Proportion is the quiet engineering behind composure. We use time‑tested guides—the golden ratio (φ ≈ 1.618), Fibonacci spirals, root rectangles (√2, √3), and the rule of thirds—as starting points, not commandments. Numbers set the brief; judgment completes it. We also borrow from Feng Shui in a secular way: as cues for flow, placement, and visual calm.
Proportion overlays—what we’re looking for
Ratios at a glance (side‑by‑side)
Attribute | Golden Ratio (φ) | Root 2 | Root 3 | Rule of Thirds |
---|---|---|---|---|
What it is | Long ≈ 1.618 × short | Long ≈ 1.414 × short | Long ≈ 1.732 × short | Face divided into a 3×3 grid |
How it feels | Effortless, calm, unforced | Composed energy, balanced | Taut elegance, a touch longer | Confident placement—never stiff |
Typical use | Understated desktop pieces | Footprints/trays that nest cleanly | Long, low display‑forward pieces | Locks, plaques, inlays on the lid |
Fibonacci cue | 1–1–2–3–5 layout rhythms; 1:0.62:0.38 line family | Halves/quarters that scale neatly | Thirds + long sweep for drama | Focal points sit near intersections |
Plain‑English primer
- Ratio: a relationship between sizes. A lid 12″ × 19″ is ≈1.58:1—longer than a square, shorter than a strip.
- Optical center: the spot that looks central—slightly above true center. Locks/plaques tend to feel “right” here.
- Reveal: the fine shadow line between lid and body. It lightens the read and signals precision.
- Border & line family: one primary band and two subordinate lines (≈1 : 0.62 : 0.38) used consistently so details don’t compete.
Fibonacci, made practical
- Exterior attitude: φ for calm, √2 for composed utility, √3 for taut elegance.
- Interior rhythm: trays in halves; compartments in thirds; or a Fibonacci cadence (2 trays → 3 lanes → 5 vents per lane) to avoid visual noise.
- Line family: carry 1 : 0.62 : 0.38 through borders, inlay fillets, and vent arrays for one visual language.
Feng Shui, translated (secular cues)
- Flow lines: keep hinge arcs and reveal paths unobstructed; avoid crowding the handle zone—calm flow reads as composure.
- Command placement: on a desk or console, allow a clear view and breathing space around edges; the box shouldn’t fight the room’s sight lines.
- Elements as materials: wood (body), metal (hardware), water (gloss/reflectance), earth (stone/leather inlays), fire (warm tone). Balance, don’t collect.
Proportion Lab (educational)
Pick a ratio and a working width; we’ll suggest a matching length, a grounded height, and a detail system (reveal, border, line family). Heuristic; refine in hand.
Balance & visual weight
- The “middle” isn’t in the middle: most faces settle when the focal point sits slightly above center.
- Lid ↔ body conversation: lid thickness, shoulder above the reveal, and border band work together; small changes quiet the silhouette.
- Edges as conductors: crisp edges and disciplined reveals control how light travels—less glare, more composure.
Small dimensions that do big work
- Reveal: typically 1.5–2.0 mm on compact pieces; 2.0–2.5 mm on larger boxes.
- Top border: practical band ≈ width ÷ 18 → width ÷ 24. Secondary lines step down ≈ 1 : 0.62 : 0.38.
- Height stance: begin around 0.60–0.66 × width for a grounded desktop feel.
We set the geometry with proven guides, then finish by hand until everything feels inevitable—precise without hurry, calm without emptiness.
Short answers with clear boundaries.
Is the golden ratio always “best” for a humidor?
What does Fibonacci add beyond φ?
How do you use Feng Shui without dogma?
Where should locks or monograms sit?
From idea to object (fast route)
- Pick the attitude: golden (calm), √2 (composed), or √3 (taut).
- Set the footprint: length = ratio × width; mark a thirds grid.
- Set the height: begin at ~0.62× width; adjust for stance.
- Define details: reveal, border band (width÷18→÷24), line family (1:0.62:0.38).
- Place hardware: thirds + optical center; refine in hand.
Bottom Line
Proportion is the quiet structure beneath restraint. We use φ, roots, thirds, and flow cues to set the geometry—then finish by hand until the piece feels inevitable.