Free Balance
Free Minor Space Treatment
Free Balance
This form of design is inherent in the Japanese system. It consists in the planning and balancing of unequal areas over a geometric center. It is not subject to definite rules as is the more formal balancing. The reader is referred to Mr. Arthur Dow's excellent book on Composition for further discussion of the subject. [Figure 272], [Plate 45], is an example of partly formal and partly free balance and its method of treatment.
Carving and Piercing as Applied to Large Masses
[Figures 273] and [274] are pierced designs, thoroughly related to the structure and in no way weakening it. [Figure 273] is representative of a type which, if carried to extremes, will cause the structure to become too weak for service; it is, therefore, necessary to guard and restrict this form of enrichment. The carving of [Figure 275], combined with the contour enrichment, forms a pleasing variation to this common type of furniture design.
Small minor details in furniture construction should be designed with as much care as the larger major or minor parts. The larger areas or spaces in small details similar to stationery shelves and pigeon holes must harmonize in proportion with the space in which they are placed and of which they are a part.
Small Minor Details of Large Primary Masses
The three-part or three-vertical division system, Rule 3b, is generally used to design the small details in furniture as may be seen in [Figures 276], [277], [278], and [279]; while the rule of sequence, Rule 2c, may be employed again to subdivide these small details in a horizontal direction with as much variety as is consistent with unity. [Figure 280] is a leaded glass surface enrichment for doors. Note the leading lines of the enrichment as they parallel the dominant proportions of the panel opening.
INSTRUCTION SHEET
[Plate 46] is a typical high school sheet of design problems, with the masses accentuated by pen shading. See [Plate 15].
SUMMARY OF DESIGN STEPS
(a) to (e). See similar steps in [Chapter IV].
Plate 45
SUGGESTED PROBLEM
Design a sideboard 3 feet 3 inches high with plate rack. The primary mass should have three minor horizontal divisions and three minor vertical divisions, with the horizontal divisions accented.
SUMMARY OF RULES
Sequential Progression of Minor Horizontal Space Divisions
Rule 2c. A primary mass may be divided into three or more smaller horizontal masses or sections by placing the larger mass or masses at the bottom and by sequentially reducing the height measure of each mass toward the smaller division or divisions to be located at the top of the mass.
REVIEW QUESTIONS
1. What are minor subdivisions in wood construction?
2. What is the effect of a design with dominant vertical major divisions? State its use.
3. Show some customary methods of dividing three vertical major divisions into minor subdivisions.
4. State the rule of sequential progression. Give illustrations from the industrial arts.
5. Describe the transitional stage between the point where the dominance of the vertical motive ceases and the horizontal influence begins.
6. What is the effect of a design with dominant horizontal major divisions? State its use.
7. Show some customary methods of subdividing horizontal major divisions into minor subdivisions.
8. What should be the relation in a design between the details of a project and the divisions of the primary mass?
Plate 46
Chapter XII
SURFACE ENRICHMENT OF CLAY
Limitations for Surface Enrichment
In some respects the surface enrichment of clay is similar to that of wood as, for example, the similarity produced by inlays in clay and in wood. On the other hand the enrichment of clay is unhampered by the restricting effects of unequal resistance of the material, such as the grain of wood. Again it is limited to those effects or forms of enrichment that are capable of withstanding the intense heat to which ceramic decoration is subjected. See Frontispiece.
Courtesy of the Rookwood Potteries
Figure 281.—Filling the Saggars before Firing
Decorative Processes of Surface Enrichment
Forms of Manipulation
Before proceeding with a design it is well for one to understand clearly the possibilities of clay enrichment. He must know what kind of designs are best suited to clay as a medium, to the intended service, and to the ultimate application of the heat of the pottery kiln. Without entering into technicalities let us briefly discuss the following processes. The first three deal with finger and tool manipulation of the clay body and are consequently the simpler of the processes. The last five are concerned chiefly with the addition of coloring pigments either to the clay or to the glaze and are, therefore, more complex in character.
Courtesy of The Rookwood Potteries
Figure 282.—Stacking the Kiln