Chapter XXII: Appendix

The following plates comprise complete courses for applied art problems in thin metal (copper and silver), and clay. The problems are based upon what is known as the "group system." The process forms the basis for each group in each course. The stated problem in each group is merely one of many that might be selected which involves the process of the group.

The design rule that should be applied to each problem has been indicated by its proper figure and letter on each plate, as 10a, etc. The plates are sequentially arranged in order of the difficulty of the process and may be summarized as follows.

THIN METAL

Plate 67: Bending. Sawing. Riveting.
Plate 68: Bending. Soft Soldering.
Plate 69: Raising. Piercing. Etching.
Plate 70: Raising and Planishing.
Plate 71: Bending. Piercing. Etching. Hard Soldering.
Plate 72: Hinge Construction.
Plate 73: Raising. Planishing. Hard Soldering.
Plate 74: Raising. Planishing.
Plate 75: Champleve Enamelling.
Plate 76: Precious Stone Mounting; Pins.
Plate 77: Precious Stone Mounting; Rings.
Plate 78: Precious Stone Mounting; Pendants.

POTTERY

Plate 79: Hand Built Tile.
Plate 80: Hand Built Bowl, Coil and Strip Method.
Plate 81: Same with Appendage Added.
Plate 82: Hand Building; Spouts, Lids, Handles.
Plate 83: Poured Forms and Mould Making.
Plate 84: Slip Painting.
Plate 85: Glaze Testing.

PROCESS 1. BENDING, SAWING, RIVETING

PLATE 67]

PROCESS 2: BENDING AND SOFT SOLDERING

PLATE 68]

PROCESS 3: RAISING, PIERCING, ETCHING

PLATE 69]

PROCESS 3: RAISING, PLANISHING: TRAYS

PLATE 70]

PROCESS 4: BENDING, PIERCING, ETCHING, HARD SOLDERING

PLATE 71]

PROCESS 5: HINGE CONSTRUCTION

PLATE 72]

PROCESS 6: RAISING, PLANISHING, SOLDERING

PLATE 73]

PROCESS 7: RAISING, PLANISHING

PLATE 74]

PROCESS 8: CHAMPLEVE ENAMELLING.

PLATE 75]

PROCESS 9: SEMI-PRECIOUS STONE MOUNTING

PLATE 76]

PROCESS: 10: SOLDERING, CARVING, STONE MOUNTING

PLATE 77]

PROCESS 11: PENDANT CONSTRUCTION, CHAIN MAKING

PLATE 78]

PROCESS 1: HAND BUILT TILE. CUT FROM FLAT PIECE

PLATE 79]

PROCESS 2: HAND BUILDING. COIL AND STRIP

PLATE 80]

PROCESS 3: HAND BUILDING, SPOUT, HANDLE, LID

PLATE 81]

PROCESS 3: HAND BUILDING: SPOUT, HANDLE, LID

PLATE 82]

PROCESS 4: POURED FORMS. TWO AND THREE PIECE MOULDS

PLATE 83]

PROCESS 5: SLIP PAINTING (UNDER GLAZE DECORATION)

PLATE 84]

PROCESS 6: GLAZE TESTING

PLATE 85]

Figure 471 shows the actual results produced by the preceding course. The process to which the individual pieces belong is indicated by the small figure placed on the table and in front of the ware. The preceding sheets should be regarded in the light of suggestions for original thinking on the part of the student. They merely suggest technical guidance, in order that his progress may be sequential and fitted to his increasing skill.

The glazes are stated in the terms of the ceramist with the proportions of base, alumina, and acid content of each glaze clearly stated. By referring to the textbooks mentioned in the preface, these glazes may be developed into the potter's formulae.

In both metal and pottery courses, two or more types are frequently represented upon one plate. These types will allow the teacher to assign a more difficult problem to the student with some previous experience.

INDEX

PAGE

Accenting bands in wood, 105

Accentuation of functional parts, 79

Adapting data to material, 127

Analogous hues, 203

Analysis, intelligent, 7

Andiron design, 53

Aniline wood dyes, 199

Appendage design, 43-49

Appendage, use of, 43

Appendages, 43

Appendages and primary mass, 45

Appendages, contour enrichment of, 88

Appendages, design violations, 43

Appendages in clay, 47

Appendages, industrial applications, 47

Appendages, influence of tools and materials, 53

Appendages in metal, 51

Appendages in wood, 45

Artificial objects, 129

Architectural, horizontal divisions for, 21

Bands, wood inlay, 105

Backgrounds, 113, 201

Base metals, enrichment of, 87

Base and precious metals, surface enrichment of, 160, 163, 165, 167

Borders for wood, 107

Building, 165

Candlesticks, 81

Carving, 103

Carving and piercing, 141

Carving, design steps for, 105

Ceilings, 202-205

Center zone enrichment, 121

Chasing, 163

Chip carving, 115

Chroma, 197

Chromatic intensity, full, 195

Clay, coloring for underglaze, 151

Clay, decorative processes, 145

Clay, incising, 147

Clay, inlay, 149

Clay, introduction of pigments, 149

Clay, modeling, 147

Clay, piercing, 147

Clay, slip painting, 149

Clay, surface enrichment for, 145

Clay, surface enrichment, structural classification for, 151

Clay, underglaze painting, 151

Color for clay enrichment, 209

Color for small areas, 210

Color harmony, 201

Color pigments, 194

Color pigments, application of, 194

Color symbols, 198

Color systems, 194

Commercial pottery, 158

Complementary hues, 214

Conservative use of ornament, 101

Contrasted hues, 203

Containers, 81

Continuity and contrast, 63

Contour enrichment, influence of materials, 65

Contour enrichment, methods of varying, 70

Contour enrichment of clay, need of, 77

Contour enrichment, evolution of, 65

Contour enrichment, purpose of, 59

Contour enrichment, requirements of, 59

Contour enrichment, systematic development of, 81

Contour versus surface enrichment, 185

Corners, contour enrichment of, 88

Correlation, ideal, 11

Covers, design for, 49

Criticism, clear, 7

Criticism, non-technical, 7

Curve of beauty, 91

Curve of force, 61

Curve of force, approximate, 61

Curves for contour enrichment, 59

Curves, grouping of, 63

Curves of extravagance, 73

Dependent surface enrichment, 167

Details, contour enrichment of, 93

Design evolution, major divisions, 9

Design evolution, steps in, 11

Design, preliminary thought, 17

Dominant hue, 204

Dynamic curves and areas, 111

Edges, contour enrichment of, 87

Elements, 157

Enameling, 163, 212, 213, 215

Enrichment for small metal areas, 179

Enrichment, need and value of, 57

Enrichment of large metal areas, 179, 183

Enrichment, types of, 57

Essentials of good surface enrichment, 179

Exposures, 206, 207

Flat surfaces in base and precious metal, 185

Fobs, design of, 169

Four vertical minor divisions, 139

Free balance, 129

Free enrichment, 121

Free minor division treatment, 141

Free ornament, 117

Freehand curves, 30, 51, 63

Full size drawing, value of, 23

Functional parts, enrichment of, 88

Glazes for pottery, 149

Glazes related to interior decoration, 214

Glazes, stains for, 209

Greek scroll, 93

Handles, design for, 49

Harmonious color, need of, 194

Harmony of color, 210

High cylindrical forms in clay, 157

High cylindrical forms in metal, 191

Historic ornament in hardware, 186

Horizontal and vertical minor divisions, 137

Horizontal divisions, architectural precedent, 25

Horizontal divisions, nature and need of, 19

Horizontal divisions, steps in designing, 21

Horizontal minor divisions, 139

Hue and hue rectangles, 195

Hue groupings, 203

Industrial problems, requirements of, 9

Inceptive axes, 107, 121, 161

Inceptive axes for marginal enrichment, 119

Inlaying, 101-103

Intermediate points, contour enrichment of, 89

Ionic volute, 91

Leading lines, curved, 108

Links, 45

Links, contour enrichment of, 93

Low cylindrical forms in clay, 157

Low cylindrical forms in metal, 187

Major design division, first, 9

Major design division, second, 9

Major design division, third, 11

Marginal zone enrichment, 118

Material, adapting data to, 127

Material, economy of, 161

Material, relation to surface enrichment, 101

Metallic oxides, 210

Methods, architectural design, 13

Methods, industrial design, 13

Minor details, 141

Minor subdivisions in wood, 133

Moorish ornament, 107

Mouldings, 61

One vertical division, 35

Outlines, free and dependent, 87, 91 (See Contours.)

Oxidation, 213

Panels, 117, 123, 125, 127, 129

Panel design, steps in, 125

Parts differing in function, 77

Pendants and chains, design of, 173

Pierced enrichment, 123

Pigment table, 195

Pigments, wall and ceiling, 205

Pins and brooches, design of, 167

Point of concentration, 115, 161

Point of concentration for marginal enrichment, 119

Porcelain painting, 151

Pourers, 81

Precious metals, processes of enrichment, 161, 163, 165, 169

Primary hues, 198

Primary masses, 13

Primary mass, drawing of, 15

Primary mass, divisions of, 19

Primary masses, vertical and horizontal, 15

Primary masses, proportions of, 15

Proportionate distribution, 210

Ratios, unsatisfactory, 17

Rectangular panels, 127

Rings, design of, 169

Sequential progression, 135

Service, influence of, 9, 13, 15

Sets, designing of, 83

Shades, 197

Shallow circular forms in clay, 155

Shallow circular forms in metal, 187

Side walls, 202-205

Silver, color for, 215

Silver, contour enrichment of, 93

Silver, free outline enrichment, 97

Silver, motives for contour enrichment, 97

Spouts, design of, 49

Square and rectangular areas in clay, 153

Square panels, 125

Standard hues, 195

Standard hues, locating, 196

Stones, cutting, 95

Stones, relation to contour, 95

Stones, relation to metal, 173

Structural forms, classification, 160

Structural forms, classification for clay surface enrichment, 151

Structural reinforcement, 118

Surface design evolution, 180

Surface enrichment, nature and need of, 99

Surfaces, when and where to enrich, 99

Tangential junctions, 51, 93

Technical processes for metal, 163

Technical rendering, 161

Terminals, contour enrichment of, 89-91

Three horizontal divisions, 29

Three horizontal divisions in clay, 30

Three horizontal divisions in metal, 30

Three horizontal divisions in wood, 29

Three vertical divisions, 37

Three vertical divisions in clay, 39

Three vertical divisions in metal, 41

Three vertical divisions in wood, 39

Tints, 196

Transitional types in furniture, 139

Two horizontal divisions, 25

Two horizontal divisions in clay, 27

Two horizontal divisions in metal, 27

Two horizontal divisions in wood, 25

Two vertical divisions, 35

Two vertical divisions in clay, 37

Two vertical divisions in metal, 37

Two vertical divisions in wood, 35

Unit of measurement for vertical curves, 79

Unity, 29

Unity in clay design curves, 77

Value lines, 196

Varied panels, 129

Vertical divisions, architectural precedent, 33

Vertical divisions, more than three, 41

Vertical divisions, nature and need, 33

Vertical and horizontal division evolution, 40

Vertical sections and their minor divisions, 133-135

Vocabulary, designer's, 105

Walls and ceilings, 203-204

Walls and wood work, 202-203

Warm and cold colors, 198

Wood finishes, opaque, 206

Wood, methods of surface enrichment, 101

Wood stains, 198

Wood stains, chroma range, 205

Wood stain mixing, 199, 200

Wood stain rendering, 195

Wood stains, value range, 201

Wrought iron enrichment, 91

Zones of enrichment, 118

* * * * *

Transcriber's Notes

Inconsistent hyphenation and obvious punctuation and spelling errors
have been corrected.

{PC} and {IA} have been used to represent the letters P and C or
I and A overlaid on one another to label the "Point of
Concentration" and "Inceptive Axis" respectively.

Although referred to on page 75, no illustration is captioned as
"Plate 23" in the original text.

End of Project Gutenberg's Industrial Arts Design, by William H. Varnum