Inceptive Axes
Rule 6h. Borders intended for vertical surfaces may have a strongly upward movement in addition to the lateral movement, provided the lateral movement dominates.
Upward and Onward Borders
In addition to the purely onward borders we now come to a variety with a distinctly upward movement as well. While this new feature adds materially to the interest of the border, it also adds to the difficulty of designing. The upward movement is often centered about an axis termed the Axis of Symmetry or Inceptive Axis, about which are grouped and balanced the different elements from the designer's vocabulary. When both sides are alike, the unit so formed is called a bilateral unit. [Figure 199] shows the formation of a bilateral unit by means of grouping, accenting, and balancing straight lines over an inceptive axis. By adding bands above and below and doubling these vertical lines to gain width, we form at A and B, [Figure 199], inlaid designs with an upward and onward tendency or movement.
Courtesy of Berkey and Gay
Figure 215.—Inlaid Band Border
The introduction of curved lines and natural units allows us to add more grace to these combined movements. The leading lines of a small border, designed to be seen at close range, are planned in [Figure 200]. The central line or inceptive axis is repeated at regular intervals and the leading or skeleton lines are balanced to the right and left of this axis. These leading lines, as can be readily seen, have an upward and onward movement. To insure continuity, a small link and the top and bottom bands have been added to complete the onward movement.
Courtesy of Berkey and Gay
Figure 216.—Single and Double Band Inlaid Border
Material for straight borders may be derived from geometry, nature, or artificial forms, but for borders designed in curves, nature is generally selected as a source.
Courtesy of C.E. Partch
Figure 216a.—Work of High School Students
[Figure 201] illustrates a crude and uninteresting form, unsuited to outline enrichment. [Figure 202] has brought [Figure 201] into some semblance of order, but as can be readily seen by the primary outline which encloses it, the widest point occurs exactly midway from top to bottom, which makes the form monotonous. This defect has been remedied in [Figure 203] and an interesting and varied area appears for the first time. What Dr. Haney calls "the feebly flapping curve" of [Figure 202] has been replaced by the vigorous and "snappy" curve of [Figure 203], which gives what is termed a dynamic or rhythmic value in surface enrichment.
Courtesy of C.E. Partch
Figure 216b.—Work of High School Students
Rule 6g. Each component part of a border should be strongly dynamic and, if possible, partake of the main movements of the border.
Any form which causes the eye to move in a given direction is strongly dynamic, and is opposed to the static form which does not cause a marked eye movement. A circle is symbolic of the static form, while a triangle is dynamic. In the designer's nomenclature, the term "rhythmic" may be used synonymously with "dynamic."
Dynamic areas or forms should carry out the upward and onward movement of the leading lines. [Figure 204] shows how closely dynamic areas are connected with nature's units for design motives. A slight change in the contour may transform a leaf into excellent material with which to clothe the leading lines. The curve of force, the cyma, and other curves described in previous chapters should be recognized by the designer and utilized in the contours of dynamic forms.
Courtesy of C.E. Partch
Figure 216c.—Instruction Sheet Problem
The leading lines of the border in [Figure 200] are shown clothed or enriched in [Figure 205]. Vigorous dynamic spots, conventionalized from natural units, continue the upward and onward movement of the original leading lines. As will be noted, the background has been treated to allow the spots to appear in relief. Small "fussy" spots or areas have been omitted and the units, varied in size and strongly dynamic in form, balance over an inceptive axis. The small link reaches out its helping hand to complete the onward movement without loss of unity, while the bands above and below bind the design together and assist in the lateral movement. [Figure 205] shows three methods of treatment: simple spots without modeling, from A to B; slight indications of modeling, from B to C; full modeling of the entire unit at C. The choice of treatment depends, of course, upon the skill of the craftsman.
Courtesy of Berkey and Gay
Figure 217.—Carved and Accented Border and Triple Carved Band
[Figure 206] shows a design varied from formal balance over a central axis of symmetry or an inceptive axis. It has a decided onward movement with the leaves balanced above and below the stem which is the axis. The "repeat" has been reversed at B and is more pleasing than the portion at A. The area of the background, in its relation to that used for ornamentation or "filling," cannot be predetermined with exactness. There should be no blank spaces for the eye to bridge. Some designers allow about one-third ground for two-thirds filling or enrichment. This proportion gives a full and rich effect and may be adopted in most instances as satisfactory.
Courtesy of C.E. Partch
Plate 35.—Instruction Sheet
Point of Concentration—Effect upon Structure
When a border is used to parallel a rectangle it is customary to strengthen the border at the corners for two reasons: first, to strengthen, apparently, the structure at these points; second, to assist the eye in making the sudden turn at the corner. The corner enforcement affords momentary resting points for the eye, and adds pleasing variety to the long line of border. The strengthened point is called the point of concentration or point of force. Its presence and effect may be noted by the symbol P.C. in [Figures 207], [208], [213], and [214].
Chip Carving
[Figure 213] represents the rather angular and monotonous chip carving motive. It is, however, a simple form of carved enrichment for wood construction. [Figure 214] shows the more rhythmic flow of a carved and modeled enrichment. Two methods of leaf treatment are given at A and B.
[Figures 215], [216], and [217] are industrial and public school examples of the forms of surface enrichment treated in this chapter.
INSTRUCTION SHEET
[Plate 35] shows the necessary working drawings for wood inlay and is supplied as a typical high school problem by Mr. C.E. Partch of Des Moines, Iowa. See [Figure 216c].
SUMMARY OF DESIGN STEPS
(a) Draw the primary rectangle, appendage, etc.
(b) Subdivide the rectangle into its horizontal and vertical subdivisions.
(c) Design very simple contour enrichment.
(d) Determine the location of zone of enrichment, and the amount and method of enriching the surface.
(e) Make several preliminary sketches to determine the best design and add the one finally selected to the structure. Correlate with contour enrichment.
(f) Add additional views, dimension, and otherwise prepare the drawing for shop use.
SUGGESTED PROBLEM
Design a walnut side table 3 feet high and enrich with a double band inlay of ebony.
SUMMARY OF RULES
Rule 6a. Surfaces to be enriched must admit of enrichment.
Rule 6b. Surface enrichment must be related to the structural contours but must not obscure the actual structure.
Rule 6c. The treatment must be appropriate to the material.
Rule 6d. Bands and borders should have a consistent lateral, that is, onward movement.
Rule 6e. Bands and borders should never have a prominent contrary motion, opposed to the main forward movement.
Rule 6f. All component parts of a border should move in unison with the main movement of the border.
Rule 6g. Each component part of a border should be strongly dynamic and, if possible, partake of the main movement of the border.
Rule 6h. Borders intended for vertical surfaces may have a strongly upward movement in addition to the lateral movement, provided the lateral movement dominates.
Rule 6i. Inlayed enrichment should never form strong or glaring contrasts with the parent surface.
Rule 6j. Carved surface enrichment should have the appearance of belonging to the parent mass.
REVIEW QUESTIONS
1. Give the reasons why surface enrichment may be used as decoration.
2. State an original example illustrating when and where to use surface enrichment.
3. Name an object from the industrial arts in which the structure has been weakened or obscured by the application of surface enrichment. Name an example of the correct use of surface enrichment and state wherein it has been correctly applied.
4. How should surface enrichment of small masses differ from that applied to larger masses; in what manner does the fiber of the wood affect the design?
5. Name three means of enriching the surface of wood. Briefly describe the processes of inlaying and carving, with the design restrictions governing each.
6. Give three sources of ornament open to the designer of surface enrichment.
7. Draw an accented triple band motive for inlay.
8. What is the inceptive axis; a bilateral unit? What are leading lines; dynamic forms; points of concentration?
9. Design an upward and onward continuous carved border for wood and base it upon a vertical inceptive axis. Treat as in A, [Figure 205].
10. Illustrate the manner in which structure may be apparently strengthened by a band or border.