Industrial Arts Design Part 17

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 s.p.a.ce filling is approximately the same as in former examples.

[Sidenote: Use of Artificial Objects]

The still life sketches of the art cla.s.s 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 a.s.sist 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.

[Sidenote: 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 ma.s.s of trees on one side of the geometric center is balanced by a similar ma.s.s 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.

[Ill.u.s.tration: RULES 7D TO 7E--ENCLOSED SURFACE ENRICHMENT WITH APPLICATION OF STILL LIFE TO A FULLY ENRICHED SURFACE

PLATE 40]

Figure 245 again reverts to artificial motives, ill.u.s.trated in free balance. The jet of steam is the unifying factor which brings the cup into harmony with the enclosing s.p.a.ce. Figure 246 shows ill.u.s.trations 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 princ.i.p.al 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 ma.s.s, 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 ma.s.s 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 ma.s.ses 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?