What Is Proportion In Art?

First we must know what proportion in art is before it can be applied to wood art. The meaning is found in the balance of the art in relationship to its other parts.

The height, width, and depth should be scaled proportionally to the sum of its parts and other objects represented in subject matter.

In turn if one is looking for a more stylized representation this proportion can be distorted within the wood art.

Often this is done with purpose to draw attention to a focal point or give an intended meaning. Alternatively it can also be used in design if focused for a specific function.

There are concepts which have evolved over time in establishing this proportion in a real way. It is called the Golden Ratio and it has a mathematical application.

This value is 1:phi and it holds merit not only within art but also in the design world.

Here is where woodworkers would do well to pay attention for their creation. These aspects follow principles of design which is the cornerstone of many arts.

Comparing Proportion In Art From Canvass To Woodworking

When an artist begins to draw or paint this Golden Ratio is used to determine the scale of its art objects within the piece. This representation must allow for proper proportions on a two dimensional surface.

If it is not followed the work loses its realistic qualities and becomes unappealing at worst or abstract at best.

In wood carving our canvass is quite unique in that it is three dimensional. We can craft objects with it through design.

Tables, chairs, boxes, boards, panels, or whatever the mind can imagine. A carpenter will unknowingly use the Golden Ratio in all he constructs based upon measurement.

When making objects such as tables or chairs the proportions used are measured against the human body. Yet our bodies themselves hold this same Golden Ratio.

Thus the outcome of the craftsman’s work must be in proportion to this ratio in order for it to be to proper scale in functional use.

All design elements follow this rule whether it be fashion, vehicle design, home construction, or furniture making. All we interact with is tied to this ratio.

When creating three dimensional objects in woodworking it becomes imperative to keep this in mind especially when making smaller objects.

Smaller objects when crafted are more aesthetic in appeal when they follow this key ratio. Width, height, and depth matter as well as the art designs which are used on the piece.

This moves into another aspect within art called balance which works hand in hand with proportion.

Using Proportion In Art When Carving Wood

Aside from things like wood panels or smaller decorative boards, most wood art involves a three dimensional object. Establishing proportion to art on these objects can be more difficult than a panel.

Despite this there are principles of art that carry over from one to the other.

In wood panel art it is much like a canvass for painting or paper in drawing. It is essentially a two dimensional surface although it is wood that will be hung onto a wall.

The art which is carved into this surface should be treated in proportion to the size and art desired. In this way the wood is maximized for its space in art.

In using the Golden Ratio one seeks to achieve Symmetrical Balance which in turn will result in Bilateral Symmetry.

To define these terms within a concept for understanding the art is placed evenly within the wood to all sides while maintaining proper proportions.

If you wished to carve a companies logo and name into a panel you obviously would want it to be centered.

This centering creates the same amount of space from top to bottom, and from left to right on the panel. If you achieve this then in the most basic form you have achieved Bilateral Symmetry.

When using art it can be a bit more complex than a logo or name. Depth of field within the art can be proportionally correct such as a pathway with trees leading into the distance.

Yet it can alternatively create issues in this Symmetrical Balance.

For a more basic understanding it does not appear “centered” as in the example with the company logo and name. This is because of the depth of field within the art.

More open space appears to be on one side due to this depth if not careful thus altering the Symmetrical Balance.

Here is where it can become difficult to correct issues in wood carving of the art. Unlike other mediums we simply cannot erase or paint over what was done.

Once a carving is made and material is removed there is no going back.

Proportion In Art When Carving Three Dimensional Art Objects

A problem can be encountered within panels that extend even further within three dimensional objects. A box for example may have art carved onto its front and top.

Here a lack in Symmetrical Balance can render the overall view of the box art as being out of proportion.

If the wood box was made using the Golden Ratio the art placed onto the box would give the illusion that proportions are off. This is in addition to the art appearing as if it is not achieving Bilateral Symmetry.

One has direct impact on the other.

Other factors come into play with the box itself. Hardware if used on the front as a clasp for keeping the box closed can impact this appearance.

Here function and art design must come together in order to achieve the desired end.

Within objects such as these the proportions must be considered in how they will impact the overall object. What may look great on a panel may not have the same impact on a box.

Altering the proportion, offsetting with additional art, or altering the design as a whole may be needed.

At times when these issues may arise it can be a good idea to take an asymmetrical approach to the overall ratios at play. An art design carved into the front left while a design is carved into the top right of a box may give the balance needed.

Here the overall visual aesthetics are taken into account through juxtaposition of the individual parts.

Proportion In Art By Concept Or Prototype

It can be tempting for an artist to begin by simply doing. The final production will not always be as envisioned but it can be an interesting way to learn.

There are better approaches to achieving ones goals.

The most simple method of doing this is with old school graph paper. Trace the object using the graph lines as a form of measurement.

Each line will represent inches or feet depending on size and scale of the project. Essentially you are creating a concept of the art.

After this the art can be laid onto the sketch allowing for one to begin to see what the project would look like. Take into account all other modifications that would be required such as hardware or other features.

It is easier to make changes at this stage before any wood is cut than after the fact.

A better way to achieve this will require some tools which not all wood artists or woodworkers will have.

If you have a cnc mill then it is likely you have design software of some kind which will render three dimensional objects.

Using software will allow one to begin to gain a better picture of what the sum of the parts will become. As art is added to the surface in this digital way it can be sized and manipulated far more easily to see multiple variations.

Any wood carving that is done after this will stay within the proportions one determines through the software.

If graph paper or software is not something that one can rely upon for concepts, then it may be essential to use prototypes.

This can be very useful if one is seeking to create an object where many different kinds of art will be displayed across a line of creations.

Obviously one does not use the best materials that they have for this prototype. Yet using something like cheap plywood for this purpose may be advantageous and easy to achieve.

Some people do better by seeing and feeling the work in their hands than on paper or a screen.

Typically a prototype is a part of any design process despite earlier paper or digital concepts being made. It is a natural part of the flow when creating a new work.

Breaking The Rule Of The Golden Ratio

Breaking the Golden Ratio can be successfully done if one is careful. Yet it is important to know when it is practical to do this.

Understand it obviously does not apply when one is simply creating for the sake of asymmetrical design or stylized art.

An example of this can be found in some of my work such as my Letter Boxes. A letter box is designed to be the size of an envelope that is typically used to mail letters.

In this way the box would hold letters as a keepsake. Indeed this is an idea from a former age in another world outside of our present time.

The proportions of these boxes did not follow the Golden Ratio. Keep in mind this ratio extends beyond the mere object but also into its functional use with relationship to other items.

If the box was placed on a dresser or desk it may not have the same visual aesthetics that it should.

The box proportionally was not as deep as it should have been due to its length. In breaking the Golden Ratio I had created a problem. Yet there was a way to allow this to be overcome.

By using art concepts proportionally that worked with the box design it would alter the visual aesthetics. Certainly this would not change the dimensions of the box, yet it would make it far more appealing.

Wood carving the art gave symmetrical beauty to an asymmetrical design.

There will be times when one creates a design for a function that may not always follow the Golden Ratio. In these cases where function or its purpose fits the object then art can be used to create better visual aesthetics.

The goal is to offset the altered design ratio. In this case proportion in art becomes very important to how the object is perceived.