Industrial Arts Design A Textbook of Practical Methods for Students, Teachers, and Craftsmen

CHAPTER XIV

Chapter 183,082 wordsPublic domain

SURFACE ENRICHMENT OF LARGE PRIMARY MASSES IN BASE AND PRECIOUS METALS

[Sidenote: Enrichment for Small Areas]

The surface enrichment of small, flat primary masses treated in Chapter XIII emphasized the designer's tendency for _full_ surface enrichment of small areas. Such treatment has proved satisfactory because the eye can readily and immediately observe and comprehend or assimilate an enrichment upon a small area. For larger enriched areas considered in this chapter, full surface enrichment becomes a questionable policy for the following reasons.

[Sidenote: Enrichment for Large Areas]

It is true that the old time craftsman with consummate skill fully enriched large surfaces, but two factors interfere with this mode of treatment today. The first factor is the decidedly practical nature of the problem. The service to which the modern industrial project is put interferes with the use of full surface enrichment. The second is the lack of skill on the part of the modern amateur designer. It is a sound policy to avoid the ornateness that frequently accompanies a large and unskillfully planned area. In place of this, we should limit the enrichment of large masses to a few salient areas which are well related to the structural lines.

Rule 11b. _Conservative application should mark the use of surface enrichment of large masses. Its use should:_ (1) _lighten or soften necessarily heavy construction;_ (2) _support or apparently strengthen good structure;_ (3) _add interest to large unbroken and uninteresting surfaces._

[Sidenote: Essentials of Good Surface Enrichment]

These salient areas should determine the surface enrichment appropriate to the structure, so that the enrichment: (1) will lighten or soften necessarily heavy construction as in Figure 403; (2) support or apparently strengthen good structure, Figure 413; (3) add interest to large unbroken or otherwise uninteresting surfaces as illustrated in Figure 405. To aid in producing the desired results, we have the technical processes mentioned in Chapter XIII as follows: (1) Piercing; (2) Etching; (3) Chasing; (4) Enameling; (5) Inlaying; (6) Stone setting; (7) Building; (8) Carving; (9) Planishing; (10) Frosting; (11) Oxidizing. On the plates for this chapter, the figure generally following the cut number refers to the process, as: Figure 446, 3.

SURFACE DESIGN EVOLUTION

Rule 11a. _The preliminary steps toward surface enrichment should be thought out before they are drawn._

A designer will be materially helped if he devotes a few moments of thought to his design problem before he applies the pencil to the paper. In the end the time given to thinking out his problem will gain for him both increased excellence of design and rapidity of execution, provided his thinking is systematic. A sequential order of points to be observed is given below. The object of systematic thought is to form a mental picture of the enrichment to be in full accord with the materials and construction and to be sympathetically related to the structural axes and to the contours. The unenriched mass has been designed and we are now ready for the consideration of surface enrichment in the following order.

[Sidenote: Summary of Steps in Surface Enrichment]

(_a_) _Placing the Zone of Service._

1. Where is the zone of service?

* * * * *

(_b_) _Classification of Form_.

1. Is the object flat, shallow and circular, low and cylindrical, high and cylindrical?

* * * * *

(_c_) _Placing the Zone of Enrichment._

1. Is the enrichment to be seen from above or from the side? See Figure 406a.

2. What point of the structure suggested by the form needs surface enrichment? Is it the primary mass, appendages, terminals, links, or details? Let the area selected become the zone of enrichment.

(_d_) _Amount of Enrichment._

1. Will the enrichment cover the full surface, part surface (center or margin), or accented outline?

(_e_) _Location of Inceptive Axis._

1. Is the zone of enrichment associated with a square, rectangle, hexagon, or irregularly shaped flat plane, circular or cylindrical surface? Figure 470.

2. How should the inceptive axis be placed in the zone of enrichment to harmonize with the structural forms suggested by 1 (e) and the point from which it is viewed 1 (c)? See the violation of this latter point in Figure 439. Presumably this inceptive axis will be a vertical center line, horizontal center line, diagonal, diameter, radius, the element of a cylinder, or a dynamic curve for a free border.

(_f_) _Point of Concentration._

[Sidenote: Surface Enrichment]

1. Where should the point of concentration be located upon the inceptive axis?

(_g_) _Unison of Enrichment and Materials._

1. What decorative process will be adaptable to service, the material, and the contemplated design?

[Sidenote: Summary of Steps in Surface Enrichment]

(_h_) _Type of Units_.

1. What design units are suited to the process selected in (_g_), appropriate to the texture and structural lines of the form to be enriched and to its ultimate service? Choice may be made from nature, geometric pattern, or historic ornament.

The above points may all be _thought out_. Now, with some assurance, the designer may take his pencil and begin to _draw_ the units in their proper position upon or about the inceptive axis with the point of concentration correctly placed in position in the inceptive axis. Rules and suggestions for this execution have been previously given.

* * * * *

(_i_) _Designing of the Units_.

1. How should the units be drawn to be in harmony with the inceptive axis, the contours, and to each other?

The above points of approach to surface enrichment represent a logical reasoning process which supplies a line of sequential and developmental pictures that will reduce to a minimum the element of doubt and fog through which the average designer approaches his problem. The steps will, in time, become practically automatic and may be thought out in a surprisingly short period of time.

Rule 11c. _The type of design unit for large masses should be bolder than similar designs for small primary masses._

[Sidenote: Large Masses and Their Treatment]

As may be expected from briefly considering the illustrations for this chapter as compared with those for small primary masses, Chapter XIII, it is seen that the units for base and precious metals are larger and bolder than those used for smaller masses. The more effective designs are those whose appropriateness, simplicity, and correct structural proportions and relations appeal to our sense of fitness and beauty.

Figures 403, 404, and 406 are composed of projects designed mainly on vertical inceptive axes or center lines. The freely balanced natural units in Figure 403 have the zone of enrichment in the upper portion of the appendage (handles), and the point of concentration in the upper portion of the zone of enrichment. Formal symmetrical balance controls the placing of enrichment in Figure 404. Initial letters, through lack of consideration of design principles, are frequently misplaced on masses with little or no consideration given to their mass relations with the structural contours. As a contrast to this, notice the carefully considered relations between the letter _W_ on the tea strainer in Figure 404 and its adaptation to the contours of the appendage. The stone enrichment on the handle of the paper cutter in Figure 404 in no way interferes with its use as a cutter and is therefore appropriate as surface enrichment.

[Sidenote: Large Flat and Semi-flat Surfaces in Precious Metal, Plate 58]

The pierced enrichment of the silver box in Figure 405 contains vertical and horizontal lines which bring the decorative human figures into harmonious relation with the structural contours. Figure 406 shows both formal and free balance with center and full surface zones of enrichment. _C_ and _D_ could have been improved by a more strongly marked point of concentration which would have added more character to the designs.

[Sidenote: Flat and Semi-flat Surfaces in Base Metal, Plate 59]

In Chapter VIII, the contour terminal enrichment problem was described at some length. Many illustrations on Plates 58, 59, and 60 are, in a way, similar in their type of surface decoration, which is termed _surface terminal enrichment_. The "happy ending" mentioned in Chapter VIII as a suitable means of terminating the contour of a long primary mass or appendage may be similarly treated by suitable surface enrichment, particularly shown in Figures 403, 404, 407, 408, 409, and 410. The terminal is quite common as a zone of enrichment.

[Sidenote: Contour _Versus_ Surface Enrichment]

It is readily seen that when surface enrichment is the prevailing decorative theme it becomes necessary to subordinate contour enrichment to it, Rule 10b, otherwise the strife for dominance arising between these two forms of enrichment will lead to poor and ornate design, Figure 417. Whatever contour enrichment is used must be chosen to accord with the surface enrichment, Rule 10d, as noted in the preceding figures and in Figure 411. Here we find the closest connection, as the chased forms of the surface at many points merge into the contour. Thus surface and contour are bound together in unity with the surface enrichment, which maintains its dominance throughout.

The simple and dignified treatment of the fire set in Figure 413 is synonymous with the finest type of enrichment for service and beauty, Rule 11b. The peacock motives of Figures 414 and 415 are applied to the desk set. The motives as used in this case are generally well adapted to their respective areas and inceptive axes.

[Sidenote: Surface Enrichment of Hardware, Plate 60]

Rule 11f. _Repulsive forms should not be introduced into surface enrichment._

Figure 417 is a typical example of over-ornamentation with the surface and contour enrichment struggling in deadly conflict for prominence. In the combat, the natural structural axis has been totally neglected for irrelevant and disconnected ornament. Figure 418 illustrates correctly related surface ornament, with a dominance of the latter form, Rule 10b. Figure 419 represents a type of decoration presumably roughened to meet the needs of service. It proves, however, to be unpleasant to the touch and unnecessary as the plain knob is preferable in every way. The naturalistic snake motive of Figure 421 is repulsive to many people; this and similar decorative motives should be avoided in preference to the more conventionalized pattern of Figure 422, Rule 11f.

Rule 11e. _Two periods of historic ornament should not be introduced into the same design._

[Sidenote: Historic Ornament Applied to Period Hardware Design Door Plates]

It is impossible to close these chapters without reference to the influence of the great schools of architectural history upon contemporary design. There is a growing tendency for manufacturers to use period patterns in house decorations which correspond to the design of the building. A Colonial building frequently calls for Colonial hardware, a Gothic church for corresponding surface enrichment of that period.

As introductory illustrations, Figure 423 stands as a simple example of accented (beveled) contour while Figure 424 has been accented with reminiscent moulding appropriate to Colonial architecture. They might, however, be used with many simply designed articles of furniture. From this slight indication or portion of a style, we have a more pronounced beginning in Figure 425 with its clearly marked Greek egg and dart ornamental border. The acanthus leaf of the Byzantine school, Figure 426, changes to the geometric arabesques of the Moorish school in Figure 427. The Gothic arch, cusps, and quatrefoil of Figure 428 are changed to the classic acanthus foliage of the French Renaissance period. Figure 429. Figures 430 and 431 are later developments of the Renaissance. The heavily enriched Flemish pattern completes our illustrations of the use of past forms of ornamentation applied to modern designs. Only a small number from a rapidly enlarging field of period design are shown.

[Sidenote: Shallow Circular Forms, Plate 61]

With circular plates and trays, the enrichment normally takes the form of a border (marginal enrichment), with the inceptive axes or center lines of the repeated units radiating from the center of the circle. Figures 433, 435, 436, 437, 438, and 439. An elliptical form frequently calls for handles and terminal enrichment as shown by Figure 434.

Both Figures 437 and 438 have divided points of concentration and would be materially improved by the omission of the center unit _A_. The small tree used as a connecting link in the border of Figure 437 should be reversed, as it now possesses a motion or growth contrary to the larger tree units. The contour enrichment in Figure 438 could well be omitted or moved around to support the surface enrichment. The pierced enrichment _A_, Figure 439, is incorrectly used as it is not designed to be seen from above, the normal viewpoint of the tray. The design should have been based upon the horizontal axis of the project similar to Figure 439 at _B_.

[Sidenote: Low Cylindrical Forms, Plate 62]

Differing from the shallow plate, with the increased height of the low cylindrical forms of Plate 62, there now develops the possibility of enriching the sides of this class of project: a zone of enrichment not readily accessible in the shallow plate form. In addition to the sides there remain the appendages, quite capable of carrying enrichment to advantage. One should control the zone of enrichment in such a manner that the attention will not be equally drawn to both appendage and primary mass. Two points of enrichment, both calling for equal attention, divide the interest in the problem, and cause a lack of unity or oneness.

Rule 11d. _The eye should be attracted to one principal zone of enrichment, whether located upon the primary mass, appendage, terminals, links, or details. All other zones should be subordinate to this area._

Enrichment upon the appendages may be found in Figures 440, 441, 442, 445, and on the upper portion of the straight sides of the primary mass in Figures 443 and 444. The decorative units composing the border on these straight sides are designed upon the vertical element of the underlying cylindrical form as the inceptive axis. The enrichment for the appendage is well related to the contour of that member and is commonly based upon the center line of the appendage.

[Sidenote: Cylindrical Forms, Plate 63]

The principles of enriching these higher cylindrical forms in many ways closely parallel those which govern the lower cylindrical forms. The inceptive axes of the decoration on the two vases of Figures 446 and 447 may be readily analyzed as vertical elements of the cylinder. Figures 448 and 449 are quite rare exceptions of the accentuation of the _vertical_ lines of the cylinder. Horizontal bands similar to Figures 444 and 447 are more common interpretations of cylinder enrichment. Figure 450 marks a successful combination of two dissimilar materials with the shade (appendage) as the dominating enriched member. Rule 10c.

The small chased bosses used as enrichment in Figure 452 are re-echoed on the several pieces of the set which binds them into collective unity. The top portion of the primary mass seems to need some form of enrichment, as the contour adds little to the beauty of that part. The symbol _X_ could have been better located by being moved to that place. The point of concentration should be placed in the upper portion of a large mass whenever that arrangement is possible.

It is in every way desirable that all designs should be executed full size and in full accord with the requirements of a shop working drawing. In addition the technical rendering suggested in Chapter XIII should be carefully used in each drawing.

INSTRUCTION SHEET

Plates 68 and 72 show problems suitable for class presentation. The method of development is similar to that presented on Plate 52.

SUMMARY OF DESIGN STEPS

(_a_) Draw a primary mass with reference to its proper grouping as follows:

For flat areas draw square, rectangle, etc.

For shallow circular forms draw a circle.

For low cylindrical forms draw a rectangle with horizontal proportions.

For high cylindrical forms draw a rectangle with vertical proportions.

(_b_) Locate zone of service.

(_c_) Locate zone of enrichment: appendages, terminals, margins, full surface, etc.

(_d_) Determine amount of enrichment.

(_e_) Locate inceptive axes.

(_f_) Place point of concentration in the inceptive axis where it traverses the zone of enrichment.

(_g_) Select the decorative process suited to the material and contemplated motive.

(_h_) Draw leading lines toward the point of concentration.

(_i_) Draw conventionalized design motives based upon the leading lines, converging toward the point of concentration. Vary the contours to be sympathetically related to these design motives, provided such variation of the original primary mass is necessary to complete unity.

(_j_) Add additional views, dimension, and otherwise prepare the drawing for shop use.