide, mais jamais, ici comme là, elle ne dépasse le stade de ce que nous appelons aujourd\u2019hui le « prototype ».EE ONE EE EE où TION PETITS OC ET 669 Projet de Legrand Forme de Decoeur, exécuté par Prunier projet de Bezombes : exécuté par Berlin La demande se faisant de plus en plus pressante, au début du XVIII° siècle, la fabrication de la porce:aine dite tendre se multiplie à travers la France, à Saint- Cloud, un peu plus tard à Lille, à Chantilly et à Mennecy.C\u2019est alors qu\u2019en 1738 le Conseiller d\u2019Etat et Intendant des Finances, Orry de Fulvy, rencontre deux ouvriers céramistes, les frères Dubois, chassés de la fabrique de Chantilly pour inconduite notoire.Ceux-ci se vantent d\u2019avoir volé le secret de la fabrication de la porcelaine et Orry de Fulvy, évidemment pas très pointilleux sur le chapitre de la délicatesse, résolut de les aider à en entreprendre la fabrication.La fabrique s'installe en 1741, au fort de Vincennes, dans la Tour du diable.Le roi Louis XV s\u2019intéresse particulièrement à celte entreprise et des sommes Atelier des décorateurs 670 .December 1951, TECHNIQUE qu astronomiques pour l\u2019époque sont englouties dans de nouvelles recherches; mais l\u2019inconduite des Dubois et l\u2019absence de résultats sérieux étaient en voie de décourager Orry de Fulvy lorsqu\u2019un troisième transfuge de Chantilly, François Gravant, résolut de se substituer à eux dans la mise en oeuvre des secrets qu\u2019il leur avait dérobés à la faveur de leur constante ivresse.Peu à peu, les ateliers de décoration, les fours, les ateliers de tournage envahissent le château.Hélas, les difficultés financières croissent chaque jour, malgré l\u2019intervention de Mme de Pompadour qui obtient que le roi octroie un privilège à la fabrique; l\u2019intérêt du roi pour la manufacture va grandissant, car il y voit la possibilité de concurrencer les porcelaines de Meissen (Saxe) qui commencent à se répandre en France.Projet de décor d\u2019assiette \u2014 XVIITe siècle \u2014 pour un service de vaiselle aux motifs d\u2019oiseaux d\u2019après Buffon Pour parer aux difficultés financières on lance des actions sur le marché.Les souscripteurs sont pour la plupart des fermiers généraux qui ont tout intérêt à flatter le roi et sa favorite et à soutenir une entreprise où leurs capitaux sont engagés.Le roi tient à en devenir le véritable maître et édite des sanctions sévères contre ceux qui tenteraient de nuire à la manufacture.Le peintre Caillat qui avait eu l\u2019imprudence de passer certains secrets de fabrication à une entreprise concurrente, paie cette indiscrétion de sa liberté: il est enfermé à vie au Mont Saint- Michel.| Le roi multiplie les preuves d\u2019intérét qu\u2019il porte a la fabrique; les plus fameux chimistes sont appelés à s\u2019occuper de la pâte, les meilleurs artistes à fournir des formes et des dessins afin de guider le goût des ouvriers.Ce qui séduit d\u2019abord la Cour, ce sont les décors de fleurs « au naturel », puis les décors chinois qui ornaient les porcelaines primitivement importées d\u2019Ex- TECHNIQUE, Décembre 1951 D ME CN PORT ER a ETE a ; | : ER EE TES Te ER i 672 Assiette du service offert a la princesse Elizabeth en 1947 d\u2019après un dessin de R.Subes trême-Orient en France.Par la suite, ont crée, sous l\u2019influence du marchand Lazare Duvaux, des paysages animés dans le genre des porcelaines de Saxe; sous l\u2019influence de Duplessis, orfèvre du roi, les formes s\u2019inspirent de l\u2019argenterie, mais traitées plus sobrement.Enfin, les sculpteurs exécutent les statuettes émaillées, jusqu\u2019en 1751 alors que Bachelier, désespéré des mauvais résultats obtenus, décide de laisser le « biscuit », à nu; ce fut le grand succès.En 1753, le système financier de la fabrique est complètement remanié; la manufacture prend le nom de « Manufacture Royale de Porcelaine » et on décide de la placer à mi-chemin entre Versailles et Paris, tout près du château de Saint- Cloud, propriété de Mme de Pompadour, sa protectrice.Un peu plus tard, le roi rachète toutes les actions de la compagnie et devient seul propriétaire et protecteur de la fabrique.Mais ce qu\u2019on fabriquait à Sèvres, malgré toutes les recherches, c'était toujours de la « pâte tendre »; rien ne pouvait remplacer ce fameux kaolin dont on ne possédait toujours que des échantillons venus d\u2019Extrême-Orient ou de Saxe.On avait pourtant essayé de mélanger à l\u2019argile divers produits chimiques, du sable, du verre afin d\u2019obtenir une vitrification qui donnât l\u2019apparence de la porcelaine.La pâte tendre obtenue avec ces procédés produisait pourtant des merveilles.Exigeant un degré de cuisson beaucoup moins élevé que la véritable porcelaine, (1100° au lieu de 1400°) la pâte tendre permettait d\u2019employer des couleurs beaucoup plus variées et beaucoup plus fraîches; mais elle restait infiniment plus fragile que la pâte dure et donnait à la cuisson un pourcentage de pertes très élevé.La fabrique continuait toujours à rechercher le kaolin qui lui manquait quand enfin le chimiste Macquer, ayant confié à diverses personnes des spécimens de ce kaolin, un apothicaire bordelais lui fit parvenir un échantillon d\u2019une terre découverte par un de ses amis, Darget, chirurgien à Saint-Yrieix, dans le Limousin.La femme de ce chirurgien employait depuis longtemps dans sa lessive cette terre dont elle avait remarqué les propriétés détergentes et c\u2019est la similitude de ces propriétés avec celles du kaolin qui avait attiré l\u2019attention de Darget.En effet, les chimistes de la manufacture y reconnurent du véritable kaolin.December 1951, TECHNIQUE .FORTIES A RT Rai adit Le ae TERRY de ly TECHNIQUE, Décembre 1951 Des essais de porcelaine dure furent aussitôt tentés et se poursuivirent durant trois ans, de 1769 à 1772.À partir de cette date, les deux sortes de porcelaines furent simultanément employées.La nouvelle pâte servit alors surtout pour la sculpture, les statuettes, tandis qu\u2019on continuait à fabriquer en pâte tendre les services de table, les vases, etc.C\u2019est l\u2019époque des services les plus fameux dont celui de Catherine de Russie.Louis XVI continue à accorder à la Manufacture la protection que lui avait apportée Louis XV.Les décors changent peu d\u2019ailleurs, et sur les fonds bleu clair, turquoise, roses et surtout sur le fameux bleu foncé dit bleu de Sèvres ce sont toujours les médaillons et les motifs décoratifs de style Louis XV que l\u2019on retrouve.Pourtant, dès avant la Révolution, sous l\u2019influence d\u2019un jeune décorateur, Lagre- née, le décor étrusque commence à faire son apparition.Gérée depuis quelque temps par un intendant malhonnête, la fabrique se débattait dans des difficultés financières de plus en plus grandes, lorsque la Révolution lui porta un coup terrible.Elle perdit sa clientèle, composée surtout des Cours européennes et de l\u2019aristocratie française.Epoque peu favorable aux artistes en effet puisque le ministre de l\u2019Intérieur d\u2019alors constate que « la misère des artistes est telle que beaucoup ont à rougir de leur nudité ».Mais il n\u2019est pas nouveau pour les artistes de savoir que l\u2019art ne « rapporte pas » et que malgré cela il y a toujours des artistes; aussi Sèvres survit-elle à la tourmente et la production de cette époque, si elle n\u2019offre rien de sensationnel au point de vue artistique ou technique, est tout de même intéressante sous l\u2019aspect historique, car la plupart des motifs ont pour objet des scènes révolutionnaires traitées en style Louis XVI.La Révolution traversée, la Manufacture trouve en Napoléon un maître qui se rend compte du magnifique instrument de propagande qu\u2019elle représente pour l\u2019art français.Alexandre Brongniart, un ingénieur des mines, organisateur remarquable plus qu\u2019artiste, est appelé à la direction; il y restera de 1800 à 1847.Sous l\u2019Empire, Sèvres est au service de Napoléon dont elle glorifie les victoires.Le style antique règne frénétiquement partout, là comme ailleurs.D\u2019énormes pièces sont entreprises, merveilles de technique plus que de bon goût, telles la fameuse table des Maréchaux, entièrement en porcelaine.Avec la Restauration, revient un peu de la douceur de vivre, mais sous Louis-Philippe, c\u2019est le triomphe du baroque et de l\u2019extravagance dont la pendule turque à musique offre un exemple typique.Sous le Second Empire et jusqu\u2019à la fin du XIX° siècle, Sèvres devient surtout un foyer de recherches techniques.On fait appel à des artistes de l\u2019extérieur, à Rodin lui-même, mais c\u2019est surtout Carrier-Belleuse qui fait triompher le style des vases monumentaux.Au début du XXe siècle, la Manufacture recherche d\u2019abord la perfection technique; aujourd\u2019hui, cependant, les artistes peuvent y garder leur personnalité et dans un siècle de plus en plus livré à la machine, Sèvres conserve son caractère semi-artisanal du XVIII° siècle.La terrible tourmente de 1940 à 1944 qui a atteint la Manufacture jusque dans ses oeuvres vives, puisque la plupart de ses ateliers ont été bombardés, et qu\u2019elle ne s\u2019est pas encore relevée complètement du désastre, cette tourmente ne l\u2019aura pas encore vaincue et la Manufacture Nationale de Sèvres continuera à porter à travers le monde la çrenommée de la porcelaine française.TALC Is ARRAY APTE 673 Depuis 1910 COMPAGNIE C.A.DUNHAM LIMITÉE 1523 Chemin Davenport \u2014 TORONTO Succursales d\u2019un océan à l\u2019autre.Aux E.-U.: C.A.Dunham Company, Chicago 6.En Angleterre: C.A.Dunham Co., Ltd., Londres.Les systèmes et les accessoires Chauffage \u2018Vari-vac\u201d Différentiel.Radiateurs-convecteurs.Radiateurs de plinthes.Radiateurs- convecteurs à ailettes.Pompes à vide.Pompes de condensation.Aérothermes horizontaux.Aérothermes verticaux.Aérothermes-cabinets.Purgeurs.Soupapes de radiateurs.Soupapes de réduction.OUTILLAGE INDUSTRIEL La Canadian General Electric construit jusqu\u2019aux génératrices les plus grandes pour les centrales hydro-électriques.CGE-746F Hd tac an C E TECHNIQUE, Décembre 1951 TWELVE MONTHS VACATION A YEAR WILFRID WERRY, M.A., Montreal Technical School.J T is Christmas time again, and the long holiday weekends gre coming.Some of us are hinting what we would like for presents, and others of us are wondering what to buy our brothers or sisters or parents.Perhaps father has said he would love to spend some of his spare time in painting.A love of colour is in many of us, also the desire to create beauty with a personal flavour.One way to make father happy, or sister, or mother, is to buy a set of paints.There are many such sets sold in the stores, but they often do not quite fill the needs of the beginner, and they are usually rather expensive.In this article we will discuss some of the elementary ideas about painting and what the amateur needs to begin that fascinating hobby.Cheap paints may be used and small tubes, but medium sized tubes and good paints will encourage the painter in many ways.Boxes and frills are not mentioned.The hobby expert will devise a box to contain his paints and borrow a large jar to hold his brushed.Easels and such necessities for the expert can be bought when the hobby becomes profitable.A vacation is valuable because it gives us a change of mental attitude from our regular work.Then why not get a hobby which can give you this release all the year and yet not become tiresome.This does not mean getting an easy hobby.Some people get a hobby that will be easy to learn; such hobbies do not absorb the attention of the vacationists enough to free them from their day\u2019s work.Art is one of the greatest and most rewarding of all the hobbies, or a I wish to call them, year around vacations.For art, taken seriously, but not profes sionally, not only gives us escape from daily worries and trials, but also rewards us by making us creators of something that is peculiarly ours.The drawing we do, the painting of a friend or of a familiar landscape, this is creating and keeping the past with us for remembrance.Yes, painting is rewarding in many ways.It is more personal, more flexible, more subject to the skill and cunning of the artist than photography.The rewards of the artist, even the amateur, are many.He sees the world about him with new eyes.Trees are no longer brown or green; hills in the evening glow with a new purple; his girl\u2019s hair has red and blue tints in it he never suspected; the world of colour is a new world in which to explore and experiment.Form also has its rewards.If nature has not made a good composition of the lighthouse, the rock, and the sea, the artist can remedy nature\u2019s poor arrangement.A little more cloud, a stream through the snow, a tree to balance RCE FI SE RO NC A ECO EEE aT a nt ER Lh a figure in the landscape\u2014all these may be put in by the craftsman.Light, that wonderful gift of the gods, does strange things, and only the artist knows how strangely it sometimes acts.And then there is the challenge of using the limited colours available to show the wonders of the natural world.How shall we portray the beauty of some woman or the sharply outlined planes of a man\u2019s face?One of the great rewards of any art, be it writing, musical composition, or painting, is the challenge of each task we undertake.To some artists the challenge is to paint landscapes and views.Imperishably printed in my mind is a picture I often saw when I was a youngster: there is the country road, the great willow hanging over it where the brook runs underneath, and in the distance a country home built of sparkling granite.What a challenge to have this picture not only in my mind but on canvas where others could see the beauty I had found in it.To artists in all mediums, the human being is the greatest challenge.The beggar, the child playing, the old lady dreaming by the fireplace, the old man sharpening his scythe like the grim reaper he will soon have to meet, the society matron, the fop, the drunkard, and the saint: all these invite the artist to place them on canvas.And there is more than mere representation demanded as a rule.What mood or magic must there be in the picture; the serenity of a saint, the grim determination of the warrior, the lost look of the schoolboy at his problems, the smile of a mother at her first-born: this too is part of the picture.The artist must capture life itself on a piece of canvas, probably thirty inches or so square, and with a limited palette of colours.But we were talking of vacations.Where is the young artist as he is trying to get his picture on canvas?He is in a new world, a world of the imagination, a world of colour, a world of creation.Men like Winston Churchill found the rest and relaxation they needed in painting, and at the same time, they painted pictures of landscapes or of people they wished to remember.Churchill and many others used oils as their medium of expression, and I shall deal largely with oils in the following pages.Before passing directly to oil painting, I should like to spend a few moments on the advisability of knowing how to use a pencil and charcoal.The basis of a painting\u2014except some modern ones\u2014is the pencil or charcoal sketch, or if the artist is sufficiently skilful, the sketch or outline made directly with oils.The ability to see the relationship between the different paris of the painting may be formed by practice in drawing.The pencil is a hard master and will i show up any defects in the placing of masses or the tones of light and dark.The finest of such training is, of course, in drawing from life.The human body with its planes, curving surfaces, and varieties of lights and shade are ever a challenge to the pencil and its wielder.Anyone who feels that placing the different parts A of the body in the right places, or the different parts of the landscape in their proper relationship in the finished picture, is an easy task will get quite a shock after he has spent a few lessons trying to get the head of a man to look like a head and not like an apple or a balloon.Another great advantage for the beginner is that the expense of a pencil artist is comparatively negligible.Three pencils, two rubbers, a pad of drawing 676 December 1951, TECHNIQUE TECHNIQUE, Décembre 1951 paper, and the artist is ready to go to work.If he is fussy he can buy several pencils, ranging from H, for hard, to 6B for very soft.\u2018 For ordinary work, B, 2B, 4B, and 6B are quite satisfactory.The two rubbers are a piece of kneaded rubber for fine erasures and making highlights, and some art gum for cleaning larger surfaces.A drawing pad may be purchased at any artist\u2019s supply shop or at many other stores, and may be any convenient size.The larger sizes will be valuable for studio work and for life drawing, but a small sketch book about 11 x 17 will be satisfactory to carry about.The surface should be rough enough to take the pencil easily and yet hard enough to take reasonable erasures.While working in pencil, the student should spend some time learning the principles of perspective.In other words, an understanding of the problems of pencil drawing will be of great value to the artist in oils.The pencil sketches or studies of great artists will show how these preliminary workings helped fix the shape and tones of the later paintings.Oils: It has been said that most great paintings of any kind are done in the studio, even those of landscapes.On the job, the painter meets many difficulties if he decides to paint in the open air.The changes of light, reflections of light, difficulties of capturing the exact colours so they will look sufficiently true or bright in the room where they will later hang.The open air fan will find his gorgeous colouring caught in the bright sun is too dull and dingy in a house.The problem will therefore be to get the impression of the scene and the ideas of the colours on paper quickly, and then finish the work in the friendly studio, away from wind, flies, and an ever-changing light.In this way a painter who wishes to get some paintings of a famous scene may use every minute of his time to get sketches of the spot.Later, the longer work of transforming these sketches into finished paintings can be carried out at leisure.Some of the great artists spent much time laying out the colours (palette) they were to use, and getting just the colours they needed before touching the canvas.Thus, if the artist has the sketch of the finished picture firmly in his mind and the colours he expects to use ready for use, the work of the painting may proceed with some rapidity.As in all the arts, the preparations made before the final job is tackled usually save time in the end.There is less correcting to be done, and in painting, too much correcting may result in graying or spoiling the final result.One way to speed up the painting is to tone the surface of the canvas by putting a colour, often thinned with retouching varnish or mediums, to act as a basis for the future painting.This undercoating is usually warm in the case of a portrait, unless a gray is used to tone down the colours.This form of underpainting is usually called imprimatura.The same general treatment may be used for landscapes and other kinds of painting though different parts of the canvas may have different colours.While the beginner will not need many colours, the following are suggested as giving a fair range for advanced work; special colours may be needed, however, for special purposes.677 Lac SE yey FO fsa EE ae Sd its 678 Palette: All artists do not agree on the arrangement of the ideal working palette, and it will not be necessary to use all these colours for any one painting.But the colours used should be arranged in a certain order so the painter may find them without difficulty.A dab of Alizarin crimson instead of cadmium red may mean much extra work eliminating a heavy colour.Alizarin crimson is a very strong colour, as the beginner will find out if he uses it too freely.It is useful, however, to show the dark line made where the lips come together in shadow.Along the top of your palette have the following colours: (L to R) Venetian red, cadmium red, cadmium red light, cadmium yellow, cadmium yellow light, yellow ochre, Naples yellow, zinc white.Down the left hand side of your palette have the following colours: burnt sienna, burnt umber, ivory black, Alizarin crimson.Down the right hand side of the palette have the following: cerulean blue, ultramarine blue, viridian green, permanent green, terre verte.Cups for turpentine and medium are usually in the upper right corner: these cups are fastened by clips to the palette.The preceding list of colours may seem extensive to the beginner.Oddly enough, the novice may need a greater number of colours than the expert.The: tubes of colours mentioned are ready-mixed; the expert can mix his own to get the required colour.Some of the great painters have used only five or six colours for most of their work.The beginner will probably be satisfied with the following small palette of colours for a beginning: cadmium red ultramarine blue Venetian red viridian green yellow ochre zinc white (large tube) cadmium yellow (as needed) burnt sienna ivory black burnt umber Naples yellow cerulean blue Black is not needed as much as the beginner may think; burnt umber will take its place in most cases, even blue will do its work or green in shadows.The beginner must learn that white is seldom white, and that black is usually tinged with some colour.White, however, is much used to alter the values of the different colours, brightening up many of them.The figures on opposite page illustrate some of the common problems in painting: Fig.1.\u2014A sketch of the outline of the painting is sometimes made with burnt sienna thinned with a medium of turpentine or turpentine and linseed oil.This rough outline will help in placing the portrait or masses of the landscape or still life group.Fig.2.\u2014Instead of an outline in thin colour, a charcoal sketch may be made and fixed by one of the fixing agents so that it wont blurr into the painting.The painting may be done right over it.Fig.3.\u2014On the background of a burnt sienna imprimatura, the girl\u2019s hair and the background are shown.A little blue and yellow ochre will bring out the lights of the hair.Backgrounds are usually neutral so as not to distract from the portrait, a dull green is quite common.Fig.4\u2014Do not use the paint in one mass spread over the canvas as you would ot some extent in watercolour.See.Fig.5.Fig.5.\u2014Make the brush strokes of your painting distinct and individual, such painting catches the light and gives texture to the painting.December 1951, TECHNIQUE Ton \u2014 Las oe ao es ve - EE = = Ee NS v ts es 2 ; 0 \u201cLe, LL.Les Le serre =, ox oe] = ATT A Tee ima.Co me AE SD SAIS a Te ete men ee pe, Fete 5 Se es \u201cmes es + =>, ESS és TAL ai 5 = 2 = 29 ar rer, a gene mm ee elma etal AL ot a 2 = x iy Cn eee = es Essrsxs = SEE Zora ps Frey ist 2 SES rs est LES Les = oH $3 z= 5% 3 Ade ve i > Ea olka RO ES Cosel ESS 23 = 2 Es Ce SZ Sas EEX SE ess £3 28 25 5 = = 2e SF 5 pe D Sar == tn es FES ER i 8 3 Bs 2 pes 3 R = = 2 a 3 3 == a > ES 3 a 6 : x Se 3 3 5 Re 5 $ Sr, 2 & _.ol Be & S ça x e pa a Kd 3 ve 5 pes ia : pe ox *% n, = Sans.+ > 4 3 + ati 5 3 s es 5 4 - Ë 3 x z 7.: a * E : 72 \u201d que PS \u201ca; Ps, Oe Rr) ; = $ > thos Act Ng ied nr _- aides a = $ = SL PERRY ce FS ie FS ai 3 pes , # 3 rar el 5 Tps Pi: 3 = = 3 HN = 4 a +, is 2e 8 pit Ë x RS se *f * HN 3 Jee y Manga ue ; Be Cat du Wy ke qe js La uk + x si \" $ : mi 6, as, % nu % ole 8e = Tn z ar: ny En id $ À de A x i B® + a.Qi ÿ S os $ = # SR 3 2 3 WN 3 = * ss Fos ghd % 3 ; Ss te au # (iy i vl ry se i i \u201cA ¢ BR.5, Ri 5 ; AN + 2% # ir : RA ps ces Pe POE 3 Ss, FE sets 3 3 ¥ Les Es z 5.¥ 4 + 14 ee NE hd SRE ba ; No Be, ed bt La Ste ti LA 7 = \u201c $ À ; $ x fe = S + è : a cie 4 A 3 Tt 3 N i Gr: EN N So, hey Vr « Na ph.Se SRR RNS SR : (HERE Vars ve .Ci 0 * h XN = nN SN = sf + ey en son A DN » Wi s RM XN sv N T- SE pus > GH A S = ny a ë 3 £ = x » NR 8 2 Le « 5 55 + CR gs 3 8 Ta Gi ét A Le && aN a, ce 2e Er # ts oS sa .TE Ste ue) NR 0 ° > Ra Veep es oi = 5 24 ta = PES = .i Jos AN a fr Se = es as ns 5 = Se SR 2e | NE = ae 2 ve ae RES In = qe k?3 83 ie sy 3 Sa fe = ès auf {er » E > 29 A = = (eats 3 se Re 3 a ÈS.Re pu 358 3 2 six .+ A, = pe b> J 3 ES $ A e ,- ae 5 5 5 ha 3 RN 2 it INI R = D : Su op Rs 3 2 2x à , $ 3 i 2 $ 3 Ÿ S 9 _ = : 2 Ri $ XN al A , SR 3 Fi \\ Re N Le S a Ro wey x = N\\ À S 23 5 , i aR GE 5 AR £5 = 4 iad i $ R ex T ; SR + a | S = = ss Nn WN NN NN Wn NEN SN SON WN NN S SN WN SN WN NN AN .~ #2 6 =~ = = = N=] i.oe be.2 a ~ \"+; Cy Some books and artists will have other lists of colours, but the list above will give the beginner a good working palette.Some, for example, prefer flake white (white lead) to zinc white.But such discussions are for the expert, not the amateur.Brushes: Many brushes, like may golf clubs, do not mean that the painter is good, but having several brushes will mean less work cleaning them during work and enable the painter to have a clean brush when he wishes to use a new range of colours.A dirty brush can make a dirty painting.Do not confuse brushes used for oil painting with those used for water colours.The oil brushes are stronger and able to work the heavier medium of oils.For ordinary work oil brushes No.2, No.4, and No.6 will be needed in the straight edge, and No.2 and No.4 in the round edge.If the beginner is going to do fine work, such as portrait painting with detail, he will probably also need two or three fine sable brushes.Other Equipment: The beginner may cut his equipment to a minimum.He may balance his canvas or board on a table or even on his knee\u2014if he does he should keep his knee will covered because paint will get about\u2014and have his tubes of paint in a shoe box.Later he will probably have a sketching box to hold his palette and his brushes and tubes of paint.If he is moving about he will also have litte bottles of medium and turpentine.One medium is half linseed oil and one half turpentine.This medium is used in putting the imprimatura on the canvas.It is not so drying as straight turpentine but does let the colour flow more easily where it is not needed in mass.An easel will be valuable, and if portraits are the main purpose of the painter, a portrait easel may be purchased.But our beginner will only need to find something to put his canvas against where he can see what he is painting and have it firmly enough in place not to slip as he paints.The backs of some sketching boxes are arranged to hold canvases.In portrait painting the canvas is often level with the model.One or two palette knives\u2014used to clean the palette of colour\u2014are valuable; be sure to get a flexible one.Such a palette knife may be used instead of a brush at times, giving an interesting stroke on the canvas where masses of heavy colour are to be used.Canvases: The beginner will probably use canvas boards, or boards on which canvas has been stretched and stuck.Later he may want to stretch his own canvases on wooden frames.Canvases may be of linen, cotton, duck, or some such material.The surface should not usually be too smooth or too rough.Masonite, treated, will often be used, and wood panels have been used at times with great success.The expert will have much to say about the preparation of the canvas and its choice, but a good supply shop will give you advice in the early stages of your 680 December 1951, TECHNIQUE To ke ds RAD substances which were formerly regarded as waste products.Large plants were È i constructed to produce rayon from cellulose.Faraday\u2019s discoveries and Edison\u2019s E | inventions gave us electric light and power and led to the development of our great E electrical industries.In 1876, railroad tracks, which had been of all kinds of Ê gy widths, were now standardized in all countries, with the exception of Russia, which E lag must always be different.It was during the latter part of this period that the E or, consolidation of small business into larger units took place.The most outstanding i mou example of this was the formation of the United States Steel Corporation in 1901, E Es from a number of smaller companies.From that time on consolidations grew apace.E lee People now began to fear that these big companies would put an end to É vi competition and anti-trust legislation was introduced to meet this threat.Modern 4 us conditions favoured large units for they could obtain the advantages of large-scale i ul production, particularly in the United States with its big domestic market.The j \u2018an population of the United States increased rapidly after the Civil War.By 1900 ; aid the population of the United States exceeded that of any single country in Europe.4 \"oi With their rich natural resources and industrial efficiency the people of the United E States soon had more money per capita than any other country in the world.Specialization and the division of labour were now carried to a high point.Ford introduced the assembly line, jobs became simple operations, for new machines were invented to do the actual work.This, of course, reduced the cost of production and very soon industry was ahead of production.The great problem now was how to sell the goods produced in such great quantities.Advertising was expanded and credit companies organized to help finance the purchase of goods.The supply of raw materials was now a problem too.Great Britain had colonies which took part of her manufactures.Others began seeking mew lands to colonize, but they were a couple of centuries too late, and this coupled with the high tariffs of the United States led to the first \u201cWorld War\u201d in 1914.Germany was looking for \u201cliebensraum\u201d for her expanding trade.The period from 1914 till the present time might be called the Electrical Age, for by this time electricity had become a great rival of steam, especially for power purposes.The tremendous increase in the use of power and machinery resulted in a large increase in the amount of goods produced per hour of human labour.Plants can now be located anywhere at all convenient, for electricity is capable of transmission to long distances.Plants may now be dispersed, a big consideration in case of war.Branch plants too are set up anywhere, in the most advantageous proximity to raw materials or close to the markets for their products.In the plants themselves electricity facilitates the elimination of the wasteful maze of belts and shafts.It is now possible to arrange machines and equipment in the best position for continuous straight line production.Electricity has also brought into use automatic or semi-automatic machines, which turn out vast quantities of articles with very little help from the human hand.One beneficial feature, which most people are apt to overlook, is the fact that electricity now gives small business a is TECHNIQUE, Décembre 1951 695 Sel eB 8 Ë 2 2g?wv BE Er E \u20ac EEE TPE PET CSA aa ads pat IRE «JR I RRA Ms ThE E ae IE eI ETM, NS 4 12% 304 LE SSSR RI SERB SHAR.SHE ERENT.Jo SHER SECU IER \\ chance to compete with big business, for power rates are low and electricity is at everyone\u2019s door, including farms and homes.Canada too has greatly benefited by the advent of electricity, for with her vast water powers, particularly in the i province of Quebec, Canada leads the world in hydroelectric power production.Prior to 1914, Canada was largely an agricultural country, but due to the impetus of the first world war, Canadian industry has gone ahead by leaps and bounds, until today Canada has become very important industrially as well as agriculturally.Since 1914, new industries, such as the automobile, motion picture and radio have grown to giant size.The development of the auto and aircraft industries has produced great changes in our transportation system.The chemical industry too has grown enormously.In large modern organizations, management is subdivided and specialized.Products and processes are under continuous study to eliminate waste.Standardization and interchangeability enables parts to be made in vast quantities.Efficiency \u2014 experts in the larger companies are constantly on the alert for ways and means of speeding up production.The result of all these changes is that the standard of living has gone up.The masses of the people have comforts and luxuries, which 276 1 even for the rich, in former days, were undreamed of.Take the case of stockings : for example; two hundred years ago, not one person in one thousand wore them; \" one hundred years ago not more than one in five hundred; now not one in one i thousand is without them.Today the mere male is overwhelmed by stockings, economically and aesthetically.Hours of labour have been reduced.Workers * have more leisure for education and recreation, though it is questionable whether \u201c the majority of workers spend much time on real education.As machines do more \" and more work, fewer workers are needed.This would seem to indicate the possi- b bility of technological unemployment.However, new inventions create, in turn, more jobs, though new machines and new processes often require a higher degree @ of technical knowledge than in the past.Our universities and technical schools k are endeavouring to fill this need.The industrial revolution has passed through phase after phase and is still 'l going on, and with it constant changes occur in our economic, social and political life.2 Production got ahead of distribution and new methods of distribution had to be 3 adopted.Departmental stores came into existence as well as chain stores and mail-order houses.To further increase sales the instalment plan of purchasing was introduced with all its attendant evils.Laws were made regulating both business and industry and some countries like Britain, have gone into nationalization in a big way.This is a sad mistake for if there is one way to kill all ambition and the desire for achievement, it is in the elimination of the profit motive.No red-blooded - individual wants to be a mere number in a government bureaucratic index system.The present day agitation for social security from the cradle to the grave is a ] snare and a delusion.By various ways and means some politicians pull the wool over the eyes of the proletariat, most of whom are either incapable of reasoning for themselves, or are so lacking in ambition, as to expect the governement to take care of them.The government, of course, means the rest of us.It is remarkable how ! many would sooner sit in slothful ease at the foot of the ladder of opportunity, than climb it to achieve something worth while for themselves.Let us hope Canadians will see the trap before it is too late.696 December 1951, TECHNIQUE Tip rt aie pére HON DOTS EOC Meet trie ee ete) Rte rat terra OL ee | VENTE et RÉPARATION \u2014_ MOTEURS MONTREAL Cc] ÉLECTRIQUES ET ENN M ATURE GÉNÉRATEURS à\" @WORKS\u2018LIMITED BOBINES 276 rue SHANNON MONTRÉAL UN 61814 TECHNIQUE, Décembre 1951 The world is passing through another phase of the industrial revolution right now, and this phase may finally have an even greater effect on world economies than the industrial revolution of the eighteenth and nineteenth centuries.Whether we finally emerge as free men or slaves of a totalitarian state will depend largely upon whether we are willing to work hard and save or whether the lust for a soft easy life prompts us to surrender our freedom for a mess of pottage \u2014 social security.There is one thing sure and that is, that we cannot have our cake and eat it.At heart every man is an individualist, but totalitarianism, whether of the right or the left, minimizes the individual and makes the citizen something less than a man.Take your choice.This brings to a close the articles on the industrial revolution.The first entitled \u201cIndustry and Cofnmerce Before the Modern Era\u201d, appeared in the October 1951 \u201cTechnique\u201d, the second, under the title of \u201cThe Industrial Revolution, was included in the November \u201cTechnique\u201d while this, the third and last, appears in the December issue.As the article was too long for publication in one number of \u201cTechnique\u201d, it was decided to split the treatise into three separate articles, with a different title for each.Readers who are interested enough in factual history, should keep the three articles together.Co DE QUALITÉ depuis 1873 Bureau de Ventes: EDIFICE CANADA CEMENT, MONTREAL.MArquette 4296 \u201cPLANNED LIGHTING FOR INDUSTRY\u201d \u201cPlanned Lighting for Industry\u201d is the name of a comprehensive 47-page publication prepared by the G.E.lighting headquarters at Nela Park, Cleveland, and available from Canadian General Electric\u2019s Lighting Service Department.| .Designated \u201cBulletin LD-4\u201d, the publication is especially timely because it meets the needs of industries which are gearing for defence production.Profusely illustrated, it outlines the benefits of good industrial lighting in the form of increased efficiency, safety and morale, improved quality, reduced spoilage, lowered costs, less eye-strain, improved health and conserved manpower.The bulletin then describes how to engineer lighting to various industrial tasks, discussing six principal lighting systems, and the use of specific techniques for special needs.It treats of the types of light sources and luminaires available for the various lighting requirements, and goes into the relationships of brightness and colour conditioning.Sections of the publication are devoted to protective lighting, wiring for the lighting system, maintaining the lighting system, and the lighting of service areas, offices and drafting rooms.Single copies of LD-4 are available from C.G.E.%s Lighting Service Department, Dufferin Street, Toronto, for plant management, architects, contractors and others responsible for industrial lighting.I TECHNIQUES ET SCIENCES CHOIX DE NOUVEAUX LIVRES HISTOIRE DE LA SCIENCE ET DE SES RAPPORTS AVEC LA PHILOSOPHIE ET LA RELIGION, par W.Dampier $10.00 L\u2019ALLERGIE, par le Dr H.Swartz .3.25 LA LUNE ET SON HISTOIRE, par Lucien Rudaux .ceieneee.2.00 L'HOMME AVANT L'HISTOIRE, par Pierre Rousseau .0vvnennnnn.2.00 JEUNESSE DE LA TERRE, par Pierre Rousseau .200002 aa ee a aa ee eee» 2.00 DECOUVERTE DU CIEL, par Pierre Rousseau 2.000420 a ea areas sa anne 2.00 POULES ET OEUFS, par G.Lissot .1.25 LE PIGEON VOYAGEUR, par T.G.Van der Linden .240.00 000 ana cena 00 2.50 MOEURS ET COUTUMES DES TERMITES, par Eugène Marais .2.25 LES REVES ET LEUR INTERPRETATION, par Ernest Aeppli .3.90 MANUEL DE CRYPTOGRAPHIE, par le Général I.Sacco 420000000000 00e 7.25 LES HOMMES DE LA PIERRE ANCIENNE, par H.Breuil et R.Lantier 5.50 PRATIQUE DE PSYCHOTECHNIQUE APPLIQUEE A L'INDUSTRIE, par Lalaume et Génin .7.50 COURS DI CALCUL MATRICIEL APPLIQUE, par M.Denis-Papin et A.Kaufmann 0.400 ne 000 0000000000 8.00 GRANGER 54 ouest, rue Notre-Dame, Montréal Tél.LAncaster 2171 anim 7 Bd