In either case the stencil must be securely fastened in place to prevent slipping during this extra handling. No protective coat is required over stenciled patterns which are not expected to receive much wear. The stencils can be cleaned for reuse with turpentine or naphtha; lacquer thinner must be used if a lacquer pattern was sprayed on. Placement of Decorations. When relatively small designs are to be located on large surfaces such as the panels of a cupboard or cabinet, the amateur all too frequently yields to the urge to place his decorative pattern in the exact geometrical center of the available space. Although this location conforms with the natural law of symmetry, it disturbs the illusion known as the "optical center," automatically perplexing the eyes in their restless scanning. This is because of a ¦ FURNITURE FINISHING 341 Fig. 5.12. The six directions. fact recognized by expert marksmen that when the eye focuses upon the dead center or bull'seye of a rectangular oroblong surface, it tends to be pulled downward. Therefore, to offset this "gravitational drag," the true center is raised somewhat, becoming an optical center which is more satisfactory to the critical eyes of the beholder. That is why framed pictures exhibit more mat space at the bottom, and the bottom rail of a door is wider than the others. The six directions. For developing a composition in a larger area, it can be divided by two diagonal lines and four reciprocals into six directions which are in mathematical relationship to one another, as indicated in Figure 5.12. By locating all decorations in the optical centers, this diagrammatic representation may be utilized as the foundation for a satisfying design, provided interest is sustained by the skillful use of variety and size. Peasant Painting. During the long winter days and nights or in slack periods between harvests or fishing trips, the "little people" of every country developed their primitive folk arts. Uninhibited by formal artistic training, these peasant designers evolved unsophisticated decorative effects employing a minimum of bright colors. Invariably, however, they succeeded in expressing themselves in those terms with which they were most familiar, and therefore obviously enjoyed. Nature provided the popular flower, fruit and vegetable motifs, augmented by birds, barnyard and forest fauna under the stars in the sky; fishermen, hunters, and trenchermen artlessly interspersed their designs with favorite avocational symbols; the gay harvest festivals of the north and the religious fiestas of the south left their imprints on native art as bright souvenirs of happy occasions, while in and out through the various patterns threaded the lover with the emblem of his passion in the shape of a bright red heart. The media for this naive folk expression was determined by the local availability of materials.