Varied Panels
Panels of Varied Shapes
The panels under consideration up to this time have been designed to harmonize with square and rectangular contours. The panel may, however, become a most flexible and sympathetic element, changing its form to suit the ever-changing contours. But though change of shape affects the contents of the panel to a certain extent the points of concentration and the inceptive axes still act as our guide. Objects are arranged formally on each side of the inceptive axes and the space filling is approximately the same as in former examples.
Use of Artificial Objects
The still life sketches of the art class may be conventionalized into appropriate motives for utilitarian objects as shown in [Figure 241]. This use of still life suggests a most desirable correlation and a welcome one to many drawing teachers. Three points should be kept in mind: first, adaptability of the object, its decorative possibilities, and appropriateness to service; second, adjustment of the panel to contours; third, adjustment of the object to the wood panel.
Some portion of the object should be designed to parallel the panel. Small additional spots may assist in promoting harmony between the object and the panel boundary. These three considerations are essentially necessary factors in the design of enclosed enrichment. [Figures 242] and [243] are other adaptations of panel design to varied contours.
Free Balance
In the foregoing examples the designs are more or less rigidly balanced over the inceptive axis or axis of symmetry. Imaginary axis it is, but, acting with the panel, it nevertheless arbitrarily limits the position of all parts within the panel. By removing this semblance of formal balance, we approach what is termed free balance. In this we find that the designer attempts to balance objects informally over the geometric center of the panel or combined panels. As the arrow points in [Figure 244] indicate, the problem is to balance the trees in an informal and irregular manner, avoiding "picket fence" regularity. In all of this freedom there is a sense of order, since a mass of trees on one side of the geometric center is balanced by a similar mass on the other side. Indeed, in [Figure 244] this may be carried even to the point of duplicating in reverse order the outside panels of the Triptych.
Plate 40
[Figure 245] again reverts to artificial motives, illustrated in free balance. The jet of steam is the unifying factor which brings the cup into harmony with the enclosing space. [Figure 246] shows illustrations of free balance and border enrichment from the industrial market.
INSTRUCTION SHEET
[Plate 40] indicates the necessary design steps for a panel surface enrichment correlating with still life drawing. Note the connection between the ink bottle, pen, and book as used to decorate a book stall.
SUMMARY OF DESIGN STEPS
For Square Panel Surface Enrichment
(a) Draw the primary rectangle of the principal surface, appendages, etc.
(b) Subdivide into major vertical and horizontal divisions.
(c) Design simple contour enrichment. Determine location of zone of enrichment (the panel), the amount and method of enriching the surface.
(d) Draw outline of the panel which should be sympathetically related to the contours.
(e) Draw diameters, diagonals, or center lines of the panel. Regard these as possible inceptive axes.
(f) Locate points of concentration on either diameters, diagonals, or center lines.
(g) Draw leading lines in sympathy with the contours of the panel, the inceptive axis, and the point of concentration.
(h) Clothe the leading lines with enrichment that shall be appropriate to the structure, the material, and the intended service. Note the result. Is the panel agreeably filled without appearing overcrowded or meager? Several preliminary sketches should be made.
(i) Add additional views, dimension, and otherwise prepare the drawing for shop use.
SUGGESTED PROBLEM
Design a glove box and enrich the cover with a simple carved panel with marginal panel enrichment.
SUMMARY OF RULES
Enclosed Surface Enrichment for Partly Enriched Panels
Rule 7a. Marginal panel enrichment should parallel or be related to the outlines of the primary mass, and to the panel it is to enrich.
Rule 7b. Marginal points of concentration in panels should be placed (1) preferably at the corners or (2) in the center of each margin.
Rule 7c. To insure unity of design in panels, the elements composing the points of concentration and the links connecting them must be related to the panel contour and to each other.
Enclosed Surface Enrichment for Fully Enriched Panels
Rule 7d. The contours of fully enriched panels should parallel the outlines of the primary mass and repeat its proportions.
Rule 7e. The points of concentration for a fully enriched square panel may be in its center or in its outer margin.
Rule 7f. The points of concentration for a fully enriched vertical panel should be in the upper portion of the panel.
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.
Free Surface Enrichment
Rule 8a. Free ornament for partly or fully enriched surfaces should be based and centered upon an inceptive axis of the structure.
Rule 8b. Free ornament should be related and subordinated to the structural surfaces.
Rule 8c. Points of concentration in free enrichment of vertically placed masses are usually located in and around the inceptive axis and above or below the geometric center of the design.
Postulate: Surface enrichment should be inseparably linked to the surface and to the outlines or contours.
REVIEW QUESTIONS
1. What is a panel?
2. State three sections or areas at which a panel may be enriched. Give reasons for selecting a given area.
3. Explain relation of point of concentration to each section.
4. In marginal enrichment, is it preferable to locate the point of concentration in the center or corner of the margin? Why?
5. What is the value of an inceptive axis with relation to the unity of a design? What is its relation to the structure?
6. Give the characteristics and use of free enrichment.
7. State the use of full panel enrichment.
8. Where may the point of concentration be located in full square panel enrichment?
9. Name six steps essential to the designing of a square panel.
10. For what specific purpose is a vertical rectangular panel adapted?
11. Where should the point of concentration be located in a vertical rectangular panel?
12. Draw a flower form and adapt it to a carved enrichment in wood.
13. To what uses are panels of varied shapes adapted?
14. How may artificial objects be adapted to surface enrichment?
15. Explain the term "free balance."
Chapter XI
SURFACE ENRICHMENT WITH MINOR SUBDIVISIONS OF LARGE PRIMARY MASSES IN WOOD
Minor Subdivisions
This article is, in part, a brief summary and review of Rules 2a, 2b, 3a, 3b, 3c (vertical and horizontal major divisions) with application to minor subdivisions. By minor spacings or subdivisions in wood work we refer to the areas occupied by drawers, doors, shelves, and other small parts subordinated in size to the large or major divisions such as large front or side panels, etc. These smaller or minor subdivisions in wood work are bounded by runners, rails, guides, and stiles depending upon the form of construction and character of the minor subdivision. Major divisions are often bounded by legs, table tops, and principal rails.
It is an interesting and useful fact that rules governing major divisions generally apply equally well to minor ones. There are a few exceptions and additions to be noted in their appropriate places.
When minor subdivisions are well planned they supply one of the most interesting forms of surface enrichment or treatment, for if we consider paneling an appropriate form of decoration, we are equally privileged to feel that each small drawer or door adds its quota of interest to the sum total of the entire mass. We are equally justified in accenting these drawers or doors with panel decoration or other forms of surface enrichment provided that harmony is maintained.
These minor subdivisions, properly enriched, may become equalizers, or elements which adjust the design to the character of the surroundings destined to receive the project of which they are a part.
Vertical Sections and Their Divisions
With reference to the illustrations, [Figure 247], [Plate 41], shows a simple minor panel treatment falling under Rule 3a. Single or preferably double band inlay might have been suitably substituted for the sunken panels. As many craftsmen are not properly equipped to produce inlays, it is practicable to use stock inlays, thus simplifying the process.
Plate 41
Minor Subdivisions of Three Vertical Major Parts or Divisions
In a three-part design it is the designer's desire to gain the effect of lightness and height by the use of Rule 3b. As a simple treatment of a three-part design, [Figure 248] needs little comment. Figures [249] and [250] are examples of dividing, by means of minor divisions, the outer sections of a three-part design.
The small drawers in the right and left sections of [Figure 250] might have been improved in proportion by again applying Rule 2a to their design, thereby varying the measure of their heights. The enclosed panel enrichment affords pleasing variety to the otherwise unvaried front panels. Rule 7g.
Unbroken Vertical Divisions
[Figures 251] and [252] show unbroken drawer runners continuing through all three vertical sections, thus definitely binding these sections together. It is seen that this device is conducive to unity, whenever two or three vertical divisions have been used.
[Figure 252] is a repetition of [Figure 251], but shows the echo or continuation of the three divisions of the primary mass into the appendage. The use of the single or double band enrichment still further binds the minor subdivisions of the primary mass into ideal unity with the appendage.