By Richard Raffan

В книге подробно, с иллюстрациями рассказывается о технике и приемах создания деревянных изделий круглой, овальной, эллипсоидной формы. Это может быть кухонная утварь, различные шкатулки и прочие изящные вещицы, способные украсить наше жилище.

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I try to bear all this in mind as I turn or design a form, and there are many applications of abstract principles throughout this book— particularly in the following section on profiles. Unfortunately, rigid adherence to such rules of proportion is no guarantee of success. They should be regarded as guidelines that aid your confidence and stimulate your perception of the possibilities, not limit them. Your art is your personal sense of the arrangement of  Decorative beads can be used to define a mass and influence your perception of proportion on a profile.

Here it is hard to tell where the foot ends and the bowl begins. The second type of foot, on the bowl at right in the same photo, is a separate entity—neither the foot nor the bowl will stand well alone, although they work quite nicely together. E F G W hen the full-bellied asymmetric curves of a profile meet within a foot, as in A, the bowl seems to sit higher than a similar bowl where the projected sides intersect below the base, as in B, which seems to sit more firmly as the lower profile carries the eye down.

618. 618 to ascertain the larger portion of the ratio. 85. Some people are fortunate to have a builtin sense of proportion that satisfies the rest of us, and are able to apply this without apparent effort to their work. For those of us who are less gifted, there have been a number of attempts over the centuries to define an ideal division of space and form. These generally involve complex mathematical formulae, which I will summarize only briefly, since there are tomes analyzing each system in depth, and a heap of information on the Internet.

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