Industrial Arts Design Part 11

[Sidenote: Free and Dependent Outlines]

To distinguish between an unrestricted outline and one bound by other considerations we will term the restricted outline a _dependent outline_, for its enrichment must be related to other forms either within or without its surface. A _free outline_ on the other hand is one in which the designer is free to use his ideas unrestricted by any other outside consideration, except service and design consistent with the material.

In order to emphasize the nature of a dependent outline we have Rule 5f.

_Dependent outline enrichment should be related to essential parts of a design and influenced by their forms and functions; it must be consistent with the idea of the subject._

[Sidenote: Enrichment of Edges]

We will start with the simplest form of outline enrichment of base metals, the decoration of an edge. It is contrary to the laws of service to leave sharp edges on articles intended for intimate household use, except where cutting edges are required. The rounding of sharp edges is likewise dictated by the laws of beauty. The transition from one plane surface to another is a.s.sisted by a rounded edge, as the eye takes kindly to the softened play of light and shade.

This gives us the simplest form of enrichment--the beveled, chamfered, or rounded edge, Figures 143 and 144, Plate 27. The rim of a thin 18-gauge plate is likewise improved and strengthened by lapping the edge as shown in Figure 145, giving the rounded effect shown in Figure 144.

[Sidenote: Enrichment of Functional Parts]

There are six important functional parts with which we are brought into common contact in industrial design of base metals. There are many more, but these are the most common and consequently are of the utmost importance to the designer as design centers. These parts are itemized as follows: (1) Corners, (2) Appendages, (3) Intermediate Points, (4) Terminals, (5) Links, (6) Details. As the decorative treatment of each part varies with the functional duty, Rule 5d, separate treatment and consideration of each part will be necessary.

[Sidenote: Enrichment of Corners]

Corners, as extreme turning points of a design, are often found convenient for the location of screw holes, rivets, etc. These important construction elements become prominent functional parts of the design and by custom and the laws of design, Rule 5d, they are capable of receiving outline enrichment. But the contour of the corner must be related to the screws or rivets, particularly if they are near the edge, hence our outline becomes a _dependent outline_ and as such must be related to the rivets or screws by Rule 5f.

Figures 146 to 149 show various arrangements of this type of design. The unity of the design is not lost, and the functional parts are enriched by contours related to the elements of service (rivets). Figure 153 shows another but slightly modified example of the same laws applied to hinge construction. The enriched outline in this case is closely a.s.sociated with the holes in the hinge. The hinges in turn must be related to the object for which they are designed. Figure 150 gives a common example of corner enrichment by means of varying the edge at the corners, _i.e._, by rounding the tray corners.

[Sidenote: Enrichment of Appendages]

As appendages have distinct functional duties their design may vary as the design of the arm of the human figure differs from the head. Yet, as parts of the same body, they must fit the shape of the object to which they are attached. The candle holder and handle as appendages in Figure 150 are designed in sympathetic relation by means of tangential and similar curves sufficiently varied to give the eye a feeling of variety in the design. The novel single flower holders, Figures 151 and 152, with the gla.s.s test tube acting as a container show other possible forms of the appendage design. The first is informal while the second is formal, but both adhere to the first simple rules of appendage design.

Rule 4a, etc.

[Sidenote: Enrichment of Intermediate Points]

[Ill.u.s.tration: FIGURE 156a.--Candlestick, Rendered by E.R.]

The enrichment of center or intermediate points should be handled with great care and with a definite reason. Careless handling may cause the design to lack unity. Figures 154 and 155 show a simple twist as enrichment. The serviceable reason for this is to obtain a grip at the point of the twist. Again, it varies the character of the straight edges and adds interest without loss of compactness or unity. If one is desirous of widening a vertical or horizontal rod, the enrichment made by welding a number of small rods together with a spreading twist gives a pleasing and serviceable handle. Figure 156.

[Sidenote: Enrichment of Terminals]

[Sidenote: Free and Dependent Contour Enrichment]

As the public demands a happy ending to a story or a play, so does the eye demand a well-designed ending to a design. The part that terminal enrichment plays in industrial design is, therefore, to say the least, important to us as designers. Figure 157 ill.u.s.trates terminals in thin metal and is shown by courtesy of the _School Arts Magazine_ from one of the articles by Mr. Augustus Rose. The outlines are in part dependent in character, controlled by rivets. Notice the change of curve as the function changes from the _dependent curve_ of the rivet area to the _free outline_ of the handle and again from the handle to the cutting blade; a functional change of marked character, but in thorough unity with the entire design. It is again emphasized that whether the design possesses a free or a dependent outline, or a combination of both types, all parts of the design must be held together by entire _unity_. The rivets are occasionally placed toward the edge and a domed boss is used to accent the center as is shown in Figure 158.

[Ill.u.s.tration: OUTLINE ENRICHMENT OF THE PRIMARY Ma.s.s IN THE BASER METALS. THE ENRICHMENT OF TERMINALS, LINKS, AND DETAILS. FREE OUTLINES

PLATE 28]

THE IONIC VOLUTE

[Sidenote: Terminal Enrichment in Wrought Metal]

As the Curve of Force was a valuable curve in wood construction, so we find it an equally valuable curve for wrought metal. Its recurrence again and again in industrial design leads us to appreciate its value in the arts. It is the Ionic volute handed down to us in its present form from the time of the Greeks, who developed it to a high state of perfection.

[Sidenote: Curve of Beauty]

While its geometric development is a tedious process, it may be easily constructed for practical purposes by the following method. In Figure 159, _P_ represents a small cylinder of wood, possibly a dowel. A strong piece of thread, or fine wire, is wrapped around the base of the dowel a number of times and a loop is formed in the free end. A pencil with a sharp point is inserted in the loop and the pencil and dowel are placed together on a sheet of paper. As the thread unwinds from the dowel the point of the pencil will describe a volute which may be developed indefinitely. It will be noticed that no corresponding parts of the curve are concentric and it thus has constant variety. It has been termed the CURVE OF BEAUTY and is found in nature in the wonderfully designed sh.e.l.l of the nautilus.

It is advisable to form several templates for the volute out of bent wrought iron, of different sizes, and to practice drawing the curve many times to accustom the hand and the eye to its changes of direction. The "eye" or center portion is sometimes terminated by thinning and expanding in the manner shown in Figure 160.

[Ill.u.s.tration: OUTLINE ENRICHMENT OF THE PRIMARY Ma.s.s IN PRECIOUS METALS. SILVER. A DEPENDENT OUTLINE RELATED TO AND ENCLOSING A SEMI-PRECIOUS STONE.

PLATE 29]

[Sidenote: Greek Scroll]

One form of application of the volute is shown in the terminal points of the candlestick in Figure 161. It is here shown combined with the second volute in the form of a reverse curve. In Figure 162, it has been combined with a smaller but reversed volute at the upper end. The entire and combined curve is commonly known as a Greek Scroll. In Figure 163 the Greek Scroll has been combined with the reverse curve of Figure 161 to form a portion of the bracket. In this figure we find the familiar curve of force faithfully serving its function as a supporting member for the top portion of the bracket.

[Sidenote: Enrichment of Links]

A link is a convenient filler in connecting parts of a right angle. It likewise serves as a brace in connecting several disconnected parts and is useful in maintaining the unity of a design. Figure 164 shows a common form of link with its ends thinned and expanded as shown in Figure 160. This construction may, however, be disregarded as it is technically quite difficult to accomplish.

[Sidenote: Enrichment of Details]

Details are the smaller portions of a design and are similar to the tr.i.m.m.i.n.gs and minor brackets of a building in relative importance. They enter to a considerable extent into wrought metal grille design, and are generally formed of the link, Greek scroll, or the Ionic volute, so as to be in harmony with the other parts of the design outline. Rule 5f.

Their presence and use may be readily detected on Plate 28.

Rule 5g. _A curve should join a straight line with either a tangential or right angle junction._

[Sidenote: Summary of Wrought Metal Free Outline Enrichment]

As we are now familiar with continuity in wood moulding curves we should feel, in reviewing the figures in this chapter, the value of flowing continuity and tangential junction points (Rule 5g) necessary in wrought metal enrichment. The curves that we have considered are adapted to the materials and a comparatively large and new field of design is opened to the designer through a combination of curves mentioned. Plate 30 is self-explanatory and brings out the general application of the foregoing principles as applied to cast bronze hardware. It is interesting to notice the change of enrichment paralleling the change of function as outlined in Rule 5d.

OUTLINE ENRICHMENT OF PRECIOUS METALS

[Sidenote: Outline Enrichment of Silver]

[Sidenote: Stones and Their Cuttings]

[Ill.u.s.tration: _Courtesy of P. and F. Corbin_

PLATE 30]

Little has been written regarding the designing of jewelry. As can be readily seen, a semi-precious stone is the controlling factor in the major portion of the designs with silver as a background. Any enrichment merely accentuates the beauty of the setting. This statement would lead us to consider the outline as _dependent_ in character and thoroughly related to the stone. It is necessary then to take the stone as a point of departure. The standard stone cuttings used in simple jewelry are shown in Figures 166 to 170. The first three and the last are cabochon cut, elliptical in contour with flat bottoms. The long axes have been drawn in each instance.

[Sidenote: Relation of Stone to Contour]

With Figures 171 to 174 we begin to see the close relation between the stone and its enclosing form. Rule 5f. A longer major axis in the stone calls for an increased length in the corresponding axis of the silver foundation or background. It is really a re-echo of the proportions of the primary ma.s.s of the stone in the ma.s.s of the silver. It is well for the beginner to make the axis of the stone and the silver blank coincide and to use this long axis as a basis for future enrichment. In a vertical primary ma.s.s, similar to the one shown in Figure 180, it is better design to place the stone a short distance above the geometric center of the ma.s.s as it insures a sense of stability and balance. A stone when placed toward the bottom of a design of this nature is inclined to give a feeling of "settling down" or lost balance.

Figure 176 varies the design shown in Figure 171. The two circles related to the stone are connected by four silver grains or b.a.l.l.s.

Figure 177 shows an attempt to enrich the contour of the silver, but there is a resulting tendency to detract from the simplicity of the unbroken outline and, as a result, little is gained by its attempted enrichment. Figures 178 and 179 show a better form of enrichment by accentuating the outline. This may be accomplished either by engraving a single line paralleling the contour or by soldering a thin wire around the outline.