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by George Dixon
Wear Safety Glasses at all times in the shop!
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Design can be reduced to a series of related, sequential steps. These are some basic concepts that can be applied to any design problem. To begin, let's use a hypothetical client's request for fireplace ironwork to illustrate the approach. First, define the space. In this case it is the area in and around the fireplace shown above. The client has expressed interest in andirons, fire tools and a free standing light. |
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Next, talk to the client about any input they may wish to have about style and motif. Look at the site for dominate decorative elements. These can be found in trim details, wall covering patterns or furnishings. What you are looking for is a prevalent theme in the architecture (or the clients mind) that can be incorporated into the design of the ironwork. The design goal is to have the ironwork relate to the location (space). In this case, a floral decoration is noted for use in the design work. Draw the site in elevation and to scale (especially critical in railing design). This is the backdrop for design sketches. A sketch without scale can be deceiving, all the more so the smaller the sketch is. What happens is that the unscaled sketch can look great as a small drawing but fail to survive being scaled up proportionately. For example, a pencil line, in an andiron or railing sketch that is two inches tall, can be almost as thick as a 1/2" bar drawn at 1" Scale. Layout critical measurements in the scaled sketches. Draw horizontal lines (and label them) at important heights. In the drawing below, those lines were laid out initially for sketching guides. They consisted of a base line (the floor), another line eight inches up from the base line (where the legs come together), a line thirty-six inches up (where the tools hang) another line forty-two inches up (at the top of the handles) as well as a vertical centerline. This provides a sound and accurate backdrop to subsequent design sketches. |
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1) Context. Is this a single unique item, or one of a series of pieces that should have some relationship to one another. If it is the latter then you should consider using related elements throughout the work. (The flower in the center upright bar of each piece shown here is an example of this. Another example is how each upright bar is both set on a bronze disk over the legs as well as being both split and set 'on-the-diamond'). |
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2) Setting. Consider how people will look at the work. From a distance they will see the gross form, the outline and how that fits its surroundings. Up close they will see the details and the craftsmanship. Ideally, the form of the design from a distance will draw the viewer closer at which time the richness of detail will captivate them. |
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3) Joinery. Should be considered during the early design phase. Traditional joinery is both a functional as well as a visual component. Although the examples here-in incorporate a period vocabulary, this can hold true in contemporary design as well. |
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4) Focal points are an important concept in design. A simple, tenon joined rail can become spectacular with the use of a few bold decorative elements. This is a good way to begin to incorporate detailed handwork in your designs. Focal points, such as a spray of leaves or a detailed geometric decoration, placed in the center of a rail will let the artisan do the work they want to without turning the entire project into an expensive and time consuming piece of work. |
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5) Contrast is a concept that is as simple as "without hills, there are no valleys". Details and elements in a design are seen as part of a whole. However, they will be more or less apparent depending on what is happening next to them. The soft displacement of a teardrop punch impression can be set off by a thin, chisel-cut incising on either side of it. A twisted picket (baluster) is off set by the straight picket on either side of it. Through the use of contrast you can further impact how your design will be viewed. |
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6) Visual center vs true center is a concept that recognizes that perception can be stronger than reality. A decorative element placed at the precise, measured vertical center of a design often appears to be below center when it is looked at. Placing the decorative element slightly above true center will 'read better'. For example, look at the firetools. Find the measured vertical center of the piece, then see where that lies in relationship to floral element in the 'center' of the split bar. |
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7) Visual Flow refers to how a persons eyes follow the lines within a design. By being aware of this it is possible to influence how someone will look at your design. For example, if the tendrils of a floral motif point towards the outside of the design, a person's eye is inclined to follow it out of the design. Conversely, if those same tendrils (vines) point towards the center of the design, the eye will follow them, thus staying within the confines of the design for a longer period. This can be critical when a design is one of several being reviewed. |
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8) Rhythm refers to the use and placement of a repetitive motif. or element. A basic example of this is the use of alternating pickets in a rail (twist-straight-twist). Patterns can be established within a design by applying the concept of rhythm. The rail drawing shows such an application of this concept. |
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9) Reveals and Shadows. Visual depth in a design can be accented by the use of one or both these two related concepts. A 'reveal' is where an underlying element or component extends past the piece that overlays it. Shadow lines accent depth as they emphasize separation between two adjacent components. Shadow lines can also create the illusion of multiple pieces in a single piece of metal. This is achieved by undercutting with a chisel or by layering separate pieces as in the rail cap. |
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10) Building codes are a crucial bit of research to do before you design for a location. Some states recognize the difference between "Industrial or Commercial" railing and "Art" railing. The difference is usually expressed in what size ball may not pass through any space in the design (a 4" ball for the former, a 5" ball for the latter as an example). There are very specific code requirements for railing heights and deflection (horizontal bending under a load). And remember, a client cannot waive a state code. A good practice is to take your rail drawings to the Building Inspectors office (drawn to scale with dimensions clearly labeled) and have them pass on it before the client falls in love with something that should not get built. |
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11) Full scale. When practical, draw the project in full scale before pricing. Draw a plan (looking down onto the project) and two elevations (one as if looking at the project from the front and one as seen from the side). The drawing should show all joinery. |
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12) Remember, it is far easier to draw an optical illusion than it is to forge one. Do test pieces as you design. Be sure of how the metal will act as well as how long it will really take to make a given component. This is very valuable and it will give you a body of test pieces that help land the next client. Design with both the client and your shop and skills in mind. A lot of money has been left on the shop floor because the designer did not consider production and assembly while the project was still on the drawing table. Materials are the least expensive aspect of most jobs. Time, labor and mistakes are what eats budgets. © 2003 George Dixon |
