The principles of enriching these higher cylindrical forms in many ways closely parallel those which govern the lower cylindrical forms. The inceptive axes of the decoration on the two vases of Figures [446] and [447] may be readily analyzed as vertical elements of the cylinder. [Figures 448] and [449] are quite rare exceptions of the accentuation of the vertical lines of the cylinder. Horizontal bands similar to [Figures 444] and [447] are more common interpretations of cylinder enrichment. [Figure 450] marks a successful combination of two dissimilar materials with the shade (appendage) as the dominating enriched member. Rule 10c.
The small chased bosses used as enrichment in [Figure 452] are re-echoed on the several pieces of the set which binds them into collective unity. The top portion of the primary mass seems to need some form of enrichment, as the contour adds little to the beauty of that part. The symbol X could have been better located by being moved to that place. The point of concentration should be placed in the upper portion of a large mass whenever that arrangement is possible.
It is in every way desirable that all designs should be executed full size and in full accord with the requirements of a shop working drawing. In addition the technical rendering suggested in [Chapter XIII] should be carefully used in each drawing.
INSTRUCTION SHEET
Plates [68] and [72] show problems suitable for class presentation. The method of development is similar to that presented on [Plate 52].
SUMMARY OF DESIGN STEPS
(a) Draw a primary mass with reference to its proper grouping as follows:
For flat areas draw square, rectangle, etc.
For shallow circular forms draw a circle.
For low cylindrical forms draw a rectangle with horizontal proportions.
For high cylindrical forms draw a rectangle with vertical proportions.
(b) Locate zone of service.
(c) Locate zone of enrichment: appendages, terminals, margins, full surface, etc.
(d) Determine amount of enrichment.
(e) Locate inceptive axes.
(f) Place point of concentration in the inceptive axis where it traverses the zone of enrichment.
(g) Select the decorative process suited to the material and contemplated motive.
(h) Draw leading lines toward the point of concentration.
(i) Draw conventionalized design motives based upon the leading lines, converging toward the point of concentration. Vary the contours to be sympathetically related to these design motives, provided such variation of the original primary mass is necessary to complete unity.
(j) Add additional views, dimension, and otherwise prepare the drawing for shop use.
SUGGESTED PROBLEM
Design a copper nut bowl and spoon. Enrich with a chased border appropriate to the subject. Enrich spoon, using fitting method of enrichment. The bowl and spoon should have a harmonious relation.
SUMMARY OF RULES
Surface Enrichment of Large Primary Masses
Rule 11a. The preliminary steps toward surface enrichment should be thought out before they are drawn.
Rule 11b. Conservative application should mark the use of surface enrichment of large masses. Its use should: (1) lighten or soften necessarily heavy construction; (2) support or apparently strengthen good structure; (3) add interest to large unbroken and uninteresting surfaces.
Rule 11c. The type of design unit for large masses should be bolder than similar designs for small primary masses.
Rule 11d. The eye should be attracted to one principal zone of enrichment, whether located upon the primary mass, appendage, terminal, links, or details. All other zones should be subordinate to this area.
Rule 11e. Two periods of historic ornament should not be introduced into the same design.
Rule 11f. Repulsive forms should not be introduced into surface enrichment.
REVIEW QUESTIONS
1. Contrast the method of enriching large and small areas of base and precious metals. Illustrate. What is the character of surface enrichment for large areas?
2. Name three essentials to good surface design for base and precious metals. Illustrate each.
3. Give nine steps necessary for the complete evolution of surface enrichment.
4. Name method of classifying the structural forms of metal into four groups. How does this compare with the classification of clay forms?
5. Between which two groups does the transition from a horizontal to a vertical primary mass occur?
6. Is there a perceptible change in the surface enrichment paralleling this change in proportions of the primary mass?
7. In which group or groups is the relation between surface and contour enrichment closest?
8. Give the characteristics of surface enrichment designed for flat or semi-flat planes.
9. State the value of the terminal as an enrichment zone.
10. Discuss common errors in the surface enrichment of hardware and their correction.
11. In what manner does historic ornament influence industrial design? Why?
12. Give characteristics of surface enrichment designed for, (a) large, shallow circular forms; (b) large, low cylindrical forms; (c) large, high cylindrical forms.
13. How does the point from which the article is to be seen affect the character of the design?
Chapter XV
COLOR: HUE, VALUE, AND CHROMA; STAINS
Need of Harmonious Color
In the previous chapters we have developed problems dealing with proportions, contours, and surface enrichment. The use of color, particularly in surface enrichment, is equally important inasmuch as its use is often necessary to bring the project, as for example a piece of furniture, into harmony with the surroundings which furnish its final color environment. The incorrect use of color may seriously mar a project otherwise correctly designed in line and form, and may also weaken its influence in a particular setting.
Use of Color Systems