GOOD CONSTRUCTIVE DESIGN IS "A FREE AND ADEQUATE EMBODIMENT OF AN IDEA IN A FORM PECULIARLY APPROPRIATE TO THE IDEA ITSELF" HEGEL

PLATE 24]

[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 s.p.a.cing. 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 ma.s.s. 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-s.p.a.ce 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 ill.u.s.trations 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 a.n.a.lysis, 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.

[Ill.u.s.tration: OUTLINE ENRICHMENT OF THE PRIMARY Ma.s.s IN CLAY WITH METHODS OF SECURING VARIETY

PLATE 25]

[Sidenote: Similarity with Varying Primary Ma.s.ses]

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 s.p.a.ces 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 ma.s.s 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.

SUGGESTED PROBLEM

Design a teapot, tea caddy, and cup showing a common unity in contour design. (Plate 82.)

SUMMARY OF RULES

Rule 5d. _Parts of one design differing in function should differ in appearance but be co-ordinated with the entire design._

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._

[Ill.u.s.tration: RULES 5D AND 5E CONTOUR OR OUTLINE ENRICHMENT. CLAY.

INSTRUCTION SHEET

PLATE 26]

REVIEW QUESTIONS

1. Give and ill.u.s.trate the rule governing the change in the appearance of the design with the change of functional service.

2. What is the aesthetic value of curves in outline enrichment?

3. Correlate the rule governing the unit of measurement for vertical contour curves with the rules controlling horizontal divisions.

4. Show, by a diagram, the method of systematically varying the contours of circular forms: (_a_) by changing the horizontal divisions; (_b_) by varying the proportion of the primary ma.s.s.

5. What is the value of accenting the functional parts in clay design?

[Ill.u.s.tration: _Courtesy of James Milliken University_

FIGURE 142a.--Outline and Surface Enrichment in College Pottery]

[Ill.u.s.tration: OUTLINE ENRICHMENT OF THE PRIMARY Ma.s.sES OF THE BASER METALS

ENRICHMENT OF EDGES, CORNERS, INTERMEDIATE POINTS, APPENDAGES. SEE PLATE 28 FOR TERMINALS, LINKS, DETAILS.

PLATE 27]

CHAPTER VIII

ENRICHMENT OF THE CONTOURS OR OUTLINES OF DESIGNS IN BASE AND PRECIOUS METALS

[Sidenote: Enrichment of the Base Metals--Iron, Copper, Bra.s.s, 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 a.s.sociated 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.