Industrial Arts Design Part 9

(_c_) Determine parts to be treated by contour enrichment.

(_d_) Determine method suited to the project: wood turning, moulding, etc.

(_e_) Group the wood turning curves under a definite system included under Rules 2a and 2b. Group the mouldings under crown, intermediate, and base cla.s.sifications. Add this enrichment to the primary ma.s.s or make other simple variations that will not destroy the unity of the project.

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

(_g_) Construct the project.

_Note_.--If the designer is not properly equipped to prepare his own mouldings, he should consult moulding catalogs or the stock of some local lumber company.

ADDITIONAL SUGGESTED PROBLEMS

Design a wood pedestal with the curves grouped into three horizontal divisions.

Design a hall table 2 feet 10 inches high and add simple contour enrichment.

SUMMARY OF RULES

Rule 5a. _Outline enrichment should be subordinated to and support the structure._

Rule 5b. _Outline enrichment should add grace, lightness, and variety to the design._

Rule 5c. _Outline enrichment, by its similarity, should give a sense of oneness or unity to the design, binding divergent members together._

REVIEW QUESTIONS

1. State nature and need of enrichment.

2. What two forms of enrichment are commonly used in industrial arts design?

3. What four qualities are added to industrial design by contour enrichment?

4. What disturbing elements should be guarded against in the application of contour enrichment?

5. Describe the curve of force and its function in the contour enrichment of wood.

6. What are mouldings? Name three types of mouldings, their positions with relation to the eye level, and some curves used in their design.

7. Give examples of curves of continuity and contrast. By what means should two contrasting curves be separated?

8. How should a curve join a straight line?

9. Explain the grouping of contour curves in wood turning projects similar to a round leg or candlestick.

10. Present five designs for book-racks, enriched by changes of the contour. Give architectural cross references for each design.

11. Present three well designed table or chair legs and top and bottom rails and a.s.semble one of these in a design.

CHAPTER VII

ENRICHMENT OF THE CONTOURS OR OUTLINES OF DESIGNS IN CLAY

[Sidenote: Need of Enrichment]

In the medium we are now about to consider there is a tendency for the enthusiastic beginner to over-elaborate the outline into meaningless forms. This possibly is due to the ease with which clay is manipulated.

It would be well then to ask two questions before starting with the work of enriching the simple structure. First, why should it be enriched--is there a positive gain by so doing? Second, (if the decision is favorable to enrichment) where should it be enriched? Let us co-ordinate the parts to a.s.sist in this process.

[Sidenote: Parts Differing in Function]

[Sidenote: Unity]

Rule 5d. _Parts of one design differing in function should differ in appearance but be co-ordinated with the entire design._ As a suggestion to guide one in enriching an object it is necessary to consider that parts differing in function may differ in appearance, but as members of one family they should still be related to the whole. For example, a spout, handle, and lid may differ in design from that of the body of a pitcher because they differ from it in function. Again, the rim and foot of a vase may be slightly changed or individually accented because of their respective duties. The base and holder of a candlestick may vary in design from the central part or handle, as each has a special function to perform. This rule of the change of appearance with the change of functional service (Rule 5d), is found throughout architectural design. The variation in design in the base, shaft, and capital of a column is possibly one of the most common examples. While differing in function they still _must have unity and "hold together."_

These functional parts of one design, differing in service rendered, form centers of construction and may receive emphasis in outline enrichment. Corners and terminal points are likewise available for decoration and will be discussed at length later.

[Ill.u.s.tration: FIGURE 107.--Clay Outline Enrichment in the Rookwood Potteries]

Enrichment in clay and metal generally means a subst.i.tution of curved for straight lines in the enriched portions of the design. These curves have the ability to impart grace, lightness, and variety to an object provided they are based upon constructive features of the problem. They must have a unit of measurement and must likewise be appropriate to the material. It is therefore necessary to deal with clay in this chapter and follow with a consideration of metal in another chapter.

In Figures 109 to 123, Plate 24, we have a number of examples of variation of practically the same primary enclosing rectangle. Figure 108 represents a "squarely" proportioned circular bowl lacking both refinement of proportion and enrichment. Figure 109 has added refinement of proportions. Figures 110 and 111 have introduced an outline enriched to the extent of a simple curve. The base is the dominant width in the first, and the top dominates in width in the second. The outline in Figure 112, while similar to 110 for a portion of its length, departs at a stated point and by curving in toward the base supplies more variety to the contour. We have already said that this outline curve should have a unit of measurement and by referring to Rules 2a and 2b we are able to formulate the following:

[Sidenote: Unit of Measurement for Curves in Outline Enrichment]

Rule 5e. _In cylindrical forms outline curves with a vertical tendency should have their turning points or units of measurement in accordance with the horizontal divisions of Rules 2a and 2b._ Figures 112 and 113 have as their unit of measurement two horizontal s.p.a.ces formed in accordance with Rule 2a, while Figures 116 and 117 have still more variety by the addition of a compound curve with its turning points or unit of measurement based upon Rule 2b. Figures 114 and 115 with outlines similar to those in Figures 112 and 113, respectively, have an additional enrichment, the foot and rim accentuation.

[Sidenote: Accentuation of Functional Parts in Clay]

The new element of enrichment consists of accenting by adding to the design a modeled rim and a base or foot, as it is technically known.

This not only strengthens the structure at these two functional points but, by adding a small section of shadow, it tends to break up the surface, Figure 127, and add to the variety of enrichment. Figures 124 to 127 show the building processes connected with this interesting and constructive addition.

[Sidenote: Appendages]

Figures 116 to 119 show variations of the preceding figures while Figures 120 to 123 introduce the appendages to preceding figures. As in the designing of all appendages, discussed in Chapter V, it is the designer's intention to balance spout and handle to avoid a one-sided or top-heavy appearance.

One of the princ.i.p.al difficulties that confronts the amateur designer is the failure to secure variety while retaining unity. This is largely due to a lack of ideas upon the subject and a marked lack of systematic development of one theme.

Attention is directed to the diagram in the lower portion of Plate 24.

The idea is to start with some simple form in columns _A_, _B_, _C_, _D_, _E_, _F_, Figure 128. Figure 129 introduces _two_ horizontal divisions. Rule 2a. The _black_ portion is the dominant section.

[Ill.u.s.tration: OUTLINE ENRICHMENT OF THE PRIMARY Ma.s.s IN CLAY