Industrial Arts Design Part 14

FIGURE 215.--Inlaid Band Border]

[Ill.u.s.tration: _Courtesy of Berkey and Gay_

FIGURE 216.--Single and Double Band Inlaid Border]

The introduction of curved lines and natural units allows us to add more grace to these combined movements. The leading lines of a small border, designed to be seen at close range, are planned in Figure 200. The central line or inceptive axis is repeated at regular intervals and the leading or skeleton lines are balanced to the right and left of this axis. These leading lines, as can be readily seen, have an upward and onward movement. To insure continuity, a small link and the top and bottom bands have been added to complete the onward movement.

[Ill.u.s.tration: _Courtesy of C.E. Partch_

FIGURE 216a.--Work of High School Students]

Material for straight borders may be derived from geometry, nature, or artificial forms, but for borders designed in curves, nature is generally selected as a source.

Figure 201 ill.u.s.trates a crude and uninteresting form, unsuited to outline enrichment. Figure 202 has brought Figure 201 into some semblance of order, but as can be readily seen by the primary outline which encloses it, the widest point occurs exactly midway from top to bottom, which makes the form monotonous. This defect has been remedied in Figure 203 and an interesting and varied area appears for the first time. What Dr. Haney calls "the feebly flapping curve" of Figure 202 has been replaced by the vigorous and "snappy" curve of Figure 203, which gives what is termed a dynamic or rhythmic value in surface enrichment.

[Ill.u.s.tration: _Courtesy of C.E. Partch_

FIGURE 216b.--Work of High School Students]

Rule 6g. _Each component part of a border should be strongly dynamic and, if possible, partake of the main movements of the border._

Any form which causes the eye to move in a given direction is strongly _dynamic_, and is opposed to the _static_ form which does not cause a marked eye movement. A circle is symbolic of the static form, while a triangle is dynamic. In the designer's nomenclature, the term "rhythmic"

may be used synonymously with "dynamic."

Dynamic areas or forms should carry out the upward and onward movement of the leading lines. Figure 204 shows how closely dynamic areas are connected with nature's units for design motives. A slight change in the contour may transform a leaf into excellent material with which to clothe the leading lines. The curve of force, the cyma, and other curves described in previous chapters should be recognized by the designer and utilized in the contours of dynamic forms.

[Ill.u.s.tration: _Courtesy of C.E. Partch_

FIGURE 216c.--Instruction Sheet Problem]

The leading lines of the border in Figure 200 are shown clothed or enriched in Figure 205. Vigorous dynamic spots, conventionalized from natural units, continue the upward and onward movement of the original leading lines. As will be noted, the background has been treated to allow the spots to appear in relief. Small "fussy" spots or areas have been omitted and the units, varied in size and strongly dynamic in form, balance over an inceptive axis. The small link reaches out its helping hand to complete the onward movement without loss of unity, while the bands above and below bind the design together and a.s.sist in the lateral movement. Figure 205 shows three methods of treatment: simple spots without modeling, from _A_ to _B_; slight indications of modeling, from _B_ to _C_; full modeling of the entire unit at _C_. The choice of treatment depends, of course, upon the skill of the craftsman.

[Ill.u.s.tration: _Courtesy of Berkey and Gay_

FIGURE 217.--Carved and Accented Border and Triple Carved Band]

Figure 206 shows a design varied from formal balance over a central axis of symmetry or an inceptive axis. It has a decided onward movement with the leaves balanced above and below the stem which is the axis. The "repeat" has been reversed at _B_ and is more pleasing than the portion at _A_. The area of the background, in its relation to that used for ornamentation or "filling," cannot be predetermined with exactness.

There should be no blank s.p.a.ces for the eye to bridge. Some designers allow about one-third ground for two-thirds filling or enrichment.

This proportion gives a full and rich effect and may be adopted in most instances as satisfactory.

[Ill.u.s.tration: _Courtesy of C.E. Partch_

PLATE 35.--Instruction Sheet]

[Sidenote: Point of Concentration--Effect upon Structure]

When a border is used to parallel a rectangle it is customary to strengthen the border at the corners for two reasons: first, to strengthen, apparently, the structure at these points; second, to a.s.sist the eye in making the sudden turn at the corner. The corner enforcement affords momentary resting points for the eye, and adds pleasing variety to the long line of border. The strengthened point is called the _point of concentration_ or point of force. Its presence and effect may be noted by the symbol P.C. in Figures 207, 208, 213, and 214.

[Sidenote: Chip Carving]

Figure 213 represents the rather angular and monotonous chip carving motive. It is, however, a simple form of carved enrichment for wood construction. Figure 214 shows the more rhythmic flow of a carved and modeled enrichment. Two methods of leaf treatment are given at _A_ and _B_.

Figures 215, 216, and 217 are industrial and public school examples of the forms of surface enrichment treated in this chapter.

INSTRUCTION SHEET

Plate 35 shows the necessary working drawings for wood inlay and is supplied as a typical high school problem by Mr. C.E.

Partch of Des Moines, Iowa. See Figure 216c.

SUMMARY OF DESIGN STEPS

(_a_) Draw the primary rectangle, appendage, etc.

(_b_) Subdivide the rectangle into its horizontal and vertical subdivisions.

(_c_) Design very simple contour enrichment.

(_d_) Determine the location of zone of enrichment, and the amount and method of enriching the surface.

(_e_) Make several preliminary sketches to determine the best design and add the one finally selected to the structure.

Correlate with contour enrichment.

(_f_) Add additional views, dimension, and otherwise prepare the drawing for shop use.

SUGGESTED PROBLEM

Design a walnut side table 3 feet high and enrich with a double band inlay of ebony.

SUMMARY OF RULES Rule 6a. _Surfaces to be enriched must admit of enrichment._

Rule 6b. _Surface enrichment must be related to the structural contours but must not obscure the actual structure._

Rule 6c. _The treatment must be appropriate to the material._

Rule 6d. _Bands and borders should have a consistent lateral, that is, onward movement._

Rule 6e. _Bands and borders should never have a prominent contrary motion, opposed to the main forward movement._

Rule 6f. _All component parts of a border should move in unison with the main movement of the border._

Rule 6g. _Each component part of a border should be strongly dynamic and, if possible, partake of the main movement of the border._

Rule 6h. _Borders intended for vertical surfaces may have a strongly upward movement in addition to the lateral movement, provided the lateral movement dominates._

Rule 6i. _Inlayed enrichment should never form strong or glaring contrasts with the parent surface._

Rule 6j. _Carved surface enrichment should have the appearance of belonging to the parent ma.s.s._