href="@public@vhost@g@gutenberg@html@files@42317@[email protected]#Page_19" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">19

IV. Vertical Major Divisions of the Primary Mass 33 V. Appendages and the Rules Governing Them 43 VI. Enrichment of the Contours or Outlines of Designs in Wood 57 VII. Enrichment of the Contours or Outlines of Designs in Clay 77 VIII. Enrichment of the Contours or Outlines of Designs in Base and Precious Metals 87 IX. Surface Enrichment of Small Primary Masses in Wood 99 X. Surface Enrichment of Small Primary Masses in Wood. (Continued) 117 XI. Surface Enrichment with Minor Subdivisions of Large Primary Masses in Wood 133 XII. Surface Enrichment of Clay 145 XIII. Surface Enrichment of Precious Metals. Small Flat Planes 160 XIV. Surface Enrichment of Large Primary Masses in Base and Precious Metals 179 XV. Color: Hue, Value, and Chroma; Stains 194 XVI. Color and Its Relation to Industrial Arts Design. Large Surfaces of Wood; Wall and Ceiling Areas 201 XVII. Color and Its Relation to Industrial Arts Design. Small Surfaces in Clay and Metal 209 Complete Summary of Rules 218 Appendix 223 (a) A Complete Course of Study for the Applied Arts in Thin Base and Precious Metals. Relation of the Rules to the Problems 224 (b) A Complete Course of Study for the Applied Arts in Pottery. Relation of the Rules to the Problems 237 Index 245

---

INDUSTRIAL ARTS DESIGN

---

Chapter I
DIVISIONS OF INDUSTRIAL ARTS DESIGN

This book has been written with the view of presenting design from the standpoint of the industrial arts. An instructor generally experiences difficulty in finding the exact word to use when criticizing a student's drawing. The student has equal difficulty in understanding the criticism. There is little wonder that he is confused, when the rather ambiguous terms "good-looking," "ugly," "squatty," and "stiff" are used to express qualities that can be expressed only in terms of design.

The lack of understanding between the pupil and the teacher may be compared to the attitude of the average individual "who knows what he likes." He is on an equally insecure footing regarding industrial design. His reason for liking or disliking a certain thing may depend upon some whim or fancy, the popular fashion of the times, or a desire to possess a duplicate of something he has seen. As a consumer with purchasing power, he should have the ability to analyze intelligently the contents of catalogs and store windows with the thought of securing the best in industrial art—something that may be accepted as standard one hundred years from now.

It is, therefore, the intention to present design of industrial character in its simplest form, freed from technicalities or ambiguous statements. It is intended to give the average individual not particularly interested in drawing or design a knowledge of the subject, based upon principles that have survived for hundreds of years in architectural monuments and history.