Industrial Arts Design Part 16

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 ma.s.ses are usually located in and around the inceptive axis and above or below the geometric center of the design._

[Sidenote: Center Zone Enrichment]

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.

[Ill.u.s.tration: SURFACE ENRICHMENT OF SMALL PRIMARY Ma.s.sES IN WOOD

FREE CENTER ENRICHMENT FOR VERTICAL AREAS

TOOL PROCESSES: INLAYING, LOW RELIEF CARVING

PLATE 37]

[Sidenote: Examples of Free Enrichment]

Figures 227 and 228 are additional examples of free enrichment. Figure 228 has introduced by its monogram the individual touch of owners.h.i.+p 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.

[Sidenote: Pierced Free Enrichment]

[Sidenote: Errors in the Use of Pierced Enrichment]

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 ill.u.s.trated 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 ma.s.s and repeat its proportions._

[Sidenote: 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 ma.s.s 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.

[Ill.u.s.tration: SURFACE ENRICHMENT OF SMALL PRIMARY Ma.s.sES IN WOOD

ENCLOSED ENRICHMENT: SQUARE AND RECTANGULAR PANELS--TOOL PROCESSES CARVING, INLAYING

PLATE 38]

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

[Sidenote: 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 a.s.sembled, 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.

[Sidenote: 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 s.p.a.ce 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 ma.s.s 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.

[Ill.u.s.tration: SURFACE ENRICHMENT OF SMALL PRIMARY Ma.s.sES IN WOOD

ENCLOSED PANEL ENRICHMENT--FORMAL AND FREE BALANCE

APPLICATION OF NATURAL AND ARTIFICIAL MOTIVES

PLATE 39]

[Sidenote: 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 ma.s.s, 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._

[Sidenote: 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.

[Sidenote: 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 a.s.sembled 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.

[Ill.u.s.tration: _Courtesy of Berkey and Gay_

FIGURE 246.--Example of Free and Marginal Enrichment]

VARIED PANELS

[Sidenote: Panels of Varied Shapes]