[Sidenote: Continuity and Contrast]
To keep this continuity from the monotony of a Marcel Wave it is customary to break continuous curves by a fillet such as a straight line as shown at _D_, Figures 81, 82, and 83. When the desired outside diameter has been reached, contrast of direction is necessary and pleasing as a return, Figure 82. A glance at the curves so far considered will quickly determine whether they are fitted for the crown, intermediate or base mouldings. A curve should join a straight line with either a tangential or right angle junction, which makes for positiveness in contour expression.
[Sidenote: Grouping of Curves]
[Ill.u.s.tration: FIGURE 85.--Modern Candlesticks]
[Ill.u.s.tration: _Courtesy of Berkey and Gay_
FIGURE 86.--Modern Book Trough]
Application of these curves to outline enrichment for wood turning projects is to be governed by a strict adherence to Rules 2a or 2b, otherwise confusion and lack of unity will result. Figure 83 shows a major grouping under Rule 2b with the subdivisions and minor curves arranged under Rules 2a and 2b. Figure 84 shows a disregard for rules and the result is an undesirable monotony of contour. If smooth and even continuity of curvature is given considerable thought, together with that for systematic grouping and variety, a pleasing result from wood turning (a much abused but pleasing form of outline enrichment) may be secured. Figures 85 and 86 are ill.u.s.trations from the industrial field with moulding curves grouped, following and supporting the structural lines of the object. The columns in Figure 86 might, however, be advantageously reversed.
[Sidenote: Materials]
Large objects designed to be seen from a distance require larger s.p.a.ce divisions for their mouldings than do small objects seen from a nearer point. Material affects the curve somewhat. Smaller mouldings are more suited to the expensive woods like mahogany while larger curves may be used in pine or oak.
[Sidenote: Evolution of Enriched Outline Design]
We now have at our command a number of interesting and serviceable curves suited to the material. Plate 22 is a sheet of applications.
Figures 87 to 94 deal with the book-rack end and in this, as in the initial chapter, architecture is referred to as the source for many laws of industrial design. It has seemed wise to ill.u.s.trate some of these important parallels as follows:
We will a.s.sume the type of joint construction of the book-rack end as settled and the question of enrichment to be under consideration.
Figure 87 is a simple primary ma.s.s without enrichment. It is comparable to the plain box-like structure with monotonous outline and without interest. The eye follows the outline in the direction of the arrows, pausing at the square corners, which interrupt a free movement by a harsh right angle. The base (an appendage) repeats in each instance the lines of the primary ma.s.s.
Figure 88. Round corners, by freeing the design from the right angles, accelerate the eye movement and give a sense of added interest and grace to the contour.
Figure 89. The cornice of a building suggests a similar arrangement which may be added to the primary ma.s.s. It adds the element of contrast of direction and variety of widths.
[Sidenote: Variations]
Figure 90. The main primary ma.s.s of a building with two equal appendages will suggest the enrichment of the outline in sympathy with three vertical divisions. Rule 3b. The rounded corners again a.s.sist the eye to travel freely around the contours, thus giving a sense of unity to the entire form.
[Ill.u.s.tration: ENRICHMENT OF THE FUNCTIONAL OUTLINES OR CONTOURS AS APPLIED TO WOOD
THE EVOLUTION OF OUTLINE ENRICHMENT OF A BOOK RACK END WITH CROSS REFERENCES TO PARALLELS IN ARCHITECTURE
PLATE 22]
[Ill.u.s.tration: FIGURES 101 and 102]
Figure 91. The pediment of a Greek temple with the interest centered at the top of the pediment (_x_) causes a similar concentration of interest in the book-rack end. The slight inclination of the sides supplies variety of widths. The architect considers an object with the interest centered in this manner in the upper portion, as possessing more individuality than a motive with purely horizontal lines across the top boundary.
[Ill.u.s.tration: FOLDING SCREEN
FIGURE 102a]
[Ill.u.s.tration: _Courtesy of Berkey and Gay_
FIGURE 103.--A Modern Telephone Stand and Stool]
[Ill.u.s.tration: _Courtesy of Berkey and Gay_
FIGURE 104.--Modern Chair]
Figure 92. In this figure the curved inclination facilitates the upward movement of the eye, at the same time supplying variety of width.
Figure 93. The addition of an appendage to the outline of the Greek temple suggests a slight drop or variation in the top edge of the book-rack end which gives increased interest and grace through variety.
Figure 94. Contrast of direction is supplied in this suggestion but it is questionable whether we are adding much to the interest by the corner.
[Ill.u.s.tration: _Courtesy of Berkey and Gay_
FIGURE 105.--A Modern Serving Table]
Figures 95 to 98 are variations of one theme, the foot stool, and Figure 99 adds suggestive designs for rails. _D_ in Figure 99 shows the enrichment line cut to a depth which threatens the structural value of the rail. This is corrected in Figure 103. Figure 100 is an application of the curve of force to a chair leg _B_, with other possibilities at _A_ and _C_. Numerous applications of the varied curves under consideration are found throughout this sheet.
[Ill.u.s.tration: FIGURE 105a]
[Ill.u.s.tration: _Courtesy of Berkey and Gay_
FIGURE 106.--Sheraton Table]
Before closing with enriched outlines it is well to consider flagrant violations of this enrichment now on the market. Figure 101 shows a typical example of complete lack of unity and simplicity. It is a type of design often a.s.sociated with cheaply constructed furniture. It is an ornate parody on outline enrichment. The curves of extravagance are well shown in Figure 102 where large bulbous curves with no systematic grouping combine disastrous waste of material with lack of grace or lightness. It is excellent practice to redesign such examples as those shown in Figures 101 and 102 with special reference to Rule 5c.
Rule 5c. _Outline enrichment, by its similarity, should give a sense of oneness or unity to the design, binding divergent members together._
[Ill.u.s.tration: INSTRUCTION SHEET
CONTOUR ENRICHMENT OF WOOD
DRAWN AND DESIGNED BY JEANNETTE E. FITCH
U. OF W.]
Ill.u.s.trations 103 to 106 are typical forms of present day outline enrichment. Limitations of s.p.a.ce will not permit reference to the use of Period furniture. Sheraton and Hepplewhite designs are most adaptable for school uses as may be seen by comparing the Sheraton desk (Figure 106) with the foot stool in Figure 96.
INSTRUCTION SHEET
Figure 83 and Plates 22 and 23 are indicative of what might be obtained from a cla.s.s. The problem represented on Plate 23 is advantageously colored with the intended stain and with a small section of side wall and trim visible. See Chapter 16, Figures 458 to 463. Figure 102a shows the method of enlarging a design into a full size working drawing for shop purposes.
SUMMARY OF DESIGN STEPS
(_a_) Draw the primary rectangle.
(_b_) Subdivide the rectangle into vertical and horizontal divisions.