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  1. #16
    Join Date
    Jun 2005
    Location
    Sydney
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    3,096

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    Quote Originally Posted by ian View Post
    Does anyone here know Clinton personally?

    he hasn't been on the Forums since posting his question. I just hope he's alright.
    Yes, I can confirm that I am alive, and wrestling with curves.
    Jacko is getting there... I actually can't explain what I want to do...
    The best I can do is say... how the hell do you figure out the curve between the curves?

    e.g. my hollows and rounds set a set series of curves... but which ones complement each other into a cohesive whole?

    I don't know how to get to this... matching curves to curves?????
    Cheers,
    Clinton

    "Use your third eye" - Watson

    http://www.flickr.com/photos/clinton_findlay/

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  3. #17
    Join Date
    Jun 2005
    Location
    Sydney
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    3,096

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    too many people replied for my brain to handle.

    I guess, what curves go wth other curves.... thinking of roman columns and 1600's cathedrals??? ??
    Cheers,
    Clinton

    "Use your third eye" - Watson

    http://www.flickr.com/photos/clinton_findlay/

  4. #18
    Join Date
    Jan 2009
    Location
    Adelaide
    Posts
    289

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    I also am not sure what you want Clinton, but is it something like this...

    Gothic Geometry

    Regards
    SWK

  5. #19
    Join Date
    Feb 2003
    Location
    back in Alberta for a while
    Age
    68
    Posts
    12,006

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    Quote Originally Posted by Clinton1 View Post
    I actually can't explain what I want to do...
    The best I can do is say... how the hell do you figure out the curve between the curves?

    e.g. my hollows and rounds set a set series of curves... but which ones complement each other into a cohesive whole?

    I don't know how to get to this... matching curves to curves?????
    I should answer that "it's easy-peasy" but in reality it's not.

    You need to develop an eye for what is pleasing.

    George Walker has written extensively in Popular Woodworking about designing with curves and what works and what doesn't -- after all the ancient Greeks worked most of it out over 2000 years ago.


    Given that you are playing with hollows and rounds, I very strongly urge you to get a copy of
    George R. Walker and Jim Tolpin's By hand and Eye (Lost Art Press).
    I say this because the type of curve you use to connect two other curves depends on whether the curves are on
    a crown molding -- which is typically mounted above eye height so that you look up to it.
    waist molding -- which you look down on to, but only slightly down, or
    around floor level -- where you are definitely looking down.

    what works in one orientation will be out of place in another.



    Get thee to an online book shop
    regards from Alberta, Canada

    ian

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