A Gathering of Spoons: The Design Gallery of the World's by Norman D. Stevens

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By Norman D. Stevens

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Sample text

In each, the upper variation provides a solid base for the primary mass. The middle variation is lighter and leads the eye up and away from the base. In the bottom variation, the foot is too wide and makes the angle between the curves of the foot and the wall too acute. The bottom foot at AA has a thin edge, which is too fragile. It can be thickened, as at BB, but this often makes the whole foot too heavy for the upper mass of the bowl. A similar foot works better in CC because of the shallower curve that rests upon it—the heavier look of the curve demands more support.

But remember that the outward sweep of a concave curve, which creates a mood of generosity, can be marred if the profile turns back towards the rim. An arc is the simplest of curves and will produce the simplest profile. In the drawing above you can see in the half-profiles the effect of three different arcs—all sections of a circle, different because of the location of the centerpoint. The top profile in the drawing at left is based on a circle and the Golden Mean. 618 ratio—(base : height), (height : diameter), (base + height = diameter).

In the series of profiles in the drawing on the facing page, you can see that the steeper the profile is from the base, the heavier it looks. S h a l l o w O u t f l o w i n g F orm s T he acute angle at which the curve meets the flat surface in A and B gives the form its floating quality. In C, the tightest part of the curve comes off the base making this form slightly stolid, but nothing like as clumpy and heavy as D and E. The upward thrust of the curve at D, combined with its tightness near the base, makes for a turgid form, but at least it meets the base at a definite angle.

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