Some Details Worth Considering

good design as the graceless and lifeless curve is the one which "rambles", which is meaningless because it seems to have no purpose in the direction it takes. Positive points assist materially in giving character to a curve. They furnish stopping or beginning places for curves and straight lines in a series which form an outline. See a and b, Fig. A, Plate 17; a, b, c, d, e, f, Figs. A and B, Plate 22.

  1. In planning the approach and departure of curves to and from positive points, it is always well to have the curve tangents at the point of their intersection, or the positive point, at right angles. The length of the curve to which the tangent may be drawn need not be great. As a matter of fact, it should be a short curve if the off-set between succeeding members in a succession of lines, whether they are all curves or not, is to be slight. See examples given in Fig. 2.
  2. This off-set is important for two reasons. First, if slight as it should be. it helps to establish that finncsst in design which is partly described by saying that a design should be sug gestive only in its appeal. It should not be loud or vulgar. It must not be blasé or ornate. The slight off-set at positive points leads to a fine interpretation of the outline. See examples given in Fig. 2.
  3. Second, it partly establishes the direction which the second curve should take. In general, succeeding curves should have similar directions. They should, therefore, be more or less nearly concentric. In explanation of this it may be said that when there is a slight off-set between curves of similar shape and direction there is established by them a flow or movement which makes for rhythm. See examples in Fig. 2.

Every piece of furniture, whether it rests upon the floor or some other horizontal plane, or hangs upon a wall, should be stable in appearance. If we study architectural forms carefully, we find that a structure is given the appearance of stability by treating it in one of two ways. First, by giving greater width to the base than to any other portion, or second, by increasing the height of the base or basic third over any

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The same principles hold good in furniture est emphasis nstruction, but may be adapted in different which appeal iys; in all cases, however, in such a way as to bulk. It is s ect an apparent weight at the bottom sufficient It will be on<

give the object stability. This usually means design. The at the apparent center of weight in a piece will likely be furniture is below the geometric center. In If so, it is v sees of furniture which have a cabinet, this and should c rtion should be nearer the bottom than the without a rei p. See Plate 22. In case this is not possible, essarily the <

en the space below the cabinet should be con- It should be lerably larger than the cabinet itself, as in a nearly equals ble for example. See examples, Plates 31 It may be, d 34. the unit of 111

In an object which is partially enclosed and est of the thr t not to such an extent that it becomes a cab- this case the at, as in that portion of a chair below the seat, any one of tl b boxing-in material is so arranged that ap- the smallest rent weicrht, comes near the bottom. See divides into (

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