Industrial Arts Design Part 19

In carrying the transitional type to which we have referred in the previous paragraphs from the vertical s.p.a.ce influence toward the horizontal, we are gradually approaching _three minor horizontal divisions_, still maintaining three minor vertical divisions in a modified and less prominent form. Figure 264 is an approach toward three horizontal divisions. As only one clear-cut horizontal s.p.a.ce division is visible, this figure is not a pure example. The upper horizontal s.p.a.ce division is broken up into a three-part design by the drawer guides. It is not until we reach Figure 266 that three horizontal divisions are clearly evident.

HORIZONTAL DIVISIONS

[Sidenote: Three Minor Horizontal Divisions Cut by Varying Numbers of Vertical Divisions]

The horizontal minor divisions in furniture are generally drawer runners and the vertical minor divisions are often drawer guides. The horizontal divisions may be arranged in either one of two ways: first, by the application of Rule 2b; or second, by applying Rule 2c, the rule of sequential progression. Figures 266, 267, and 268, Plate 44, are representative of the former while Figures 269 and 270 are typical of the latter. The result in either case is a compactly designed and solid ma.s.s of simple structural lines. On some occasions we find the three-part rule used for minor divisions within the horizontal sections, while again the two-part rule is used. The method depends upon the desired use and appearance. In either case the long areas and large ma.s.ses are to be retained as far as possible near the bottom of each primary ma.s.s, as this custom tends to give a sense of solidity to the design.

[Sidenote: Four Vertical Divisions]

Figure 271 is a rare reversion to more than three vertical divisions. In this case, Rule 3c has been observed and we find all of the panels are of equal size. Variety has been secured by means of the horizontal s.p.a.cings.

FREE BALANCE

[Sidenote: Free Minor s.p.a.ce Treatment]

[Sidenote: Free Balance]

This form of design is inherent in the j.a.panese system. It consists in the planning and balancing of unequal areas over a geometric center. It is not subject to definite rules as is the more formal balancing. The reader is referred to Mr. Arthur Dow's excellent book on Composition for further discussion of the subject. Figure 272, Plate 45, is an example of partly formal and partly free balance and its method of treatment.

[Sidenote: Carving and Piercing as Applied to Large Ma.s.ses]

Figures 273 and 274 are pierced designs, thoroughly related to the structure and in no way weakening it. Figure 273 is representative of a type which, if carried to extremes, will cause the structure to become too weak for service; it is, therefore, necessary to guard and restrict this form of enrichment. The carving of Figure 275, combined with the contour enrichment, forms a pleasing variation to this common type of furniture design.

Small minor details in furniture construction should be designed with as much care as the larger major or minor parts. The larger areas or s.p.a.ces in small details similar to stationery shelves and pigeon holes must harmonize in proportion with the s.p.a.ce in which they are placed and of which they are a part.

[Sidenote: Small Minor Details of Large Primary Ma.s.ses]

The three-part or three-vertical division system, Rule 3b, is generally used to design the small details in furniture as may be seen in Figures 276, 277, 278, and 279; while the rule of sequence, Rule 2c, may be employed again to subdivide these small details in a horizontal direction with as much variety as is consistent with unity. Figure 280 is a leaded gla.s.s surface enrichment for doors. Note the leading lines of the enrichment as they parallel the dominant proportions of the panel opening.

INSTRUCTION SHEET

Plate 46 is a typical high school sheet of design problems, with the ma.s.ses accentuated by pen shading. See Plate 15.

SUMMARY OF DESIGN STEPS

(_a_) to (_e_). See similar steps in Chapter IV.

[Ill.u.s.tration: SURFACE ENRICHMENT AND MINOR SUB DIVISIONS FOR LARGE PRIMARY Ma.s.sES IN WOOD

FREE MINOR s.p.a.cINGS. APPENDAGES. PIERCED AND CARVED ENRICHMENT.

PLATE 45]

SUGGESTED PROBLEM

Design a sideboard 3 feet 3 inches high with plate rack. The primary ma.s.s should have three minor horizontal divisions and three minor vertical divisions, with the horizontal divisions accented.

SUMMARY OF RULES

SEQUENTIAL PROGRESSION OF MINOR HORIZONTAL s.p.a.cE DIVISIONS

Rule 2c. _A primary ma.s.s may be divided into three or more smaller horizontal ma.s.ses or sections by placing the larger ma.s.s or ma.s.ses at the bottom and by sequentially reducing the height measure of each ma.s.s toward the smaller division or divisions to be located at the top of the ma.s.s._

REVIEW QUESTIONS

1. What are minor subdivisions in wood construction?

2. What is the effect of a design with dominant vertical major divisions? State its use.

3. Show some customary methods of dividing three vertical major divisions into minor subdivisions.

4. State the rule of sequential progression. Give ill.u.s.trations from the industrial arts.

5. Describe the transitional stage between the point where the dominance of the vertical motive ceases and the horizontal influence begins.

6. What is the effect of a design with dominant horizontal major divisions? State its use.

7. Show some customary methods of subdividing horizontal major divisions into minor subdivisions.

8. What should be the relation in a design between the details of a project and the divisions of the primary ma.s.s?

[Ill.u.s.tration: INSTRUCTION SHEET

SURFACE ENRICHMENT OF LARGE Ma.s.sES IN WOOD

DRAWING AND DESIGN BY A. J. FOX. U. OF W.

PLATE 46]

CHAPTER XII

SURFACE ENRICHMENT OF CLAY

[Sidenote: Limitations for Surface Enrichment]

In some respects the surface enrichment of clay is similar to that of wood as, for example, the similarity produced by inlays in clay and in wood. On the other hand the enrichment of clay is unhampered by the restricting effects of unequal resistance of the material, such as the grain of wood. Again it _is_ limited to those effects or forms of enrichment that are capable of withstanding the intense heat to which ceramic decoration is subjected. See Frontispiece.

[Ill.u.s.tration: _Courtesy of the Rookwood Potteries_