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

CHAPTER VII

Chapter 81,706 wordsPublic domain

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 assist 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.

Enrichment in clay and metal generally means a substitution 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 spaces 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 principal 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.

[Sidenote: Systematic Development of Outline Enrichment in Clay]

Notice the change in outlines based upon this division. Figure 130 raises the division point of the two subdivisions into the upper half of the object. This brings out the need of an accented foot which is, however, not of sufficient prominence to be considered as a horizontal spacing. Figure 131 raises the horizontal division points, again causing the introduction of a larger foot and now qualifying it as a division of the whole mass. This then makes our design a three-division problem, Rule 2b, and places it under the restrictions of Rule 5e.

The feet of all of the bowls have been systematically decreased in width by the converging lines _C-C_ while the tops have been maintained constant in width. By this simple diagram an infinite number of designs may be formed and the choice of selection from the series, thoughtfully exercised, will supply the ideal bowl, ready to be translated into a full size working drawing. It is not the idea, however, to guarantee a perfect design in each one of these divisions as that would be practically impossible, but we have systematically applied a method of determination for stimulating the imagination. A series of articles by F.H. Rhead in the Keramic Studio first suggested the system of development by means of graded rectangles.

[Sidenote: Candlesticks]

Plate 25 shows a further elaboration of the succeeding themes. The candlestick series, Figures 132 to 138, introduces two or three-space division problems with contour turning points at _A_, Rule 5e, and with accented or embryonic feet and rims. The change from the purely functional and unenriched member of Figure 132 through the series shows the enrichment changing slightly to meet the needs of the three functional parts: the base, the handle, and the candle socket. Rule 5d.

[Sidenote: Containers]

Figure 139 shows a series of illustrations representing variations for containers. The first figure is without enrichment, followed by variations of the outline in the manner already suggested.

[Sidenote: Pourers]

Figure 140 indicates a series of pourers with the least attractive design on the left end. This unsatisfactory design is found, upon analysis, to be due to centrally placed horizontal division violating Rule 2a. The design of the appendages in this series will again be found to conform with the rules in Chapter V. The units of measurement for the curves may be readily ascertained from observation.

[Sidenote: Similarity with Varying Primary Masses]

Figure 141 is useful for the following purpose. It is desirable at times to develop a number of similar forms for a set, with a gradually increasing ratio of proportions, either in height or width. Figure 141 shows how the _height_ may be increased while maintaining a common width. Notice the gradual proportionate increase of the height of the neck _A-B_ as well as that of the body. The line _X_ is of the utmost value in ascertaining the height of the intermediate bowls. The eye should now be so trained that the height of the neck _A-B_ on the last bowl can be readily proportioned by _eye measurement_ to that of the first bowl. A line similar to _X_ will give the intermediate points.

Figure 142 varies the _width_ in a similar manner. Notice the gradually decreasing distances _C-D-E-F_, the spaces for which may be determined by the eye.

INSTRUCTION SHEET

Plate 26 suggests the sequential progression of steps leading to the potter's working drawing.

SUMMARY OF DESIGN STEPS

(_a_) Draw the primary rectangle.

(_b_) Add limits of functional parts: handle, spout, cover, etc.

(_c_) Establish unit of measurement for primary rectangle contour curves.

(_d_) Design contour of primary mass and add the appendages to it, observing the rules pertaining to appendages and unit of measurement.

(_e_) Dimension and otherwise prepare the drawing for the potter's use. This includes the planning of a working drawing, one-eighth larger in all directions than the preliminary design, to allow for the shrinkage of the clay body. The working drawing should also be in partial sections to show the construction of the interior of the ware.