Metal Repoussé
Freedom and variety in detail are possible in Metal Repoussé, but as the light and shade is considerably modified by the nature of the surface, the design which is plastic in character incidental to method of working, should have regard for silhouette or profile display, and not be dependent upon surface modelling. The principal factor in effect is Light, both direct and reflected. Surface interest is the result of imparting by chasing various textures in striations or matt.
No. 278. Wood Carving from Fontainbleau. Early French Renaissance.
Excellent effect can be obtained by outlining with the tracing tool, leaving the surface of detail plain and uniform in height, and imparting texture with the matt tools in the intervals for the sake of contrast.
No. 279. Economic Wood Carving.
The method of working is simple, entailing manipulation from the face of the metal only, and the detail is left in slight relief by the ground being set back in the texturing. This treatment is only suitable where the ornamented area is enclosed. When the design is freely displayed on a ground without enclosing lines, it should appear in relief, the result of raising from the back; and texturing should be employed only on the details in contrast to the smooth ground. As in all applied work, the economic result is slight occupation.
No. 280. Oak Box decorated with flat carving. Icelandic. 18th Century.