related parts: the body and the parts below and above the body, no one of which is a duplicate or even similar to another. See perspectives, Plates 39 and 40.
Now, when the sequence referred to above has more than three members, either the same, similar or different, a lack of continuity is at once evident. Unity is lost and the design therefore is no longer desirable.
The three-part principle may well be closely observed by the furniture designer, not so much, however, in the development of the design as in the conclusion of the same. If upon inspection a design cannot readily be analyzed to present three well-defined main parts its value may be questioned. It may, of course, be an exception. On the whole the rule is a safe one to follow.
There are many items of interest and nXw which may be listed under the head of thp mechanics of the designer and which are as able as the principles themselves. In used they will be a material help in ej these principles.
cessive heat, it will be noticed that the stock rises at a considerable angle with the ground and with a very slight bracing curve, which is the embodiment of grace, and ends in a sharp, short, downward curve expressing vivacity, Fig. 10.
1. One Of the litt which will assist in ing a rhythmic who kind of vurvt to
terniug member or mousing a rail, stile or leg. If we look at a spear of grass or grain at a time when there is plenty of moisture in the ground, and there is not ex-
These two qualities, grace and vivacity, are mneh to be desired in all curves used in a de-We cannot always go to Nature for an pattern to I>e used or even to be adapted, is usually safe to express in our design minant natural forms. Use curves which inly a mod* rati or slight curvature, and have a graceful bracing body with a turn on the end- See cuttings, Figs. C Plate 7; B and C, Plate 8, and cxittings ami ieg outlines in drawing. Plate 15.
2. In furniture design, especially of the craft type, curves are used principally in modeling lines. Consequently the sharp turn at the end of the long sweeping curve will very likely be adjacent to a straight line, because the modeled line will be a variation of a part of some straight line. The intersection of these two—the short curve and the adjacent straight line, which very often is the edge of a stile or rail- is known as a posHii't point. Kwn as <lrt riim-ntal to
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