What is "too much"

[Andy Misco]

How much is "too much"?
I have an idea for a night stand using a solid Zebrawood top and shelf, Curly Maple drawer and sides, and Walnut legs. I personally think each wood would compliment each other. But, are 3 woods in a single design too many?

In my mind I like the idea, but I have a little voice in the back of my mind that keeps whispering "Too much"

I've made many pieces with 2 complimentary woods,
Birdseye/walnut, Maple/Wenge, Walnut/Wenge, Maple/Bubinga...... and personally love contrasting designs.

Does anyone have any pictures they would share?
Andy

[Jason Roehl]

In my mind's eye, I think having 2 highly-figured woods like zebrawood and curly maple might be too much. I think it could still look good with some plainer hard or soft maple, the walnut and the zebrawood.

Maybe if it were a large piece like a table, there could be enough area for both figured woods to act as accents or one as focus and one as accent, but on something small like a nightstand, I don't know that it would work. Of course, you could always build it and prove me wrong, too!

[mark page]

I too think the appearance would be too busy. Imagining in my mind a person wearing plaid britches, different color plaid shirt, and a polka dot tie. I personally favor two woods that compliment each other on differences, ie-maple/walnut maple/cherry etc. One exception to my rule would be segmented bowls or turned items that are a layered design. Even here I separate the highly figured woods with a plain contrasting wood. Different contrasting colors and grain patterns that compliment each other on their individual beauties is the look I try to achieve. Just my 2 cents worth though. Beauty is in the eye of the beholder though. If it looks good to you and feels right, do it. Ever been to an art museum? 3/4 of all the items in one do not appeal to me at all, except on a humanities level, but they do to some people or they wouldn't be displayed.

[Keith Cope]

Andy,

I had a similar dilemma when I built a vanity and cabinet for our bathroom remodel. I decided to make it and decide if it was too much--I think this works, but it is pushing it... This is cocobolo and zebrawood on the drawer fronts and walnut on the legs, face frame and side panel.

[Bert Johansen]

Andy, you make an excellent point. Although I'm not a professionally trained artisan, I have my own inner voice that speaks to me when I begin the design process. My inner voice speaks the oft repeated KISS--Keep It Simple, Stupid! This can refer to light/dark combinations, or figured/straight. Studying some of the best of the old masters works definitely says that "a little goes a long way." Thus they show us to use one predominant wood--the classic mahogany, cherry, walnut, maple. To add interest, they sparingly used complementary woods. To really make a subtle statement they would make an entire piece with one wood, but add figure where it counts, such as door panels or drawer fronts. Add some beading, perhaps.

Personally, I think anything over three wood varieties can spoil a look for a traditional piece. Contemporary works can sometimes violate this rule in fun ways, however. I was examining a wonderful table in the Kerrville Wood Show last fall and discovered the woodworker had used figured sycamore as a secondary wood--drawer sides and bottoms, and even web frames! Rarely seen, but this added a real element of mystery and beauty to an otherwise simple piece.

Your choice of finish will also dramatically affect the final look of the piece. For example, do you try to create a complementary base color to your pieces? This can "warm" the piece. Or, for extreme drama, use--say--maple and ebony to accent a piece, with no attempt to blend the colors. So give lots of thought to how you design your work, and mock up a section to see how it will look.

I'd really like to hear some of our masters out there, like Mark Singer, share their expertise on this excellent question. Thanks for posting it, Andy.

[Mark Singer]

Most pleasing compositions are restrained in some way giving the eye a place to rest. There may be a painting and a frame....but the frame should support the painting and not try to steal the show. Figured woods are best when paired with subtle woods. Finer texture with coarser....two coarse textured woods of the same scale compete.....this is not good practice. The solid form anchors the ligter more delicate.... Shapes in nature are harmonious...the leaves on a tree are the same shape....the plates on a crab are the same...just bigger and smaller....The petals of a rose.....contrasted agaist the green foliage....the mountain range all family members of related form....The City brings chaos...each sign in a brighter color and larger size screaming for attention...thing emphasis and supporting elements....one person sings lead then they all join in the chorus....harmony!

[Andy Misco]

Wow! Thank you!
This is exactly what I was looking for. Very thought out, intelligent and knowledgeable posts.

The whole reason for the post was my own inner debate on what I was planning. I'm interested in what other thought processes designers go through.

BTW Keith the vanity is stunning! I love the the way you ran the grain vertical. I'm working on a long, double open vanity entirely in Wenge right now for our master bath.

I'm still on the fence but leaning more towards less is more

[Keith Cope]

Thanks!
I too tend to stay in the less is more camp most of the time...the bath cabinetry being the exception.

[Jim Tobias]

Andy,
I agree wiht most of the other replys. When you put more than one hiighly figured wood in the piece, it starts a "competition" for the viewers eye and therefore (IMHO) makes it harder to appreciate either one of the figured accents. I do think one has to be careful when matching woods in a piece that you don't end up displaying a lot of wood instead of the piece.

Jim