Industrial Arts Design Part 6

FIGURE 41b

FIGURE 41c]

[Sidenote: Covers, Spouts, and Handles]

Figure 44 is a horizontal primary ma.s.s with the horizontal subdivision in the upper section of that ma.s.s. The spout and handle spring naturally from the body and balance each other in proportion, while the cover handle rises smoothly from the primary ma.s.s. The horizontal character of the primary ma.s.s is consistently carried out in the appendages.

The handle, in Figure 45, leaving the body at a tangent, rises with a long straight curve to turn suddenly and join the pitcher in harmony with its top. The apparent abruptness of the junction is softened by the rounded corners typical of clay construction.

The Rookwood set, Figure 42, represents three similar primary ma.s.ses.

The proportionate ratios and the horizontal subdivisions are the same throughout. The handle for the teapot has been curved in the center to give variety to the handle. This variation is a difficult thing to manage without consequent loss of unity as by this variation Rule 4a is violated. One thing may be said in its favor. It brings the hand closer to the spout and thus supports the pouring weight. But the unusual in design is to be discouraged until sufficient skill in simple designing has been acquired.

In designing handle appendages for clay, they should be so placed that they readily control the weight of the material in the container and afford room for the fingers. Thus, it is better to have the larger portion of the handle opening at the top of the primary ma.s.s. The spout in all instances should continue sufficiently high to allow the container to be filled to its full capacity without danger of the contents running out of the spout. The glaze runs into rounded corners much more freely than into square ones, hence it is preferable to use rounded corners wherever possible.

[Sidenote: Requirements for Appendage Design]

It is the unexpected curve that is welcome in all designing, provided it supports the structure and conforms to established rules. After completing a design involving appendages it should be checked from three points of view; (1) service, (2) unity between the primary ma.s.s and the appendages, and (3) variety of curvature. On this last point it is needless to say that compa.s.s curves are not desirable except in rounding small corners or in using fillets. It is well known that compa.s.s curves are difficult to a.s.similate into pleasing tangential effects. They are inclined to be monotonous and regular with a "made by the thousand"

appearance to them. One should trust to freehand sweeps, drawn freely with a full arm movement when possible. All curves should spring naturally from the primary ma.s.s. Blackboard drawing is excellent practice for the muscles used in this type of designing. In a short time it will be found possible to produce the useful long, rather flat curve with its sudden turn (the curve of force) that will make the compa.s.s curve tame and commonplace by comparison.

[Ill.u.s.tration: EXAMPLES OF APPENDAGES IN CLa.s.s 2 (POTTERY) ADDED TO THE PRIMARY Ma.s.s FOR UTILITARIAN PURPOSES. THE PLASTICITY OF CLAY ALLOWS A PERFECT TANGENTIAL UNION WITH THE BODY

PLATE 17]

[Sidenote: Freehand Curves]

[Sidenote: Appendages in Metal]

Figures 55, 56, and 57, Plate 18, show the close bond between the appearance of the appendage in clay, and the one in metal. While it is technically more difficult to adapt metal to the rules governing appendages than is the case with clay, the final results are, in most instances, equally pleasing to the eye.

In most of the figures showing examples in metal, the appendages have to be secured to the primary ma.s.s by screws, rivets, or solder, whereas in clay they may be moulded _into_ the primary ma.s.s. This tends to secure a more unified appearance; but in metal, the junction of the handle and the primary ma.s.s is often made a decorative feature of the design and gives added interest and variety to the project.

The simple primary ma.s.s, Figure 58, has a horizontal s.p.a.ce division in the lower portion of the ma.s.s. This point of variation of the contour has been used in the primary ma.s.ses in Figures 55, 56, and 57, also as the starting point of that dominant appendage, the handle. Springing tangentially from the body, it rises in a straight line of extreme value in service, then with a slight turn it parallels and joins the top of the bowl, thus fulfilling the design functions of an appendage from both points of service and beauty. The spout and lid, Figure 55, may be likewise a.n.a.lyzed.

[Sidenote: Tangential Junctions]

The points of tangency, in Figure 54, become a decorative feature of the design. The handles in the parts of the fire set, Figures 48 and 49, offer different problems. It is difficult to a.n.a.lyze the latter figures to determine the appendages as they are in such thorough unity with the handles and are practically subdivisions of the primary ma.s.s. But referring to the rule stating the fact that the appendages are subordinated to and attached to the primary ma.s.s, it may justly be stated that the shovel portion of the design may legitimately be cla.s.sed as an appendage. This will explain the need of a curve at the junction points and the feature of the decorative twists in Figure 49.

Both designs may be a.n.a.lyzed into three horizontal divisions.

[Ill.u.s.tration: EXAMPLES OF APPENDAGES IN CLa.s.s 3. METAL ... SEE "A" ... NOTE THE TANGENTIAL RELATION BETWEEN THE APPENDAGE AND PRIMARY Ma.s.s AT "T"

PLATE 18]

[Sidenote: Andiron Design]

The andirons, Figures 50 to 53, ill.u.s.trate interesting transitions in wrought iron from the primary ma.s.s to the appendage. The vertical shaft of wrought iron has been treated as a primary ma.s.s while the feet may be cla.s.sed as appendages. In Figure 50 we have an example of a frankly square junction point. Figure 51 discloses a weld with rounded corners, forming a more pleasing junction than does the abrupt angle of Figure 50. This conforms to Rule 4b. The appendage legs echo or repeat the vertical lines of the primary ma.s.s and there is consequently a sense of unity between them.

In Figure 52 the appendage foot is curved, and the primary ma.s.s has a similar curve on the top of the vertical column to apply Rule 4c to repeat the curve. The small links at _X_ indicate an attempt to make the junction point more pleasing to the eye, but the link is too large to accomplish the desired result successfully. In Figure 53 the links have been materially reduced in size and in the amount of curvature. In this example the eye goes unhampered from appendage to primary or back again, without perceptible interruption and the unity of the ma.s.s, seriously threatened in Figure 52, is restored in Figure 53.

In Figure 46 there is an example of a link becoming large enough to be cla.s.sed as an appendage connecting two primary ma.s.ses, _e.g._, the lantern and the wall. Under these conditions, one end of the appendage harmonizes with the lantern and the other end with the wall. Figure 47 shows a cast bra.s.s candlestick which is an excellent example, from the Studio, of tangential junction.

[Sidenote: Influence of Tools and Materials]

Clay may readily stand as the most adaptable material for appendages, with metal ranking second, and wood third. The grain of wood seems to interfere with the tangential junction of the appendage and primary ma.s.s. Appendages of wood are, however, quite necessary at times. Their use is merely a matter of lessening the contrast of conflicting lines in an addition of this nature.

The band and bracket saws are required in many instances to construct the connecting link between opposing ma.s.ses of wood.

[Ill.u.s.tration: APPLIED AND CONSTRUCTIVE DESIGN

PRINCIPLE 4. RELATION OF PRIMARY Ma.s.s TO APPENDAGES

PROBLEM: APPLICATION TO CLa.s.sES 2 AND 3

PLATE 19]

[Sidenote: Influence of Tools and Materials (_Continued_)]

Hand building or casting is the means used to construct the appendages in plastic materials. Appendages in cement are seen in the uprights for cement seats and are generally translated into the primary ma.s.s by means of mouldings or curves.

Forging or thin and raised metal construction affords many examples of the adaptability of material in constructing appendages. Rivets form decorative features at the junction points and should be placed with great care and relation to the decoration and the point of tangency.

INSTRUCTION SHEET FOR CLa.s.s PRESENTATION

The typical views to be used in cla.s.sroom work, with the ordinary range of problems, are shown on Plate 19. These typical views should be supplemented by dimensions, cross sections, and other views whenever necessary. Wood construction has been omitted from this sheet, but its development in design is quite similar to the steps indicated in the summary.

SUMMARY OF DESIGN STEPS

(_a_) Draw the primary rectangle.

(_b_) Subdivide the rectangle into two or three horizontal and, if necessary, vertical divisions.

(_c_) Estimate the dimensions of the appendage necessary to perform the desired service in the best manner.

(_d_) If the appendage is a handle, place it in such a position that it not only appears to but actually does support the weight of the primary ma.s.s.

(_e_) Complete the contour curves of the primary ma.s.s based upon the horizontal division which acts as a unit of measurement or a turning point.

(_f_) Join the appendages to the primary ma.s.s by means of tangential curves.

(_g_) Establish unity between the primary ma.s.s and the appendages by applying Rules 4a, 4b, and 4c.

(_h_) Dimension and otherwise prepare the drawing for shop use.

See Plate 26.

SUGGESTED PROBLEMS

Design a sugar bowl, cream pitcher, and teapot. Consider them as different members of one set.

Design a sideboard 3 feet 3 inches high with plate rack, the design to contain two vertical and two horizontal divisions exclusive of the appendage.