A row of narrow boards is also a row of narrow spaces. Their rhythm changes when the gap is almost as wide as the wood. In a sketch, alternating solid marks and blank paper makes that change easy to see.
I begin with the overall rectangle rather than the individual strips. Then I divide the width into repeated units and compare two or three possible gaps. The drawing is a composition exercise, not a cutting list.
A broad frame calms a dense pattern. A thin frame lets the repeated lines take over. Both can work; the useful question is which part of the object should feel quiet.
All notes