CHAPTER VI

ENRICHMENT OF THE CONTOURS OR OUTLINES OF DESIGNS IN WOOD

With this chapter we introduce contour enrichment, the second major division of industrial arts design.

[Sidenote: Need and Value of Enrichment]

A critic of furniture designed by the average manual arts student has stated frankly that while it might have been honestly constructed it was, in the first place, too heavy for a woman to move about the house and, in the second place, it represented a decidedly uneconomical use of that valuable material, wood. That there is a basis in fact for this statement cannot be denied. Is it true, then, that furniture must of necessity be clumsy and heavy when it is sufficiently simplified in constructive processes for school work? We may say emphatically, "No!"

One may correct the proportions of an object and reduce the size of the materials in it to a minimum but still fail to secure the desirable elements of lightness and interest. The object may still _look_ heavy and remain a box-like structure void of the grace synonymous with the best in design. It is, however, possible to correct the clumsy and heavy appearances by imparting to the design elements of grace and lightness. Two methods may be used, singly or together: (1) Enrichment of the Functional Outlines or Contours; (2) Surface Enrichment sometimes called Space Filling. These may be roughly classified respectively as three and two dimension enrichment.

[Sidenote: Contour Enrichment]

The first, or outline enrichment, concerns itself with the structural lines. As all designing processes should start with the structure, it will be our policy to do so. The present chapter will deal only with enrichment of outlines of wood projects.

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._

[Sidenote: Purpose of Contour Enrichment]

[Sidenote: Requirements of Contour Enrichment]

It is the purpose of enrichment to add to the problem (1) grace; (2) lightness; (3) variety; (4) unity. If it is applied in a proper manner it should likewise add to the apparent structural strength. We should carefully guard the design, therefore, against (1) enrichment that has a tendency to obscure or destroy the structural lines; in other words, enrichment that is not subordinated to the structure, and (2) enrichment that adds nothing to the structure by its application; that is, one which does not increase either the apparent strength or the beauty of the object.

As an example of this first point, the turned candlestick with the candle supported by a stack of turned balls alternating with tauri or thin discs tends to obscure completely the sense of support. Again, the landscape gardener feels that he is violating a fundamental principle in design if by planting vines to grow around a building, he obscures the foundation, and the roof appears, consequently, to rest on and be supported by the stems and leaves of the vines. Thus it is seen that the eye registers a sense of structural weakness when the main supports of an object disappear and are no longer to be traced under the enrichment.

Under the second point falls the indiscriminate placing of unrelated objects in the contour enrichment. Naturalistic objects similar to the claw foot and the human head, for example, should give way to natural curves that add to the appearance of total strength. Where are we to find these curves suited to our purpose?

[Sidenote: Valuable Curves for Outline Enrichment]

Up to this point emphasis has been placed upon straight and curved lines immediately connected with pure service. For grace and lightness it is necessary to depart at times from the rigidity of straight lines. To understand the character of this departure let us consider a simple bracket as a support for a shelf.

This bracket acts as a link, connecting a vertical wall or leg with a horizontal member or shelf. A bracket shaped like a 45-degree triangle, Figure 10, page 24, gives one the sense of clumsiness. If the feeling of grace is to be imparted the eye must move smoothly along the outline of the bracket, giving one a sensation of aesthetic pleasure. A curved line will produce this effect more completely than will a straight line. One must likewise get the feeling that the curve of the bracket is designed to support the shelf.

THE CURVE OF FORCE

[Sidenote: Valuable Curves]

Turning to Figure 70, Plate 20, we find that whenever nature desires to support a weight she is inclined to use a peculiar curve seen at _F_. Possibly through continued observation the eye has associated this curve with strength or supporting power. Figure 71 has detailed this curve. It is found to consist of a long, rather flat portion with a quick and sudden turn at its end. The curve is known to designers as the Curve of Force and is most valuable in all forms of enrichment. Designers even in early ages used it in some form as will be noted from the fragment of Greek sculpture in Figure 72. Its beauty rests in its variety. A circle has little interest due to its rather monotonous curvature. The eye desires variety and the curve of force administers to this need and gives a sense of satisfaction. As designers on wood, how are we to utilize this curve for purposes of outline enrichment?

[Sidenote: An Approximate Curve of Force]

For approximate similarity of curvature an ellipse constructed as shown in Figure 73 will be found convenient. By drawing several ellipses of varying sizes upon sheets of tin or zinc, a series of templates of utmost practical value may be formed and used as was done in securing the curves of force in Figures 74 and 75. If the rail or shelf is longer than the post, measured downward from the rail to the floor or to the next shelf, the ellipse should be used with its major axis placed in a horizontal position, Figure 75. If, on the contrary, the post is longer than the shelf the ellipse should have its major axis in a vertical position, Figure 74. Figures 76 and 77 show other instances of the use of the approximate curve of force. Many similar practical applications will occur to the designer.

[Sidenote: Mouldings]

We have classed the bracket as a link connecting a vertical and horizontal structure. Mouldings may likewise be considered as links connecting similar horizontal or vertical surfaces by bands of graded forms. Inasmuch as they effect the outline they are considered in this chapter. As the mouldings are to assist the eye to make the jump from one surface to another by easy steps, the position from which the mouldings are to be seen determines to some extent their design.

[Sidenote: Mouldings (_Continued_)]

Figure 78 shows the relation of the spectator to three types of mouldings at _A_, _B_, and _C_. The top or _crown_ (_A_) is to be seen from below. On a large project the angle of the mouldings with the body of the object should be approximately 45 degrees. The _intermediate_ moulding (_B_) is lighter than the crown and forms a transitional link that may be seen from either above or below. The lower or _base_ moulding (_C_) is the widest member of the group as demanded by our sense of stability. It is seen from above. Both for sanitary and structural reasons it projects but slightly from the base. With this grouping in mind it is needless to say that a faulty moulding is one, some portion of which, hidden by intervening moulding, cannot be seen by the spectator.

Architectural design and history have formulated a series of curves, geometric in character, that are regarded as standards in the Industrial Arts. Some of the more prominent curves with their constructions are shown in Figure 79. The horizontal divisions are analyzed in accordance with Rules 2a and 2b. It is noticed that the Scotia possesses a curve having the shape of the curve of force, while the two Cymas are saved from monotonous division by means of their reversed curves, illustrating the contrast of direction. The curves of Figure 80 are excellent lines for freehand practice in designing mouldings and will develop the principle of continuity of curvature or the smooth transition of one curve into the next.

[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]

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 illustrations 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 space 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 illustrate some of these important parallels as follows:

We will assume 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 mass 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 mass.

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 mass. It adds the element of contrast of direction and variety of widths.

[Sidenote: Variations]

Figure 90. The main primary mass 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 assist the eye to travel freely around the contours, thus giving a sense of unity to the entire form.

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.

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.

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.

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 associated 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._

Illustrations 103 to 106 are typical forms of present day outline enrichment. Limitations of space 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 class. 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.

(_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 classifications. Add this enrichment to the primary mass 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 assemble one of these in a design.