The Elements and Principles of Design: or Design 101

[Dan Forman]

I've been thinking for a while (I know that sounds dangerous), that it would be a good idea to have a thread that deals strictly with design, and could be made a "sticky", and thus be easily referenced when needed. I am hoping that many will contribute, either links, information, or examples, so that we end up with a fairly complete source of information to go to. I hope this doesn't get shunted off to the design forum, where turners may not think of looking, though cross posting it there too would be fine.

At the heart of any successful work of art, be it on canvas, paper, or of wood, is a sound design. A piece may have the fanciest wood, or bravura brushstrokes, but if it doesn't reflect good design, it will leave one wanting., whereas a well designed piece of the humblest of wood may have a profound impact.

I don't claim to be an expert on design; I first learned about it when I started painting a few years back.Most of us have heard the term used,and have a general idea of what it means, but have never been exposed to the nuts and bolts of how it works. That is what I would like this thread to do. Learning the nuts and bolts is just the beginning of the game, applying them effectively is a longer term proposition.

Some say that you can't teach good taste, but there are some basic rules or guidelines for creating good design, that can be learned and applied to help us create more pleasing forms, or decorations on those forms. Many of them apply to any sort of creation, be it music, fashion, photography, painting, or wood turning.

Most of the sources I have seen break the concepts into two distinct groups: elements, and principles.

The Elements of design could be described as what we have to work with: line, color, value (light vs dark), shape, size, and direction.

The Principles of design consist of what we do with, or how we use the Elements. Different sources talk about these elements in different ways, but they deal with such things as unity, conflict, dominance, repetition, alternation, balance, harmony, and gradation. These terms may at times be substituted by other terms, but their meaning is generally similar.

The first link just provides a list of the terms and defines them, but doesn't go into much detail. It uses slightly different terminology than I used above, which draws directly from the second link, but it's still useful.
http://www.4-hcurriculum.org/projects/kidspace/E-P.htm

This next link goes into more detail; the information comes from a book on watercolor, so is geared toward painting, but please don't let that put you off - the principles are the same for woodturning. Spending some time digesting this is highly recommended! In the next post, I will try to summarize the information here specifically as it applies to turning.
http://books.google.com/books?id=64ANEszcf64C&pg=PA87&lpg=PA87&dq=principles+of+design+whitney&source=bl&ots=Y7iHPHOKjp&sig=0r6CaVS2mB4CN_w9FhcTSsJYhjs&hl=en&ei=lRChTY33LrPUiALinvyPAw&sa=X&oi=book_result&ct=result&resnum=5&ved=0CDoQ6AEwBA#v=onepage&q=principles%20of%20design%20whitney&f=false

The next link deals directly with woodturning elements, is less theoretical and more technique oriented, can apply to spindle as well as faceplate turning.
http://www.bigtreeturnings.com/articles/Siegel%2019-2.pdf

Here is an excellent article on design dealing specifically with "the golden mean" from the late Russ Fairfield's website.
http://www.woodturnerruss.com/Design-2.html

And some other thoughts about woodturning by Russ, well worth reading. By the way, this site is a treasure trove of information gathered and set down by one of the old pro's of woodturning.
http://www.woodturnerruss.com/Design-1.html

If you can offer any additional thoughts, links, or information, please do, so that we can have it all in one convenient place.

Dan

[Dan Forman]

I thought I would summarize some of the above information as it applies to wood turning. This is mainly derived from the second link, a section of the book "The Complete Guide to Watercolor Painting", by Edgar Whitney.

ELEMENTS: What we have to work with. There are some overlaps here.

Line: We work with line in the outside shape of the form, also with such things as grooves, which appear as lines around the form, or spirals, beads and coves also create lines at their junctures.

Color: Native color of wood, dyes paint, stains, etc.

Value: Lightness or darkness of wood (sapwood/hearwood), figure,knots, bark inclusions, burns, dyes, etc.

Shape: Outline of form, beads, coves, etc.

Size: Overall mass of form, relation of elements to each other such as beads coves, relation of same to overall form, size of color or value areas rot each other, etc.

Direction: Lift, vertical, horizontal, diagonal, etc.

Texture: Really a function of small shapes, but we can think of it as an element of it's own.

PRINCIPLES : How we use what we have to work with. They often work with each other to achieve the desired effect.

Unity: We want some sort of organizing principle or idea to connect the various elements into an integrated whole. Otherwise we end up with just a random collection of elements unrelated to each other, which tires the eye rather than pleasing it. Unity is achieved primarily through the use of other principles, such as dominance, repetition, and alternation.

Conflict or Tension: The state that emerges when elements are combined or contrasted, such as a bead and a cove, a thin, tall stem or finial on a hollow form, etc. Conflict adds interest to a piece. Elements can be used to ratchet up tension in some areas, and/or or resolve it in others. Changes in color or value of the wood bring tension - sapwood to heartwood contrast, a dark finial on a lighter form, different species of wood in a segmented piece, etc. Small bead next to a larger cove, horizontal groove in a tall form, a tall but narrow form contrasts direction. All of the elements can be used to create contrast.

Dominance: Dominance is the chief principle in resolving conflict and establishing unity. The eye craves dominance, it is bored or repelled by equality. A rectangle is preferred over a square, an oval over a circle. An egg is more interesting than a sphere. An ogee, which is a combination of a bead and cove, is more interesting if either the bead is larger than the cove, or vise versa. The larger cove is dominant to the subordinate bead. Texture is more interesting if applied unequally, either dominant or subordinate to untextured. Dominance can also be achieved by repetition of elements, a series of shapes, repeating color or value in segments, repeated directional movement, etc. It is best to avoid any sort of equals in a piece. If there is both light sapwood and dark heartwood included, one or the other should be dominant in area. The widest diameter of a piece should not occur halfway between top and bottom.

Repetition: May occur as exact replicas, can vary in size but not in shape, may alternate between shapes or groups of shapes, or in shapes of various sizes, or any combination thereof. Repetition without some variation can bring stagnation and boredom, variation with no dominance brings disunity.

Harmony / Discord: A function of how well the parts relate to each other. This may be the most difficult to describe or quantify in turning. It is related to conflict / tension, is usually noticed when something seems off, like a different colored finial not looking right on a hollow form, the contrast may be too great, or the one color just doesn't go with the other, out of harmony. An edge may be too sharp to harmonize with smoother curves, etc.

Gradation: A gradual shift from one condition or quality to another. Texture to smooth, figure to plain, light to dark, wide to narrow, large to small, concave to convex. Gradation brings interest into quieter areas without creating high contrast/tension, implies movement or change.

Well, that's my best shot on describing how the principles of design are used in turning. Please feel free to add, expound upon, disagree with, or whatever to this.

If you have a piece that will illustrate how you have put these principles to use, please post pics and take us through the process.

Dan

[Dennis Ford]

Thanks for sharing this, your summary makes sense. It will take me some time to digest the links.

[John Keeton]

Dan, great stuff!! And, a great idea for a thread. If we can get enough input, this might be a candidate for a sticky!

A couple of months ago, I did the presentation at our local club on my design approach using a PowerPoint presentation with pics of various turnings - mine and others - for illustration of various points. The text loses some without commentary and illustrations, and it is limited somewhat to the type of forms I do. But, for whatever it may be worth, here it is. It may be not be "the right way", but it is the way I plan my pieces.


THE PLANNING STAGES
– Form overrides all other concerns
– Proportions - must be consistent throughout to achieve result

• Start with the form and work down, then up
• Maximum height – bookshelf 11”
• Stability vs. Fragility - always a battle
– Point of Interest - usually there is one element of a piece that is the focal point.
That is where you want the eye drawn through the use of form, color and species
– Refined vs. Rustic - overall "flavor" of piece must be one or the other.
Combining these is difficult.

WHERE DOES ONE START?
– Sketch first - scale second
– Design/planning pad – ¼” grid
– The piece should flow - lift, balance and fair curves. I generally avoid flat spots anywhere.
– "The Rules" - they work MOST of the time, but don't feel constrained by them

• Golden Mean - 1 : 1.618
• Rule of thirds
• Base diameter is 1/3 the vessel diameter
• Height is 2/3 the diameter
• Maximum diameter is located either at 2/3 height above the base
or below the top

THE FORM
– Shoulder vs. no shoulder
– Shoulder height - at 1/3 or 2/3 point
– Fair curves top and bottom - do not need to be the same radius
– Size of base
– Size of form
– Size of opening
– Foot vs. no foot
– Collar, lid, integral lid/finial
– All of these will effect decisions on the pedestal (if any) and the finial

THE WOOD
– It takes the same effort to turn a very nice piece of wood vs. a plain piece of wood. If it fits the piece, I will use the nicest piece of wood I have available.
– Competing figured species – try to avoid. Figured wood quickly becomes the focal point, and there can be but one.
– No more than three different species, but two is preferred. It is tricky having a single species as the focal point with more than two species.
– Pedestal and finial should be of the same species
– If there is a base that is a separate species from the pedestal, the base should match the form.
– Recurring elements – replication of form in the finial, or beads/onions in pedestal and finial

COLOR
– Contrast vs. Compliment
– Consider aging and patina – cherry and walnut may start out looking good together, but over time, the amber walnut may clash with the deep red cherry. Consider the combinations used by master furniture builders - they work!
– Pedestals and Finials – dark or light will depend on the form. Contrast is usually the key.

PEDESTAL - IF ANY
– What wood? Should be the same as finial
– Size in proportion to form – Rule of Thirds – sometimes!! The finial should be less massive in its elements, so consider that in scaling the pedestal.
– Flow – develop a curve coming off base and flowing into the bottom of the form
– Dimensions of elements – the deception of thick/thin. Strive for about .12” in thin parts of pedestal
– Getting “lift” – component of flow.
– Replication and size of elements – must consider finial design at this point.

FINIALS
– Should be same species as pedestal – if any
– Consider size in proportion to form, and pedestal – if any
– Flow – develop a curve coming off shoulder. If there is a pedestal, must repeat similar curves if possible
– Dimensions of elements

• Onion, bead – on most forms about 5/8” diameter
• Neck - .07” or less, depending on species
– Getting “lift” – again, related to flow
– Replication of elements
– Is the finial the dominate feature? Or, is it just an adornment of an otherwise good form?

THE FINISH
– Contrast surface texture - gloss form and matte finial/pedestal (or reverse) works well sometimes
– Figure accentuation

[Tim Thiebaut]

Just so we all know up front, are you wanting questions and input in this thread, or should we start seperate threads for questions, etc. Asking only because I thought you might want to keep this one clean with just detailed info....and I have a question.



EDIT - Ok thanks John, I just wanted to make sure. And in the mean time I forgot what I was going to ask this morning, but it will come to me in a little while. Dan this was a great idea, thank you for starting this.

[Roland Martin]

Very well done and informative, Dan & John. I agree that a sticky would be an incredible source of info, all in one place, for reference material on design. Thanks, Dan, I hope this can be pulled off, and hopefully in the turners forum.

[John Keeton]

Tim, this is Dan's thread, but I think questions on design will/should result in responses that just add to the content.

[charlie knighton]

but if it doesn't reflect good design, it will leave one wanting., whereas a well designed piece of the humblest of wood may have a profound impact.

i agree, but i am from the "that's about right school of woodturning"

[Dan Forman]

John---Thanks for that planning summary, just the sort of contribution I was hoping for!

Tim - Yes, questions and input from others are welcome, hopefully they will be answered - adding to the info as John said. I would like this to reflect the knowledge of the entire group; as such I think it will become a great resource.

Dan

[Mike Peace]

Phillip Streeting has some good design stuff here http://www.woodturningdesign.info/Articles.html

Keith Tompkins has some good stuff here http://www.stwt.org/tompkins_design.pdf

Dave Nittman has a great article called "Pleasing Profiles" in American Woodturner Fall 2006 available free on-line to AAW members on the AAW website.

[Wally Dickerman]

An interesting and informative thread.

A long time ago I wrote an article on form and design and it was published in American Woodturner. I believe it was in 1996. A few years ago I revised the article a bit and it was published in Woodturning Design. The article is fairly long so I won't repeat it here but I'll post a few excerpts from it. I won't deal much with "rules" of good form because it's been well done in this thread already. Rather I'll deal with some things that I've observed and used in my many years of selling my work, mostly in galleries. Often in competition with some pretty good turners.

Wood that has been turned into a beautiful shape invites you to pick it up and handle it. A bowl is meant to be handled, whether it's an art piece or is designed to be purely functional. Some of the principles of good form that apply to making bowls are sometime disregarded if the bowl is to be funtional, but it is my belief that these pieces can be visually appealing and still be funtional.

Few people have a natural ability to design. Most have to learn design principles just as they do turning techniques. One of the basic "rules" of proportions concerns the diameter of the piece in relation to the size of the base or foot. In gauging profile and balance. the "rule" is that the foot should be no more than one-third diameter of the bowl or vessel and in some cases smaller, mainly in art-form pieces> A foot can come in many sizes and shapes. A well-designed one can give lift and life to the profile.

The rim of a bowl or vessel deserves more attention than it usually gets, and if well done can greatly enhance the appearance of a piece. In my opinion, a plain flat rim is unattractive. A better design is at right angle to the outside of the bowl, leaving the edges crisp and perhaps with a slight convex or concave curve. A rounded or beaded rim works well. An inward inclining rim is attractive and is often used in salad bowls.

To give life to a bowl or vessel, curves should flow throughout the piece and they should be continuous. That is, curves should flow continuously from where they start to where they end. Transitions should be smooth, without flat areas or interuption. With few exceptions a curved surface is more pleasing to the eye and feel than a flat one.

A large part of good form and balance in an open bowl is how the inside relates to the outside.The inside shape should either correspond, or should be a definite contrast to the outside. It is most important that there be continuing curves without flat areas all the way to the center of the inside of the bowl. Experimenting with contrasting forms, colors and textures on the interiors of bowls can provide some very interesting pieces and can be fun.

When examining a blank prior to turning, defects such as splits, knots, holes and bark inclusions can be cause for rejection. Sometimes however, defects can be highlighted in various ways and made a central part of the design. This calls for some innovation and experimenting.

This is only a very small amount of all that has been written and said about form and design, but it is at the heart of what we are all doing. We are looking to create beautiful things. To those of you who say you don't have creative ability, don't you believe it. We all prefer certain shapes over others, and are drawn to certain textures and colors. Each of us is a judge of quality: simply use that judgement.

[Dan Forman]

Mike and Wally, thanks for your contributions!

Dan