Full Panel Enrichment
Rule 7d. The contours of fully enriched panels should parallel the outlines of the primary mass and repeat its proportions.
Full Surface Enrichment
This is the richest and most elaborate form of enrichment when carried to its full perfection. It generally takes the form of a panel filled with appropriate design material. This panel may be used to enrich the plain end of a project such as a book stall and thus cover the entire surface, or it may be inserted into a large primary mass and accentuate its center as in a door, in a manner similar to [Figure 233]. Its use, whatever its position, leads us to the consideration of methods of designing full panels.
Plate 38
Rule 7e. The points of concentration for a fully enriched square panel may be in its center or in its outer margin.
Square Panels
In planning designs for full panels, it would be well to consider: first, square panels; second, rectangular panels; third, varied panels. The point of concentration may be kept in the corners of a square panel, as designed in [Figure 231], or it may be placed in the center, as shown in [Figure 232]. The effects, when assembled, are indicated in [Figure 233].
To secure these effects, a square panel is commonly divided into quarter sections by center lines. The diagonals of each quarter should be drawn before proceeding with the details of the design. These diagonals and center lines are the building lines or leading axes of the pattern. The leading lines and details are then grouped around these center and diagonal axes in a manner quite similar to the method used in [Figures 223] and [224]. These leading lines are then clothed with enrichment by applying the processes indicated in [Chapter IX].
Steps in Panel Designing
Without going into detail we may say that it is good practice: first, to draw the square panel; second, to draw the center lines and diagonals; third, to locate points of concentration; fourth, to make the leading lines move inwardly to center concentration or outwardly to corner concentration; fifth, to clothe these lines with ornament having strongly dynamic movement corresponding to the leading lines; sixth, to fill in remaining space with ornament, supporting the movement toward points of concentration, even though slight and minor contrasts of direction are added to give variety. When the entire design is completed one should ask the following questions: Does the design have unity? Does it seem too thin and spindling? And most of all, do the points of concentration and shape of the panel fit the structural outlines and proportions? We cannot fit a square peg into a round hole; neither can we fit a square panel into a circular or rectangular mass without considerable change to the panel.
[Figures 234] and [235] have been drawn with the idea of suggesting a simple and modified form of panel enrichment which may be readily handled by the beginner. The tree as a decorative symbol is appropriate to wood, and its adaption to a square panel is drawn at [Figure 235].
Plate 39
Rectangular Panels
While a rectangular panel may be divided into sections by a number of different methods, it is well for the beginner in design to treat it as a vertical mass, designed to enrich a vertical surface. This vertical panel may then be divided into halves by the axis of symmetry, which should coincide with an inceptive axis, but it is not essential to balance the enrichment exactly in each half. Small deviations from exact symmetry sometimes give added variety to the design. [Figure 235].
Rule 7f. The points of concentration for a fully enriched vertical panel should be in the upper portion of the panel.
Vertical Panels
The point of concentration in vertical panels should be in the upper portion, and all parts of the design, both leading lines and clothing, should have a strong upward tendency. [Figure 236] is a vertical panel from historic ornament. The heavier parts have been designed at the bottom for stability and the lighter and more intricate members have been placed at the top.
Rule 7g. The fully enriched panel and its contents should be designed in unified relation to the structural outlines, with the center line of the panel coinciding with the inceptive axis of the structure.
To see how to apply rectangular panels to wood surfaces, let us look at [Figure 240]. This is a simple design with an incised background and might be used for enriching a narrow paneled door, newel post, or frame. The large areas are at the bottom; the point of concentration is at the top, and the entire design balances over the inceptive axis. The point of concentration consists of the geometrically treated small flower form, with its original lines modified to simplify the carving processes. The stem coincides with the inceptive axis, while narrow and sympathetically related minor panels fill in the background and keep the design from appearing weak and thin.
Adapting Data to Material
[Figure 237] is an accurate rendering of the flower form and is the data or record of facts for [Figure 240]. [Figure 238] introduces the method of plotting the areas from these facts. Variety of form and area is, at this stage, desirable. [Figure 239] has assembled these areas into orderly balance over the axis of symmetry. [Figure 240] has again slightly modified them to apply to the vertical panel in wood.
Courtesy of Berkey and Gay
Figure 246.—Example of Free and Marginal Enrichment