Before taking up our first completed problem, having acquired the necessary skill in turning beads, coves, etc., we must carefully consider the subject of design.

It is too obvious to need further mention, that the general standard of wood-turning design, whether in school or in the shop, is far from what it might be. This lack of good design is to some extent due to the fact that we elaborate, or display our skill too much, believing that wood-turning is the cutting of a mass of beads and coves, all without a meaning.

The use to which we intend putting an article, will, to a great extent, govern the general outline, proportion, etc. The character of the wood, whether simple or complex in grain, all helps to add to, or detract from, the design. A wood rich in grain often needs only a graceful outline to make it beautiful, the grain being the decorative feature.

A good design must have the following qualities, (a) simplicity, (b) unity, (c) variety, (d) harmony and (e) good proportion.

Simplicity - Other things being equal, a simple article is the most beautiful. In working to this end, we must consider the profile - the general outline.

It must be remembered however, that simplicity can lead to weakness in our design. We must have a certain amount of snap and strength to our work, not merely flowing lines.

The kind of line to use is of great importance. Too many straight lines must be avoided; angular lines are ugly. The line of the circle is monotonous. The line of variety and grace only remains, and to this end we must work. Compare the line of a circle with that of a hen's egg. In the latter we have both grace and variety.

Unity

By unity we mean the holding together of all the parts to make the whole. Let there be a foundation line; to this all other parts are to be subordinated. With unity we get balance: the balance of equal and unequal parts. The balance of equal parts can be shown by a dumb-bell. Here we have equal sizes on both sides, hence perfect balance. Chair legs, candlesticks, and similar problems show unequal balance. Here we have a large mass above and a small one below. In order to obtain good balance, where many . parts are to be considered, it is necessary to group the parts and consider unity.

Variety

The line, it has been shown elsewhere, may have variety by changing its direction and not having the same curvature. The flowing line, as that of a bead turning into a cove - a compound curve, is continuous and often weak. In order to strengthen such a curve, the fillet is often used, Plate II. Where a line comes to an abrupt end, and almost returns upon its own direction, we speak of it as contrasted; this should be avoided as much as possible. See the top of the potato masher, Plate III.

Variety in decoration

When we add beads, coves and fillets, we must consider variety. All beads or all coves would be tiresome. Then, too, we must change the size of our beads and coves, not making all the same size.

Harmony

The design of the object must be in keeping with its use, and one part with the other. A candlestick, for example, suggests solemnity, and should be rather tall and small in diameter. Of course, the diameter of the top must be sufficient to support the socket, and the base large enough to prevent the candlestick from being top-heavy. The base and the shaft should have some curve in common. In turning a gavel, it would not be advisable to turn a number of beads on the head, and coves on the handle. One part should echo the other.

Proportion

Underlying the entire design we have the problem of proportion, and this to a large extent must be governed by common sense and use. In order to gain strength we must naturally increase the diameter and thickness. This is brought out to some extent by the napkin ring. Since wood is not as strong as metal, our napkin ring must be kept a little heavier, and so it can be seen with many other problems.