Outline Enrichment of Precious Metals
Outline Enrichment of Silver
Stones and Their Cuttings
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.
Courtesy of P. and F. Corbin
Plate 30
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.
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].
Plate 31
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.
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.
Figure 190a.—Union of Outline Enrichment on Clay and Metal
Chapter IX
SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD
With this chapter we enter upon a consideration of the third and last major division of Industrial Arts Design, that of Surface Enrichment.
Nature and Need of Surface Enrichment
We have considered in previous chapters the subject of contour or outline enrichment. Now consider for a moment the fact that articles such as a square box, or tile, are not suited to outline enrichment, yet they have large, flat, and rather monotonous surfaces capable of decoration. It is readily seen that such surfaces will admit of further elaboration which we will distinguish from contour enrichment by using the term Surface Enrichment. As in contour enrichment, so in surface enrichment, the added element of design not only increases the beauty of the object but it likewise, if properly applied, gives apparent added strength to the structure.
Rule 6a. Surfaces to be enriched must admit of enrichment.
When and Where to Enrich a Surface
Strictly utilitarian articles should not be ornamented by surface enrichment. As an example, a wooden mixing spoon, bowl, or wooden knife handle should not be enriched by carving, as the carving would interfere with the proper cleansing of the article. A surface exposed to considerable wear should not be enriched. Objects not strictly in the utilitarian class, such as a paper knife, book stall, envelope holder, or library table may be appropriately enriched in an unostentatious manner so that they will harmonize with their surroundings. But the enrichment should first be placed upon the surface in such a manner that it will not interfere with the functional use of the article for service. Large projections upon the back of a chair or upon the handle of a paper cutter are unpleasant and interfere with intended uses.
Figure 191a.—Structure Obscured by Surface and Contour Enrichment
Rule 6b. Surface enrichment must be related to the structural contours but must not obscure the actual structure.
Careful consideration should be given to the often-mentioned law that the surface enrichment must be thoroughly related to structure and contour but not so as to obscure either. We must keep in mind the fact that it is necessary to support the structure, not to cover it up by related ornament, as in [Figure 191a].
Conservative Use of Ornament
Most critics of industrial design complain of an overwhelming desire upon the part of the designer to over-decorate the structure. Surface enrichment runs wild over steam radiators, stoves, and wooden rocking chairs. Reserve is the watchword recommended as of extreme importance. The illustrations in this chapter are restricted to a limited range of design motives for the express purpose of simplifying the number of recommended methods.
Rule 6c. The treatment must be appropriate to the material.
Relation of Enrichment to Material
The close-fibered woods with smooth, even textures are capable of more delicate enrichment than woods of coarser grain. Small articles are generally seen from a close range and should, therefore, be ornamented with finer decoration than large articles, such as a piece of furniture that is to be seen from a distance. The latter should have surface enrichment of sufficient boldness to "carry" or to be distinct from a distant point. Furthermore the enrichment should not have a "stuck on" appearance, but be an integral part of the original mass.
Appropriate Methods of Surface Enrichment for Wood
There are three distinct means of ornamenting wood: (1) inlaying, depending for interest upon the difference in value and hue of the different inlaying woods used; (2) carved enrichment, depending upon line and mass for its beauty and made visible by contrasts of light and shade; (3) painting or staining of the surface with the interest dependent upon the colors or stains and their relation to each other and to the hue of the wood. It has been deemed wise to consider the first two types in the present chapter, and leave the last type for later consideration. In Chapters [XV], [XVI], and [XVII], accentuation has been placed on wood coloring. The designer is advised to read those chapters before attempting to stain or color his problem.
Plate 32
Inlaying
Treating surface enrichment in its listed order we find that inlaying is one of the most common and best forms of enrichment for wood work. As inlaying readily adapts itself to bands and borders, emphasis is placed upon them.
Rule 6i. Inlayed enrichment should never form strong or glaring contrasts with the parent surface.
Errors in Wood Inlay
Two conspicuous errors are often associated with inlaid designs. The first is the use of woods affording a glaring contrast with that of the project. [Figure 209], [Page 106]. The right contrast of value is established when the inlay seems neither to rise from the surface nor sink through it. It should remain on the surface of the plane to be enriched, for it is surface enrichment. [Figures 210], [211], and [212] are illustrative of pleasing contrasts.
The second specific glaring error is the use of unrelated inlay. As an example, an Indian club is created by gluing many varicolored woods around a central core. The result of the pattern so formed has little relation to the structural lines, fails entirely to support them; and, as a result, should be discarded.
Carving
Carving is difficult for the average beginner in wood working design, therefore merely the simplest forms of the craft are suggested as advisable. [Figure 205a]. If an elaborate design is desired ([Figure 205c]), it should be first drawn in outline and finally modeled in relief by Plastelene. This model is then an effective guide for the carver, supplementing the original outline drawing.
Divisions of Carving
Carving may be roughly divided into the following groups: (1) high relief carving similar to heads, human figures, and capitals; (2) low relief carving in which the planes have been flattened to a comparatively short distance above the original block of wood, such as panels, which are good examples of this group; (3) pierced carving where the background has been entirely cut away in places, such as screens, which illustrate this type; (4) incised carving in which the design has been depressed below the surface of the wood. Geometric chip carving is a representative type of this group. There are possible variations and combinations of these groups.
Rule 6j. Carved surface enrichment should have the appearance of belonging to the parent mass.
Plate 33
The central governing thought in all carved designs is to show an interesting proportion of light and shade coupled with a unity between the raised portion of the design and the background. If the carving has a glued on appearance it becomes mechanical and resembles a stamped or machine-produced ornament.
Steps Taken in Carving
A typical carved enrichment is carried through four steps: (1) the design is transferred to the wood surface by means of carbon paper; (2) the design is "set in" or separated from the ground by means of a grooved chisel; (3) the wood is cut away from the back of the design by a process of grounding; (4) the leaves and flowers or other elements of the design are modeled. The designer should keep these processes in mind when developing his design.
The Designer's Vocabulary
It is now essential to find the extent of the vocabulary possible for the designer of surface enrichment. He has three large sources of information: first, geometric forms and abstract spots; second, natural organic objects such as flowers, leaves, animals, etc.; third, artificial objects, pots, jars, ink bottles, and other similar objects.
He may assemble or group these objects or elements for future designs into four typical systems: first, bands or borders; second, panels; third, free ornament; and fourth, the diaper or all-over patterns.