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by: May Smith DDS

Studio1 ARCH102

May Smith DDS
GPA 3.57


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Class Notes
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This 44 page Class Notes was uploaded by May Smith DDS on Wednesday September 23, 2015. The Class Notes belongs to ARCH102 at Drexel University taught by Staff in Fall. Since its upload, it has received 34 views. For similar materials see /class/212353/arch102-drexel-university in Architecture at Drexel University.

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Date Created: 09/23/15
Blade width Fig c Fig D Woodworking Terminology M the width ofa saw cut at the location of the saw blade tooth The teeth of many saw blades are out allowing the blade to move through a cut without getting stuck or binding When laying out a cut plan one must a co tfor the width of the ke The term sef describes how far the saw blade teeth protrude from the face ofthe saw blade Fig A o T aper to scale an ensures an economical usage ofa piece ofwood with minimal waste The out plan must take into account kerl measurements Wood Grain describes the alignment texture and appearance of we d fb Wo d grain is important in 39ts ton 39ques when cu ing with or against the grain It is also an important consideration in the appearance ofa constructed object vertical or horizontal grain can enhance the aesthetics of a design pto cut along the grain or lengthwise along a piece ofwood Crosscut to cut across the grain or across the shorter dimension ofa piece ofwood Butt 39oint the simplestjoint to make members are cut to the I AL jo39ir39it biecause it relies on glue or other reinforcement such as screws or dowels to hold it together Fig B Dado a slot cut into the surface ofa piece ofwood Athrough dado passes all the way across the sur ce ofa piece of wood dado blade A stopped dado ends before the ed e ofa piece of wood and can be started with a tab e saw and nis ed with a chisel to create clean perpendicular surfaces Fig C right Lap 39oint A lapjoint is a basic method ofjoinery and typically requires some form of mechanical fastener to be effective Lap joints can be cut using a router a dado blade on a table saw or a han saw and chisel The halfa or end la is use w en joining members end to end either parallel or at right angles Fig D top The cross lap is a form ofthe half lap used when e member crosses another anywhere except at the ends Fig D bottom Laminati n when working with sheets of material it is often de rable to laminate or glue several sheets together to create thicker component pieces especially when working with joints such as mortise andtenon Mortise and tenon the end of one member or tenon is cut down to t snugly into a hole or mortise cut in the end of another member The joint may be glued pinned or wedged tapered to lock it into place Fig E Slot 39oint useful when working with sheets of material corresponding slots are cut into the sides of individual sheets to be fit snugly together Glue is often necessary to hold thisjoint together Care must be taken to create slots of exact dimensions because hardware such as screws and dowels cannot be used in this type ofjoint The slots can be cut using a band saw or scroll saw Fig F Countersink A coneshaped tool which removes a small conical area of material for ush assembly of a screw set into a planar surface Dowel A dowel in woodworking is a wood pin of speci ed diameter used to reinforce joints between pieces of wood Holes are bored into the adjoining pieces of wood and the dowel is inserted with glue to secure the objects together Fluted dowels are often used The fluting allows excess glue to squeeze out ofthe joint when the pieces of wood are clamped together Sanding It is essentialthat you sand your wood surfaces and edges Use 400 grit sandpaper for the final sanding on the chair and 220 grit for intermediary sanding Glue Use wood glue in the assembly of the chair It is a yellow glue and drips must be wiped from the wood before they dry Although you will not put a finish on your wood glue will affect the application of a final nish as well as diminish the aesthetic appeal ofthe final designed product Primary Yellow Red Blue Secondary I quot Yellow Red Orange I I Red Blue lloler Blue Yellow Green Ternary Yellow Orange YellowOrange Red Orange RedOrange Red llolel Red Violet Blue llolel Blue Violet Blue Green BlueGreen Yellow Green YellowGreen 72 Part Color Circle Johannes Itten Developed from primary and secondary colors Escargot Henri Matisse 1953 V Color Wheel Pn39marz Colors Secondary Colors Tertary Colors woqu com cannot be created by achle Ied by leng two achle Ied by a mixture leng other colors primary colors ofpn39mary and secondary colors Comglementarz Colors 5 llt Com lementa Analogous Colors colors located opposite colors located on both colors located close to one another on color sides of opposite color one another on the Wheel color Wheel I I w I Contrast of Hue Rea yellowano blue is I H the eXtreme contrast of 7 hue I I Johannes Itten iii I 39 Broadway Boogie Wooge Piet Mondrian 194243 White and Black are the strongest expression of light and dark Gray Is readily in uenced by contrasting shade and hue Any color Will transform gray from Is neutral state to a complementary color The transformation occurs suiy39ectiIely in the eye not oiy39ectiIely in the colors themselIes LightDark Composition in Black White and Grays Johannes Itten Black and White 2 Franz Kline1960 oil on canvas Guamca Pablo Picasso oil on canvas 1937 One nue is given a principal role and others are used in small quantifies Compositibn With Red Yellow and Blue Piet Mondrian The relationship in quantity and location of hue in relation to the dimensions of the canvas changes the reading of the composition Composition With Red Yellow and Blue Piet Mondrian Composition 70 Piet Mondrian line Refers to pure color one Without lint shade or one WITroutine addion of White black or gray LightDark Composition in Blue Johannes Itten Untiled Blue Monochrome Yves Klein 1959 Untiled Franz Klein oil on canvas 1958 Daraherd Frank Stella 1967 The Green Line Henri Matisse La Raie Verte 1905 A tnt Is the mixing of a color With White A shade is the miXng of a color With black A tone is the mixing of a color With gray Colors of Equal Brilliance Colors of Equal Darkness Johannes Itten Johannes Itten Star of Persia Star of Persia Frank Stella acrylic on canvas 1967 Frank Stella acrylic on canvas 1967 V 4 r I Claude Monet 1888 AntDes seen from the Sal5 Gardens Houses 0fPariamentat Sunset Claude Monet 1903 Franz Kline oil on canvas 1958 Note that in this chart the pure hue of yellow Is at the 3 step orange is at the 5 7 step red at the 67 blue at the 8 and Violet at the 9m Yellow Is the lightest of the pure colors and Violet is the darkest Yellow must be muted from the 4 7 step on to match the darker tones of the gray scale Contrast between muted and pure colors can create a dynamic composition Twelve Steps of Gray from White to Black and the Twelve Hues of the Color Circle in lllatching Brilliances Johannes Itten My Barn on a Summer Night Wolf Kahn 1982 Hyena Stomp Frank SteHa 1962 3 3m 1 M 3a M 6m ER 0d Ca 4b We 76 Johannes quotten 1955 Harran Frank Stella 1967 The Gaffe7 Wall Han Hofmann oil on canvas 1961 Adam Eve Barnett Newman Barnett Newman oil on camas 1950 oil on canvas 19511952 Red Painting Ad Reinhardt 1952 oil on canvas When two complementary colors are mixed they yield a neutral grayblack lllXtures of Complementary Pairs Johannesl en Green and Tangerine on Red Mark Rothko 1956 i Magenta Black Green on Orange Mark Rothko 1949 The Vision a erthe Sermon Paul Gauguin 1888 Combnations ofcoor in dfferent proportions yield differng degrees of activity from each color present Combinations of Red and Green Johannes Itten Garden in Soc7i Arshille Gorky 1941 Prve Kenneth Noland oil on canvas 1965 Orange Blue complementary mixture Johannes Itten Ocean Park 740 Richard Diebenkorn 1985 BUe Joan Wu 1961 Shining Black Sam Francis 1958 Three Dancers Pablo Picasso 1925 FIJIFathom Fire Jackson Pollack mixed media 1947 Tree Frog Window Robert Rauschenberg collage 1964 Richard Diebenkorn 1967 Ancient Sound on Black Paul Klee 1925 Ancient Sound on Black Paul Klee 1925 The SqunterJean Dubuffet 1953 Femmes Tahiti Paul Gauguin


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