Chapter X SURFACE ENRICHMENT OF SMALL PRIMARY MASSES IN WOOD--Continued Enclosed and Free Ornament Enclosed Ornament (Panels)

Chapter IX dealt with methods of developing continuous or repeating ornament (bands or borders). This leaves enclosed and free forms of surface enrichment to be considered in this chapter.

As an enclosed form, a panel may be enriched by geometric, natural, or artificial ornament. It is enclosed in a definite boundary of bands or lines and may be a square or other polygon, circle, ellipse, lunette, spandrel, lozenge, or triangle. As the decoration does not have the continuous repeating movement of the border and as it covers an enclosed area, it is necessarily treated in a different manner from either band or border. Its object is to decorate a plane surface. The enrichment may be made by means of carving, inlaying, or painting.

Free ornament means the use of motives not severely enclosed by bands or panels. Free ornament is generally applied to centers or upper portions of surfaces to relieve a monotonous area not suited to either panel or border treatment. It may have an upward or a radial movement dependent upon the character of the member to be enriched.

We then have three forms of possible surface enrichment: repeating or continuous motives, enclosed motives, and free motives. Our next point is to consider where the last two may be used appropriately in surface enrichment.

The panel of a small primary mass of wood may be enriched at any one of three places: first, at the margins; second, at the center; third, over the entire surface. The exact position is a matter to be determined by the structural design and the utilitarian requirements of the problem. For example, a bread board or taboret top would require the enrichment in the margin with the center left free. A table leg might require an enrichment in the center of the upper portion of the leg, while a square panel to be inserted in a door, Figure 233, Page 124, might require full surface treatment.

Each area of panel enrichment should have one or more accented points known as points of concentration. The design should become more prominent at these places and cause the eye to rest for a moment before passing to the next point of prominence. The accented portion of the design at these points should be so related to the structure that it apparently reinforces the structure as a whole. Corners, centers of edges, and geometric centers are salient parts of a structure; we shall therefore be likely to find our points of concentration coinciding with them. Let us then consider the first of these arrangements as applied to enclosed enrichment.

Marginal Panel Enrichment

Enclosed Enrichment for Partly Enriched Surfaces

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 corner 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.

The marginal method of enrichment may be used when it is impossible to enrich the entire surface because the center is to be used for utilitarian purposes or because it would be aesthetically unwise to enrich the entire surface. The marginal zone is adapted to enriching box tops, stands, table tops, and similar surfaces designed preferably with the thought of being seen from above. We shall call such surfaces horizontal planes.

As the design is to be limited to the margin, the panel outline is bound to parallel the contours, or outlines, of the surface to be enriched. It is well to begin the design by creating a panel parallel to the outlines of the enriched surface. Figure 218. The next step is to place the point of concentration in the marginal zone and within this figure. Common usage dictates the corners as the proper points. It may be the designer's practice to use the single or double bands, Figures 218, 219, 220, with a single accentuation at the corners. The spots composing the point of concentration must have unity with the enclosing contours and with the remainder of the enrichment. Figure 220 is, in this respect, an improvement over Figure 219. But these examples are not true enclosed panel enrichment. They are the borders of Chapter IX acting as marginal enrichment. It is not until we reach Figure 221 that the true enclosed enrichment appears, when the panel motive is clearly evident. In this figure a single incised band parallels the contours of the figure until the corner is reached. Here we find it turning, gracefully widening to give variety, and supporting the structure by its own increased strength. The single band in Figure 221 acts as a bridge, leads the eye from one point of concentration to the next similar point, forms a compact mass with the point of concentration, and parallels the enclosing contours of the enriched surface.

In Figure 222 the point of concentration is to be found in the center of each margin. This bilateral unit is clearly designed on and about the center lines of the square panel. These points of concentration take the place of previous concentrations at the corners which were based upon the square's diagonals. While accenting based upon the center lines is acceptable, this means of concentration does not seem so successfully to relate the accented part to the structural outlines as that of concentration based upon the diagonals. The latter, therefore, is recommended for beginners. The corners of Figure 222 are, however, slightly accented by means of the bridging spots x-x.

The diagonals and center lines of the surface enriched squares of Figures 221 and 222 and similar structural lines are inceptive axes, as they are center lines for new design groups. It may then be said that a strong basic axis or similar line depending upon the structure, may become the center line or inceptive axis upon which to construct a bilateral design. It is only necessary to have this inceptive axis pass through the enrichment zone of the panel. Hereafter in the drawings, inceptive axes will be designated by the abbreviation I.A. while the point of concentration will be indicated by the abbreviation P.C.

The strongest plea for the inceptive axis is the fact that it interlocks surface enrichment with the structure, insuring a degree of unity that might otherwise be unattainable.

The carved enrichment of Figure 223 fully illustrates this point. The analytical study of Figure 224 shows the diagonal used as an inceptive axis, with the leading lines grouped about it at the corner point of concentration.

Free 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.

This method of surface enrichment is used to relieve the design of heavy members in the structure or to distribute ornament over the surface of lighter parts in a piece of furniture. An example is noted in Figure 246, Page 128, where the upper portion of the legs has center enrichment. As can be readily seen, the enrichment is generally free in character with little or no indication of enclosure. Figure 225 shows the application of free enrichment to a paneled screen or hinged door. The P.C. is in the upper portion of the door and is re-echoed in the door frames, while the ornament itself is strongly dynamic in movement with a decided upward tendency in sympathy with the proportions of the door. This motive might be developed by inlay, carving, or paint.

Figure 226 is a carved Gothic leaf, appropriately used as enrichment of heavy furniture. The unit may be raised above the surface or, even more easily, depressed or incised into the surface. The small corner spot is added with the intention of bringing the leaf into sympathetic conformity with the contours. Note how the center line of both units in Figures 225 and 226 coincides with the inceptive axis of the structure. Let it again be reiterated that this binding of the surface enrichment to the structure by means of the coincidence of the axes of symmetry and the inceptive axes causes the most positive kind of unity. No part of this form of enrichment should be carved sufficiently high to give it the appearance of being separated from the main surface.

Figures 227 and 228 are additional examples of free enrichment. Figure 228 has introduced by its monogram the individual touch of ownership so essential to the success of school designing. The monogram represents free enrichment while the border is marginal decoration with the point of concentration in the center of the top edge. Both types of enrichment are related to each other and to the structural contours.

Figure 229 is typical free pierced enrichment. The wood in the enriched portion is removed and the resulting figure supplies added lightness of construction and variety to the surface. One encounters this form of enrichment in the average school project with greater frequency than either inlaying or carving. It is with the thought of adding to the possibilities of school project decoration that the latter forms have been introduced. A word regarding the errors often encountered in pierced enrichment of the character of Figure 229 may not be amiss. Pupils, believing the square to be the last word in this form of enrichment, place the figure on the member to be enriched with little thought of its possible relation to the structural contours; the result is the un-unified design illustrated in Figure 230. To correct this, reference should be made to Rule 8b.

Full Panel Enrichment

Rule 7d. The contours of fully enriched panels should parallel the outlines of the primary mass and repeat its proportions.

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.

Rule 7e. The points of concentration for a fully enriched square panel may be in its center or in its outer margin.

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.

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.

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.

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.

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.

Varied Panels

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.

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.

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.

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."

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