Industrial Arts Design A Textbook of Practical Methods for Students, Teachers, and Craftsmen

CHAPTER XI

Chapter 142,058 wordsPublic domain

SURFACE ENRICHMENT WITH MINOR SUBDIVISIONS OF LARGE PRIMARY MASSES IN WOOD

[Sidenote: 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.

[Sidenote: 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.

[Sidenote: 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.

[Sidenote: 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.

SEQUENTIAL PROGRESSION OF MINOR HORIZONTAL SPACE DIVISIONS

Rule 2c. _A primary mass may be divided into three or more smaller horizontal masses or sections by placing the larger mass or masses at the bottom and by sequentially reducing the height measure of each mass toward the smaller division or divisions to be located at the top of the mass._

[Sidenote: Sequential Arrangement of Minor Horizontal Divisions]

Rule 2c. Let us now imagine the center section of a three-part design to be removed and extended upward. Its transformation by this process into a cabinet or chiffonier similar to Figure 253, Plate 42, introduces the new principle of _sequential progression_. Instead of adhering to the limitation of Rules 2a and 2b, this arrangement shows that the horizontal divisions may be gradually decreased in height from the bottom toward the top of the primary mass. By this rhythmic decrease in the measure of the height, the eye is led through an orderly gradation through lesser areas to the top, thus giving a pleasing sensation of lightness and variety to the structure. By this method, also, the large areas are retained at the bottom to give stability and solidity to the structure. A quick test of these conditions may be made by reversing Figure 254, thus producing a more decidedly pleasing effect.

[Sidenote: Sequential Arrangements--(_Continued_)]

This orderly gradation or sequence of heights need not be carried out with absolute mathematical precision such as 7 - 6 - 5 - 4 - 3 - 2 - 1. Arrangements similar to the following progression make for equally pleasing and more varied effect: 9-1/4 - 8 - 6-3/4 - 6 - 5 - 4-3/4. Many designers repeat similar heights for two neighboring horizontal spaces as, 6 - 5 - 5 - 4-3/4, but the upward gradation should be apparent. Figure 255, an Austrian motive, shows a strongly marked sequence with the top division broken by Rule 3b. It is better practice to keep such attempts confined to the bottom or top members of the sequence or loss of unity may be the final result.

By applying this principle to the center section of a three-part design, we now have illustrated in Figure 256 the new sequence in its application, and Figures 257 and 258 are variations of the same idea.

[Sidenote: Two Horizontal and Three Vertical Divisions]

We now come to the transitional type of design where three _vertical_ sections begin to lose their dominance as major divisions, but still retain their places in the design as minor sections. Replacing these in prominence is the _horizontal_ major section or division. The first immediate result of this change as shown in Plate 43 is to produce a more compact surface with a greater impression of length because of the presence of strongly accented horizontal lines which are always associated with horizontal divisions. This transitional style with its minor but dominant horizontal divisions would harmonize with the long horizontal lines of a room or similar lines in the furniture. The full expression of this style or type will be readily seen by comparing Plates 43 and Figures 251 and 252, Plate 41. Several styles of period furniture have been introduced in Plate 43 to prove the universality of these principles of space divisions.

[Sidenote: Dominance of Lower or Upper Sections]

Figures 259, 260, and 262, Plate 43, are divided by three minor vertical sections cut by two minor horizontal divisions with the dominance in the _lower section_. Rule 2a. The arrangement of the small central drawers could have been more varied by the application of the principle of sequential progression. Figures 261 and 263 show similar vertical spacings with a difference in the arrangements of the horizontal divisions. In these figures the dominance has been placed in the _upper section_ of the primary mass by the division created by the runner above the lower drawer. It is likewise seen that Figure 263 needs a top appendage to bind the top into closer unity with minor spacings.

[Sidenote: Transitional Types]

In carrying the transitional type to which we have referred in the previous paragraphs from the vertical space influence toward the horizontal, we are gradually approaching _three minor horizontal divisions_, still maintaining three minor vertical divisions in a modified and less prominent form. Figure 264 is an approach toward three horizontal divisions. As only one clear-cut horizontal space division is visible, this figure is not a pure example. The upper horizontal space division is broken up into a three-part design by the drawer guides. It is not until we reach Figure 266 that three horizontal divisions are clearly evident.

HORIZONTAL DIVISIONS

[Sidenote: Three Minor Horizontal Divisions Cut by Varying Numbers of Vertical Divisions]

The horizontal minor divisions in furniture are generally drawer runners and the vertical minor divisions are often drawer guides. The horizontal divisions may be arranged in either one of two ways: first, by the application of Rule 2b; or second, by applying Rule 2c, the rule of sequential progression. Figures 266, 267, and 268, Plate 44, are representative of the former while Figures 269 and 270 are typical of the latter. The result in either case is a compactly designed and solid mass of simple structural lines. On some occasions we find the three-part rule used for minor divisions within the horizontal sections, while again the two-part rule is used. The method depends upon the desired use and appearance. In either case the long areas and large masses are to be retained as far as possible near the bottom of each primary mass, as this custom tends to give a sense of solidity to the design.

[Sidenote: Four Vertical Divisions]

Figure 271 is a rare reversion to more than three vertical divisions. In this case, Rule 3c has been observed and we find all of the panels are of equal size. Variety has been secured by means of the horizontal spacings.

FREE BALANCE

[Sidenote: Free Minor Space Treatment]

[Sidenote: Free Balance]

This form of design is inherent in the Japanese system. It consists in the planning and balancing of unequal areas over a geometric center. It is not subject to definite rules as is the more formal balancing. The reader is referred to Mr. Arthur Dow's excellent book on Composition for further discussion of the subject. Figure 272, Plate 45, is an example of partly formal and partly free balance and its method of treatment.

[Sidenote: Carving and Piercing as Applied to Large Masses]

Figures 273 and 274 are pierced designs, thoroughly related to the structure and in no way weakening it. Figure 273 is representative of a type which, if carried to extremes, will cause the structure to become too weak for service; it is, therefore, necessary to guard and restrict this form of enrichment. The carving of Figure 275, combined with the contour enrichment, forms a pleasing variation to this common type of furniture design.

Small minor details in furniture construction should be designed with as much care as the larger major or minor parts. The larger areas or spaces in small details similar to stationery shelves and pigeon holes must harmonize in proportion with the space in which they are placed and of which they are a part.

[Sidenote: Small Minor Details of Large Primary Masses]

The three-part or three-vertical division system, Rule 3b, is generally used to design the small details in furniture as may be seen in Figures 276, 277, 278, and 279; while the rule of sequence, Rule 2c, may be employed again to subdivide these small details in a horizontal direction with as much variety as is consistent with unity. Figure 280 is a leaded glass surface enrichment for doors. Note the leading lines of the enrichment as they parallel the dominant proportions of the panel opening.

INSTRUCTION SHEET

Plate 46 is a typical high school sheet of design problems, with the masses accentuated by pen shading. See Plate 15.

SUMMARY OF DESIGN STEPS

(_a_) to (_e_). See similar steps in Chapter IV.