ENRICHMENT OF THE CONTOURS OR OUTLINES OF DESIGNS IN BASE AND PRECIOUS
METALS
[Sidenote: Enrichment of the Base Metals--Iron, Copper, Brass, Bronze]
The contours of clay forms are generally free to follow the curves and
take the direction dictated by the knowledge and taste of the designer.
Metal outlines are more restricted in this respect. Metal is frequently
associated with service and consequently its design is often governed by
its intended use. For example, if we were to design a metal drawer pull
for a buffet, it would have to be considered in relation to the
character and shape of the buffet. Again, the screws with which it is
attached to the buffet would influence its outline design. It is, in
other words, a _dependent_ outline.
[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 assisted 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
associated 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 glass 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]
[Illustration: 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 illustrates 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.
[Illustration: OUTLINE ENRICHMENT OF THE PRIMARY MASS 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 shell 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.
[Illustration: OUTLINE ENRICHMENT OF THE PRIMARY MASS 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
trimmings 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]
[Illustration: _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 mass of the stone in the mass 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 mass, 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 mass 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 balls.
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.
[Sidenote: Need of Top and Side Views]
While the top view of an article of jewelry may have been carefully
designed the side view in most instances is totally neglected. The side
view should show a steady graduation from the surface of the silver to
the outline of the stone. This prevents the stone from bulging from the
surface like a sudden and unusual growth. Doming, small wedges of
silver, or a twist around the bezel may accomplish this as can be
readily seen in Figures 181, 182, and 183.
[Illustration: RULES 5D 5E 5F 5G. CONTOUR OR OUTLINE ENRICHMENT. CLAY.
METAL. INSTRUCTION SHEET.
PLATE 31]
[Sidenote: Motives for Outline Enrichment in Silver]
While emphasis should be placed upon simplicity of outline, certain well
regulated forms of enrichment may be added to the contour and enhance
the beauty of the stone. Such motives with constructive steps are shown
in Figure 184 and their application in Figures 185 to 188. It will be
noticed that the enrichment _invariably leads up to the stone_ which is
the center of interest in the design. The ornament is likewise based
upon the prominent axes of the stone.
[Sidenote: Free Outline Enrichment in Silver]
Figures 189, 190, and 191 are types of beaten and raised silver work and
show characteristic forms in silver, with two examples of accented
outline enrichment. As they are curvilinear forms, their design is
similar in many ways to clay forms of similar proportions and uses.
INSTRUCTION SHEET
Plate 31 shows the design steps necessary to the evolution of a
lamp in two materials. A full size working drawing should
follow Figure D.
SUMMARY OF DESIGN STEPS
(_a_) Draw the unenriched primary mass.
(_b_) For dependent contours, locate the elements of service
within the primary mass. This may be interpreted to mean
rivets, screw holes, semi-precious stones, etc.
(_c_) Determine upon the portion of the contours to be
enriched, gauged by its need for grace, lightness, and variety.
This enrichment is preferably concentrated at the following
points: edges, corners, appendages, intermediate points,
terminals, links, and details. These points may be combined
provided the result does not violate the simplicity of the
structural lines.
(_d_) Draw the enrichment in the predetermined area, causing it
to be in harmony with such interior functional parts as screw
holes, rivets, semi-precious stones, etc. Utilize suggested
curves.
(_e_) Review all of the contour curves added to the design. Are
they feeble compass curves or do they have the character of
long sweeping curves with short "snappy" turns for variety?
(_f_) Test the entire design for unity. Does the eye move
smoothly through all parts of the contour? Does the design
"hold together"? Are all links and appendages joined to the
primary mass in a graceful tangential manner?
(_g_) Dimension, add additional views, and details, if
necessary, and otherwise prepare the drawing for shop use.
SUGGESTED PROBLEMS
Design an electric table lamp with square copper rod as a support,
feet, and copper shade.
Design a hinge for a cedar chest.
SUMMARY OF RULES
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._
Rule 5g. _A curve should join a straight line with either a
tangential or right angle junction._
REVIEW QUESTIONS
1. Contrast contour enrichment of wood, clay, and metal.
2. Define free and dependent outline in contour enrichment of base
metal.
3. Describe and explain the use of the Ionic volute in contour
enrichment of metal.
4. Define and present illustrations of contour enrichment designed
for edges, corners, appendages, intermediate points, terminals,
links, and other details in base metal.
5. Define and illustrate free and dependent contour enrichment of
precious metal.
[Illustration: FIGURE 190a.--Union of Outline Enrichment on Clay and
Metal]