quote:

Originally posted by FZweig:
I like the proportions of the last three. The angled sides are a nice touch.

Fred

quote:

Originally posted by Bev:
like any design process, it is about getting balance, proportion and pleasing form while trying not to copy period pieces.

Dear Don,

The clocks are wonderful. Your comments about the design process is right on target. Here are some comments about the clock designs from an artist:

#1 I like the top a lot. Play with the bottom. Make the open section on the bottom 2/3'rds as the long as the top. Try adding a straight wooden bottom to visually anchor the piece. You might like it better.

#2 This has a very nice feel to the piece. But this clock is visually divided in half by the horizonal piece of wood holding the bottom of the clock face. Try the rule of three's where one section is 2/3rd's as big as the other. Most artists never divide a landscape painting in half with a horizon line. We do 2/3rd's sky and 1/3rd land or flip it.

#3 This is the most successful of your clocks. What are you going to do with the empty rectangles flanking the clock face?

#4 I like this one, too, but I would recommend using just three larger vertical squares or somehow use the four square motif common to the designs of Charles Rennie Mackintosh. Or you could try putting in five squares. Painters avoid working with even numbers. We work with a single element, or three, five or seven things, etc. It just creates more tension and drama.

I like that clock face with the ginkgo leaves. It is very elegant with the intricate backdrop of repose and chased copper. What kind of hands are going to put with it?

Bev.

quote:

Originally posted by don szymanksy:

quote:

Originally posted by Bev:
like any design process, it is about getting balance, proportion and pleasing form while trying not to copy period pieces.

Dear Don,

The clocks are wonderful. Your comments about the design process is right on target. Here are some comments about the clock designs from an artist:

#1 I like the top a lot. Play with the bottom. Make the open section on the bottom 2/3'rds as the long as the top. Try adding a straight wooden bottom to visually anchor the piece. You might like it better.

#2 This has a very nice feel to the piece. But this clock is visually divided in half by the horizonal piece of wood holding the bottom of the clock face. Try the rule of three's where one section is 2/3rd's as big as the other. Most artists never divide a landscape painting in half with a horizon line. We do 2/3rd's sky and 1/3rd land or flip it.

#3 This is the most successful of your clocks. What are you going to do with the empty rectangles flanking the clock face?

#4 I like this one, too, but I would recommend using just three larger vertical squares or somehow use the four square motif common to the designs of Charles Rennie Mackintosh. Or you could try putting in five squares. Painters avoid working with even numbers. We work with a single element, or three, five or seven things, etc. It just creates more tension and drama.

I like that clock face with the ginkgo leaves. It is very elegant with the intricate backdrop of repose and chased copper. What kind of hands are going to put with it?

Bev.

attached is a revision of no 2, with shortened bottom panel and thicker top. i agree with the thirds rule, and i think it helps here.

in no. 3, the sides will be art glass. or i may do a wood or parchment face and do copper leaves in the side panels. havent decided, just a thought.