New Media Studio Project 1
September 3, 2009, 3:10 am
Filed under: Uncategorized

First Project: A series of e-cards and website to support them

Specific Challenges: Finding how to program cards to be personalizable and attempting to make that work so that my ecards function just like normal ecards

Why i chose this for my project: I want to go into greeting/ecard design when i graduate. Though i know that this is not the standard desire for someone in my field- i have loved making cards for people ever since i was a child- and the more i think about it- the more i would rather go into a field that is all about making people happy, and not so much about making people money. That being said- we shall see how my first “official” attempts at ecards go.


http://www.bellaonline.com/articles/art59749.asp – this site has a lot to say about flash and ecards. We’ll just wait and see if its anything I need



Ecards I like:



After seeing this one: http://www.123greetings.com/love/i_love_you/crazy/crazy46.html – i have decided that the world seriously needs some good ecards.


Hallmark charges 99 cents for this: http://www.hallmark.com/webapp/wcs/stores/servlet/ecard%7C10001%7C10051%7C975804%7C147551;-102001;-102270;66559%7Cecard%7CPR1S%7Cecards?cardType=premium&template=n&categoryId=66559 which features their trademark characters… but the whole hot dog thing is a bit… interesting.

This one is cute: http://www.hallmark.com/webapp/wcs/stores/servlet/ecard%7C10001%7C10051%7C970785%7C147551;-102001;-102270;264570%7Cecard%7CP1R3S%7Cecards?cardType=premium&template=n&categoryId=264570 its more cartoony- like what I’m planning on doing

This one I actually really like: http://www.hallmark.com/webapp/wcs/stores/servlet/ecard%7C10001%7C10051%7C892289%7C147551;-102001;11441;-102271;-102050%7Cecard%7CPR3S%7Cecards?cardType=premium&template=n&categoryId=-102050

I like this style, but not the execution: http://www.hallmark.com/webapp/wcs/stores/servlet/ecard%7C10001%7C10051%7C983313%7C147551;-102001;11441;-102271;-102046%7Cecard%7CPR3S%7Cecards?cardType=premium&template=n&categoryId=-102046

The little dog in this one makes me happy: http://www.hallmark.com/webapp/wcs/stores/servlet/ecard%7C10001%7C10051%7C976460%7C147551;-102001;11441;-102271;-102046%7Cecard%7CPR2S%7Cecards?cardType=premium&template=n&categoryId=-102046

Cool idea on this one… hate the comic text… and not so much a fan of the bland message. But cool otherwise: http://www.hallmark.com/webapp/wcs/stores/servlet/ecard%7C10001%7C10051%7C877294%7C147551;-102001;-102234%7Cecard%7CP1R8S%7Cecards?cardType=premium&template=n&categoryId=-102234

This is not a card- but its a really cool animation. I would like to do a card like this, possibly: http://www.youtube.com/watch?v=HUO0gd7cr9o


5 Categories: I would like to start with 5 solid ecards, i think. I’m afraid that many more than that would be hard to handle all at once, but i may change my mind after i get going on things. I want to do them from very different categories, and am debating pinning down a style vs experiementing. I always seem to have a specific style to the things i do, and that will either benefit me greatly, or really hinder me. We will see how that goes. I would like to do: Christmas, Birthday, Thank you, Valentines Day and Apology to begin with. Brainstorming will be done on paper… so you’ll just have to wait and see what i come up with.



You’ll be very excited to know that during my hiatus from blogging i have made leaps and bounds of progress. Though i have learned that some of my goals were unrealistic (for example- getting all of these cards done by day after tomorrow)- i have also learned a lot about animation and how the ecard world works. I have been doing some more research, so i’ll post some more example cards soon, but what i’ve found is that since ecards take a TON of work, a lot of designers get lazy. However, there are ways to compromise- making quality cards that take enough time- but not too much. I decided on doing Valentines day, Birthday and Christmas. Here’s the plan right now:


Valentines day: A sweet, hand drawn card with imitation child drawing going through the seasons- talking about mushy stuff like love and valentines and stuff. This one is mostly finished, i want to go back and hand draw the type, and maybe add a few more layers. I want it to be stark and simple, but not empty. 


Christmas: I want to do a claymation of a penguin decorating his tree then lighting it up. Its pretty self explanatory. You don’t see many clay ecards, so i feel like there might be a cool niche out there if i got involved in this. 


Birthday: I may just do a traditional animation for the birthday card- i might do a chef making a birthday cake. It seems a little expected, so i’m going to think about that. i am in animation class, and i am really interested in using some of those principles.


HA! HUGE SUCCESS! I just learned how to edit what portion of sound goes into flash… something i didn’t think was possible until just now. here is the link- read up! http://www.dummies.com/how-to/content/editing-sounds-in-flash-cs3.html 

also… i have almost another card done. its my christmas one. its cute:)


11/17/09- I bet you thought that i forgot about my blogging, didn’t you. You would be definitely incorrect. I have, however been holding out on you, saving everything in word. Its so much faster (and that way you get to be surprised). But here is a brief overview of what is going on right now. I am done except minor tweaks with my e-cards. They turned out pretty cool, but i can’t get the to POST, so you’ll have to wait and see later. I have hit a snag with my ecard interface design- my buttons are not cooperating with each other the way i’d like, so i’m fighting with them at the moment. My self promo animation is going well- i am really enjoying that most of all, i think. anyways- thats the skinny version of things- i’ll post everything else soon.


Animation Project 1
September 2, 2009, 5:13 am
Filed under: Uncategorized

9/1/09 Hey! Summer is over and its back to school- so i’m back to blogging about various projects. This semester is going to be a doozy… but a blast.

Description: Today we were assigned our first Animation Project- and it sounds like great fun. We were assigned a flip book. We are supposed to select 4 consecutive letters (like hijk or mnop) and make a sentence out of them. then we are supposed to animate the sentence we wrote actually happening. At the moment i am still in research phase- going through and trying to see what other people are doing with flip books. there is some pretty amazing stuff out there! here are some youtube videos:


Cool videos about flipbooks:

http://www.youtube.com/watch?v=SyfFviZxhvQ&NR=1 —– I love the shadows they did in this one!

http://www.youtube.com/watch?v=HClNcAvD1AY —— cool shirt idea. Definitely might use this one.


I like this one because it zooms. I hadn’t really thought about that yet.

http://www.youtube.com/watch?v=7IeSqVboADw&feature=fvw —- this one is intense. And this is why we are having global warming… too many sticky notes! just kidding. the bunny on here breaks my heart.

Thoughts about the project so far: My initial concern about this project is how to draw the same thing over and over without messing up. it seems like you would have to be really REALLY careful, and i’m not sure how to do that, exactly. But then i thought- oh hey. Use the computer. So what i’m thinking right now is about doing some claymation or else doing some type of drawn figures from flash or photoshop. I have also debated doing some still pictures… but i think first i should probably pick my topic.

Topic thoughts:

MNOP- Mouse Notices Octupus Playing

BCDE- Bunnies Can’t Die Ever

GHIJ- Giraffe Hugs Igloos Jokingly

QRST- Queens rarely self tan

CDEF- Cats don’t enjoy food

I can’t seem to really narrow anything down because i don’t have a media picked. and i can’t pick a media because nothing is narrowed down. what a circle. i will sleep on it and get back to you.

9/2/09 Hey- someone showed me this super cool video- made of all windows sounds. Very creative!- http://www.youtube.com/watch?v=dsU3B0W3TMs

Decided on letters: WXYZ- Wizards Xxerox Yellow Zebras

i picked this one because it was the most visually stimulating in my head- nothing quite as distinctive as a wizard- or strange as a yellow zebra. And also my arbitrary side wanted to use wxyz.


Possible Obstacles:

  • how does a zebra move
  • do i want to use light with the xerox
  • is my solution too expected?

Well- 1 hour later and i have addressed these issues. I have figured  out the zebra:

Youtube video that helped with the zebra moving: http://www.youtube.com/watch?v=7zoFy720mVk

I am going to do a big “Flash” for the xerox machine maybe

I added camera angles (thanks for the idea Jeff)- and incorporated the movement of the camera into the story. It looks pretty cool- i have been sketching things out. exciting!



Phew! What a day of animation today was. I have made most of the stop animation frames… and strung it together to see how it looks in flash. Next big step… printing everything out and cutting and glueing it to stuff. You’ll just have to wait and see- but i sure like it. Its given me some cool ideas for my Gaming Animation project… which you will also have to wait and see:).


Its been awhile- so here’s an update from recent events. We (ahem, Jeff) and i decided that it would be sort of cool to add a twist to my pretty straight forward video- so that meant going back and redoing most of it. But- i think it was worth it. its longer now- and definitely cooler:) i’d tell you what the twist is… but i haven’t shown Jeff yet, so i’ll just make you wait. Now that i’m basically done- here are some of the things that i learned:

Tough Stuff:

  • Claymation is hard in some aspects- like set up and angles and scene changes
  • If you make a flip book too long… you can’t really flip it (unless you have monster hands)
  • keep your shots in order. When things change only a tiny bit- its easy to make mistakes
  • You can’t buy notecards in packs of 150. you have to cut 50 page packs open.


9/29/09 2 projects later…

I am REALLY enjoying seeing how complicated the movements people and objects make are. I had quite a struggle with walk cycles- trying to figure out where the actual movement happens. The run was a bit easier- since you move pretty much the whole time. I was surprised to see how complicated animal movements are- but i ended up with a fairly cute cat that i like. we did some exercises with stairs and things falling down them, which was fun and interesting to compare various aspects of objects. I am interested to use these concepts on my ecard projects. I like animation a lot more than i expected to- and i am liking the idea of doing both print and ecards. On a completely different note… i have been exploring stationary and invitations and i am also rather attracted to that idea.

April 9, 2009, 5:22 pm
Filed under: Uncategorized

Our latest project in 3D class is to learn about z-brush.


A few days later- and i will admit that my hatred for this program is growing. It is confusing and i am struggling to see the point in learning this program since i do not plan on pursuing this line of work. The interface is infuriating and not at all intuitive. At this moment, i have accomplished approximately nothing that i have been assigned.



I have learned a little more now than i had last night. But i am not really becoming that much less frustrated. I have learned that to actually make an object in zbrush, one must use z spheres, otherwise you won’t be able to rotate the whole object at once. Interesting fact. I have also learned that if you try to deform a rhino- that the program will shut down, so you are much better off deforming a circle or a square. Zbrush is a very interesting tool, and i think that i mistook it at first for being a modeling program. It is not a modelling program. It seems to me- that it is a detailing program- no modelling allowed. I have done a few of the things we were supposed to accomplish, and i will definitely say that i like this lynda teacher alot better than the others. He doesn’t skip steps and do things between tutorials… which is nice.


Ok. So now i don’t hate zbrush anymore. I made some progress- and here are some pretty … and ugly… things that i have made.


I did face gen… and i may never be the same again. i… look like an alien. but it does look alot like me- so that is sort of cool. I finished my zbrush renderings. I ended up not hating zbrush as much as i thought i would. I like the basic stuff that i know- but i probably won’t end up using it too much in the future. then again- its another skill for my resume- so maybe i’ll end up being a zbrush master. hey. it could happen. 

Personal Website
April 9, 2009, 5:02 pm
Filed under: Uncategorized

Our new interactive project is to build a personal site. Which i am super excited about- because i have been trying to find time to build a site anyway. So- i am currently trying to decide on a style for my site. I’m sort of between the grunge look and the cute look. I’m trying to find something that is appealing to all people. So i have been researching. All semester, actually. so here are sites that i like. 

















these are just some of the sites i’ve found. i have some sketches… so i’ll have to go find those. i’m learning a little more toward having characters on the pages rather than complete generics… so i guess we’ll see about that.


i have made some little figures out of clay (which, by the way- is very theraputic) but now i am wondering if that type of site will be a little too cutsie for a broad audience. i am going to test the waters of a few other ideas i think, then hopefully FINALLY make a decision.


Decision made. Its official. I am doing a grungy popup book clamation. I made some huge changes to my home page prototype today- and i think they are pretty swell. i added some cool texture to the background- and made my buttons fold down from the top. cool eh? Bet you wish you could see it… but i don’t have it posted yet… so you can’t. sorry. but in good time.


still working on the website- loving how its going. its definitely my weird and quirky personality all wrapped up in a cool package. today i’m hoping to get the pdf links to function… and maybe go back and do some cool hover stuff. i am really enjoying the web design aspects of this semester. get excited- it’ll be done soon.


it is finished. and it got really weird and choppy at the end. its not perfect- but its workable. so i’m going to call it good for now. i ran into a big problem with space- so i’m hosting additional pdfs and swfs on other servers. phew. anyway- i’m pretty happy with it. check it out at http://students.oc.edu/riata.booky/portfolio6.swf 


until next time- peace.

3D modeling project 2- instrument
February 26, 2009, 8:18 pm
Filed under: Uncategorized

 Welcome to project 2 of my 3D class. Today, i start the research process. Here’s what i know so far:

The assignment is to build a 3d model of an instrument from different angles in different musical positions- then to bring those images into flash and make the instrument play. Its an iphone sized project. 

The issues to consider while i pick my instrument:  

   accuracy. Do i need to pick an instrument that i can play    

  positioning. Do the positions need to represent every note possible    

  interest. What is an interesting instrument that hasn’t been done before (or isn’t being done by a member of my class)       

resources. If i pick an instrument that i can’t play- where will the sounds come from, how much research can i find regarding the specific things i need to know.  



Having said that- here’s what i’m thinking about so far.     

   Piano        Flute      Xzylophone          Harp 


Pros and Cons:      



Piano– has repetitive qualities- which could make modeling easier                  

   the piano is big… so how much of the piano can  be included?                      

 I can play the piano (sort of)- so i can do my own notes                  

   I can also include a “play piano song” function, and since i write my own music, won’t have to worry about copyright infringement of any kind.           





 I played the flute for years. So i know the fingerings and the notes                      

   However, my flute is a thousand miles away, so i can’t do my own notes or music.                    

  The flute is extremely complex- so different angles would be hard      



 I don’t play the xzylaphone. So i don’t know anything about it.                       

 on the up side- the xzylaphone can be pretty colors.

Its also a basically over viewy instrument- that would probably be seen from above.        


Harp– I like the harp. Its pretty. However- its a weird shape to display on a screen…

i don’t know anyone who plays it and i don’t think it would be an interesting model.


Ergo- i will hence forth not be doing the harp.


 Its good to have that out of the way.  So… piano, flute or xzylaphone———–





I have decided on the piano. Ergo- here is my research on the piano


History: The piano was born after several other string instruments hit with mallets came to being. The hurdy gurdy and the harpsochord preceeded the piano.  Bartolomeo Cristofori of Padua, Italy is credited with the creation of the first piano. Today, there are still pianos around that were made in the 1720s.  Piano making really took off in the 18th century in the Viennse school. Between 1790 and 1860, most of the adjustments that would make the original piano the modern piano occurred. Over time- the 5 original octaves became the 7 and a quarter  octaves. Much of this progress is attributed to Broadway and the budding pianists of the time. Here’s a piano diagram this is a diagram of a piano.


Types of Piano:


Grand–  the grand piano has longer strins which makes the sound richer and fuller. The grand piano is considered to be the superior kind of piano to own.


Upright– the strings and frame is verticle- which makes the piano more compact, but have a lower quality tonal value.


Toy– The type of piano that plays itself.


Almost every modern piano has 36 black keys and 52 white keys for a total of 88 keys (seven octaves plus a minor third, from A0 to C8). Many older pianos only have 85 keys (seven octaves from A0 to A7), while some manufacturers extend the range further in one or both directions.(wikipeida)


 Pianos have had pedals, or some close equivalent, since the earliest days. (In the 18th century, some pianos used levers pressed upward by the player’s knee instead of pedals.) Most grand pianos have three pedals: the soft pedal (una corda), sostenuto, and sustain pedal (from left to right, respectively). Most modern upright pianos have three pedals: soft pedal, practice pedal and sustain pedal, though older or cheaper models may lack the practice pedal.




The sustain pedal (or, damper pedal) is often simply called “the pedal”, since it is the most frequently used. It is placed as the rightmost pedal in the group. It lifts the dampers from all keys, sustaining all played notes, and altering the overall tone.

The soft pedal or una corda pedal is placed leftmost in the row of pedals. In grand pianos, it shifts the entire action, including the keyboard, to the right, so that the hammers hit only one of the three strings for each note (hence the name una corda, or ‘one string’). The effect is to soften the note as well as to change the tone. In uprights, this action is not possible, and so the pedal moves the hammers closer to the strings, allowing the hammers to hit the strings with less kinetic energy to produce a softer sound.

On grand pianos, the middle pedal is a sostenuto pedal. This pedal keeps raised any damper that was already raised at the moment the pedal is depressed. This makes it possible to sustain some notes (by depressing the sostenuto pedal before notes to be sustained are released) while the player’s hands are free to play other notes. This can be useful for musical passages with pedal points and other otherwise tricky or impossible situations.

On many upright pianos, there is a middle pedal called the ‘practice’ or celeste pedal. This drops a piece of felt between the hammers and strings, greatly muting the sounds.

There are also non-standard variants. On vertical pianos, the middle pedal can be a bass sustain pedal: that is, when it is depressed, the dampers lift off the strings only in the bass section. This pedal would be used only when a pianist needs to sustain a single bass note or chord over many measures, while playing the melody in the treble section. On the largest Fazioli piano, there is a fourth pedal to the left of the principal three. This fourth pedal works in the same way as the soft pedal of an upright piano, moving the hammers closer to the strings.[6] (wikipedia)


In so far as angle is concerned- i am wondering about starting really wide- above the whole piano, and then zooming in to be able to play the actual keys. I don’t think that the screen can probably hold more than 6 or 7 without becoming so crowded that the buttons would collide. 


I think that the above view will probably work best, because when you sit down at a piano, you are usually looking at it from above. like this:

My new concern is now- how to make a piano interesting. Normal pianos have been done already. So how can i make pianos interesting. I have plans to have buttons that play actual songs… but as i’m not the only person in class who is doing the piano, i feel that this warrants attention.


Ideas for making the piano interesting:


putting skittles or colorful candy on the keys

         problem: would they move when you move the keys

         possible solution: model them individually and move the                            skittles when the buttons are pushed?

Glass piano

          problem: there’s really no such thing…. so people might not                     get it

         possible solution: use black and white glass


Toy piano

        problem: will people understand that its a piano if the                             outsides are a different color

        possible solution: show enough of the outsides to indicate that               its a piano frame


Colored Piano

     problem: it might look cheesy

     solution: you could make a button for choosing your piano                        color—- and have alot of choices


I think that my favorite ideas are the pick your piano color idea and the skittles

idea. i guess i’ll sit and mull that over for awhile. 




I have decided to go for the skittles. skittles pictures are forth coming. in the mean time… here’s a robot i made

My robot with some color. i'll probably do more with him later.

My robot with some color. i'll probably do more with him later.


my robot without textures

my robot without textures























here are some skittles pictures:

studying shadow and shape

studying shadow and shape

skittles are thicker than m and ms

skittles are thicker than m and ms

this is the s font that i need to find

this is the s font that i need to find

just the colors that i want i will probably use photoshop to steal the exact colors

just the colors that i want i will probably use photoshop to steal the exact colors

an actual skittles bag. i probably won't incorporate that, though

an actual skittles bag. i probably won't incorporate that, though

a drawing of a skittle. with great high lights

a drawing of a skittle. with great high lights

sour skittles. i think i'll go with normal ones. these look molded

sour skittles. i think i'll go with normal ones. these look molded

bigger example of the letter s i need

bigger example of the letter s i need





























































I fought with skittles today. alot. i can’t quite get my UV map to lay the way i want it to. so i guess i’ll work on that later this week. however- i made some progress on my piano! this is still pretty rough- but here it is!



my piano from the side

my piano from the side

piano from the front

piano from the front

my piano from an angle

my piano from an angle




alright. here is some spring break updates.  i finally got my sketches scanned in- so here those are.             
zoomed out sketch

zoomed out sketch

some over views

some over viewsthe lower left is at a slight angle--- which i am considering to be my direction

So today- i tried to work on my piano model in my maya trial version. Unfortunately- the screen is cut off… i’m not exactly sure by what, but i think that my trial may be faulty. Which is sort of frustrating- i was going to tackle the texture mapping on my skittles. Which i have been fighting with for a couple weeks now- my picture always spirals in the middle, and i need to figure out how to make it not. however- with the screen being funky as it is- i might have to wait. The piano modelling is going pretty well- i like the piano that i have above. i need to experiment with angles a little bit more i think- but i’m pretty sure that i’m going to use that piano.
So i finally stopped fighting with maya about my skittles… so i made them in cinema 4D. I’m hopeful that i can import them into maya. if not, i think that i’ll probably render them in cinema and add them in flash. At any rate- here they are. i pulled the actual skittle colors off skittles- so they should be fairly close. 
My skittles! i'm so excited about them!

My skittles! i'm so excited about them!








so now… i’m wondering what to save my c4ds as to import them into maya… going to go research. 


Hey cool- it IS possible. Export the c4d as a .fbx and they will work. sweet. some of my textures are a bit off- but i’m on my way to fix those now. sweet. i’m so jazzed right now. 


ok. so here are some screen shots of my piano and my skittles together at last. i’m not entirely sure that the skittles aren’t too big… 


the front

the front

the side

the side

the front again

the front again

the other side

the other side

the top... sort of distorted

the top... sort of distorted

Now i’m going to work on my pivots… so that my keys can bend and the skittles can move without stuff looking weird. this… is probably going to take me awhile. 
So- i have figured out that if you group the top of the key and the bottom of the key together and change the pivot- you can make them pivot together- and you can make them pivot from the bottom of the lower key. cool! here’s a picture: 
it pivots. oh yes it does.

it pivots. oh yes it does.








More pivoting magic: 


i'm wondering why it looks so elongated...?

i'm wondering why it looks so elongated...?

from the side

from the side

So- i now have 2 major issues to work on, i think. 
1). how far down do the keys actually need to go
2). which angle showcases the piano best?
             because all the keys pivoting will have to be rendered at the same angle
also- how close up can it be. and if you can see the background… what will the background be? i guess i may as well go all the way and do a skittles wall paper behind it. i’ll have to think about that. 
This is the screen FREAKING OUT

This is the screen FREAKING OUT

So. Today i had a scare. it was insane. I added too many skittles- and maya freaked out! it stopped working… and i had to unplug my computer. twice. took a screen shot of the madness. here it is: 
So now i’m making a skittle pile to go under my piano. I’m making it in cinema, because of maya’s huge problem. Its currently importing… its taking its time. Here are the skittles in cinema. And Kristen, if you’re reading this, i’d like you to know that you are hilarious and only moderately creepy. 
my skittle pile. now i'm hungry. drat.

my skittle pile. now i'm hungry. drat.



Interesting fact about importing fbx into maya- is that it imports HUGE. like crazy big. Like my skittle was about 20 times bigger than my piano. And now i ‘m importing 400 skittles. Poor maya, no wonder its mad at me. 


Well. Its official. I  have changed my mind about how to do my background. I am now going to use the pile of skittles AFTER it goes into flash- because maya and cinema can’t handle having 90 million pieces to work with. So now i just need to work on lights i think. And maybe angles, a little bit. I think i want the skittles on the key board to do something entertaining and different than the piano keys. that might add some flavor (no pun intended). I’m excited to use flash some more, so hopefully that’ll be successful. 


so check this out- i work on this project for… i think its been 9 hours today. here is how the project looked before… and how it looks now.

this it before today

this it before today

and this is it now

and this is it now

the coolest thing about it is that when you click the skittles, the purple part changes to a different color. sweet huh? of course that means that i did about 5 times as much work as i had to. but it was definitely worth it. i’m going to post it on my other site (the site that is very much blank and in progress) if you want to check  it out. 
and, by the way- i learned that sometimes, if things are messed up in flash, quitting the program can be a huge help. all of my music quit working, and i exited out and came back- and it was magically fixed. SO cool. 
here’s the link! get excited! http://students.oc.edu/riata.booky//pianofinal.swf 
Now that this project is over- here’s some of the stuff i learned. I learned about Maya. I like parts of it… like the intuitivness of the bevelling and what not… but really don’t like other parts… like UV texturing. That part is really REALLY obnoxious. I learned how to create good sounds in garage band… how to move notes around and what not. I was very glad to have flash knowledge, because the flash would have been really confusing otherwise. This project was a success- i love it, and i am definitely putting it on my website- when i make it for flash in the next 3 weeks.

Interactive Project 2
February 25, 2009, 4:27 pm
Filed under: Uncategorized

Art Nouveau:





Dictionary definition:           

a style of fine and applied art current in the late 19th and early 20th centuries, characterized chiefly by curvilinear motifs often derived from natural forms.



Additional Information:


Art Nouveau ([aʁ nu vo], anglicised /ˈɑːt nuːvəu/) is an international movement[2] and style of art, architecture and applied art—especially the decorative arts—that peaked in popularity at the turn of the 20th century (1890–1905).[3] The name ‘Art nouveau’ is French for ‘new art’, it is also known as Jugendstil, German for ‘youth style’, named after the magazine Jugend, which promoted it. A reaction to academic art of the 19th century, it is characterized by organic, especially floral and other plant-inspired motifs, as well as highly-stylized, flowing curvilinear forms.[4] Art Nouveau is an approach to design according to which artists should work on everything from architecture to furniture, making art part of everyday life.[5]

Art Nouveau’s fifteen-year peak was strongly felt throughout Europe—from Glasgow to Moscow to Spain—but its influence was global. Hence, it is known in various guises with frequent localized tendencies.[6] In France, Hector Guimard‘s metro entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought in Nancy. Victor Horta had a decisive impact on architecture in Belgium.[7] Magazines like Jugend helped spread the style in Germany, especially as a graphic artform, while the Vienna Secessionists influenced art and architecture throughout Austria-Hungary. Art Nouveau was also a movement of distinct individuals such as Gustav Klimt, Charles Rennie Mackintosh, Alfons Mucha, René Lalique, Antoni Gaudí and Louis Comfort Tiffany, each of whom interpreted it in their own individual manner.[8][9]

Although Art Nouveau fell out of favor with the arrival of 20th-century modernist styles,[10] it is seen today as an important bridge between the historicism of Neoclassicism and modernism.[9] Furthermore, Art Nouveau monuments are now recognized by UNESCO on their World Heritage List as significant contributions to cultural heritage.[11] The historic center of Riga, Latvia, with “the finest collection of art nouveau buildings in Europe”, was inscribed on the list in 1997 in part because of the “quality and the quantity of its Art Nouveau/Jugendstil architecture”,[12] and four Brussels town houses by Victor Horta were included in 2000 as “works of human creative genius” that are “outstanding examples of Art Nouveau architecture brilliantly illustrating the transition from the 19th to the 20th century in art, thought, and society.”[1] It later influenced psychedelic art that flourished in the 1960s and 1970s

Relationship with contemporary styles and movements

As an art movement it has affinities with the Pre-Raphaelites and the Symbolism movement, and artists like Aubrey Beardsley, Alphonse Mucha, Edward Burne-Jones, Gustav Klimt, and Jan Toorop could be classed in more than one of these styles. Unlike Symbolist painting, however, Art Nouveau has a distinctive visual look; and, unlike the artisan-oriented Arts and Crafts Movement, Art Nouveau artists quickly used new materials, machined surfaces, and abstraction in the service of pure design. Art Nouveau did not negate the machine as the Arts and Crafts Movement did, but used it to its advantage. For sculpture, the principal materials employed were glass and wrought iron, leading to sculptural qualities even in architecture. It made use of many technological innovations of the late 19th century, especially the broad use of exposed iron and large, irregularly shaped pieces of glass in architecture. By the start of the First World War, however, the highly stylised nature of Art Nouveau design—which itself was expensive to produce—began to be dropped in favour of more streamlined, rectilinear modernism that was cheaper and thought to be more faithful to the rough, plain, industrial aesthetic that became Art Deco. (wikipedia)


Furniture designers



Art Deco





Dictionary Definition:

a style of decorative art developed originally in the 1920s with a revival in the 1960s, marked chiefly by geometric motifs, curvilinear forms, sharply defined outlines, often bold colors, and the use of synthetic materials, as plastics.


Additional information:

                Art Deco was a popular international design movement from 1925 until 1939, affecting the decorative arts such as architecture, interior design, and industrial design, as well as the visual arts such as fashion, painting, the graphic arts and film. This movement was, in a sense, an amalgam of many different styles and movements of the early 20th century, including Neoclassical, Constructivism, Cubism, Modernism, Art Nouveau, and Futurism.[1] Its popularity peaked in Europe during the Roaring Twenties[2] and continued strongly in the United States through the 1930s.[3] Although many design movements have political or philosophical roots or intentions, Art Deco was purely decorative.[4] At the time, this style was seen as elegant, functional, and modern. Art Deco experienced a decline in popularity during the late 30s and early 40s, and soon fell out of public favor. It experienced a resurgence with the popularization of graphic design in the 1980s. Art Deco had a profound influence on many later artistic movements, such as Memphis and Pop art. Surviving examples may still be seen in many different locations worldwide, in countries as diverse as the United Kingdom, Spain, Cuba, the Philippines, Romania and Brazil. Many classic examples still exist in the form of architecture in many major cities. The Chrysler building, designed by William Van Alen, is a classic example of this, as it is one of the most notable examples of Art Deco architecture today.


Materials and design

Art Deco is characterized by use of materials such as aluminium, stainless steel, lacquer and inlaid wood.[12][7][13] Exotic materials such as sharkskin (shagreen), and zebraskin were also in evidence.[7][13][22][17] The bold use of stepped forms and sweeping curves (unlike the sinuous, natural curves of the Art Nouveau),[23][12] chevron patterns, and the sunburst motif are typical of Art Deco. Some of these motifs were ubiquitous — for example, sunburst motifs were used in such varied contexts as ladies’ shoes, radiator grilles, the auditorium of the Radio City Music Hall, and the spire of the Chrysler Building. (wikipedia)


After the First World War there were great social changes which influenced the kinds of furniture required. There was also an emphasis, for those who could afford it, on well-designed decorative furniture which also included a high degree of functionality.
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Amongst Art Deco designers there were two clear schools: the first was the direct inheritor of the two earlier movements. These designers concentrated on individual pieces made by highly skilled craftsmen and could only be bought by the very rich. On the other hand, some Art Deco designers sought to take advantage of mass production. These designers also tended towards a severely geometric look which emphasised the functionality of the object.

La Bas Perfecta
Buy this Giclee Print at AllPosters.com

At the start of the Art Deco Movement, furniture was based on traditional styles but opulence was the keynote. Exotic woods like amboyna were used and decoration incorporated materials like ivory. These were the objects that were designed as objects of fine art as well as for functionality. By the mid 1920s the taste for such flamboyant furniture was waning. Modern materials like chrome were incorporated into the designs and they became more geometric and streamlined. It was at this time that René Lalique was making glass panels to be used in furniture.

Many of the Art Deco furniture designers had distinctive styles of their own and their work is now highly valued and very collectable.


A Directory of Art Deco Designers


Andre Leon Arbus

Norman Bel Geddes

A.M. Cassandre

Pierre Chareau

Serge Chermayeff

Clarice Cliff

Susie (Susan Vera) Cooper

Michel die Klerk

Sonia Delaunay

Donald Deskey

Djo Bourgeois

Maurice Dufrene

Jean Dunand

Paul Follot

Paul Theodore Frankl

Eric Gill

Josef Gocar

Eileen Gray

Oliver Hill

Josef Hoffman

Charles Hoiden

Raymond Hood

Pavel Janak

Betty Joel

Francis Jourdain

Ely Jacques Kahn

Piet Kramer

Rene Jules Lalique

Le Corbusier

Raymond Loewy

Charles Rennie Mackintosh

Robert Mallet Stevens

Edward McKnight Kauffer

Koloman Moser

Dagobert Peche

Paul Poiret

Gio Ponti

Jean Puiforcat

Jacques Emile Ruhlmann

Sue et Mare

Waiter Dorwin Teague

Joseph Urban

Ralph T. Walker

Thomas Wallis

Kem (Karl Emanual Martin) Weber

Frank Lloyd Wright


Please click here http://home.freeuk.com/eastburytech/GCSE-Resouce/art-deco-biography.htm to visit this site and read the extensive portfolios of these individuals. Its far too much information to place on my blog.


Specific Furniture designers:

Ludwig Mies van der Rohe (1886-1969)
His famous dictum ‘less is more’ is the perfect description of Mies van der Rohe’s work in both his architecture and furniture design. He was born in Aachen, Germany, where his first job was in his family’s stone carving business. In 1908 he started work with the architect Peter Behrens, one of the great figures in German Modernism. 

Mies van der Rohe’s furniture combines a modern, machine made look with a detailed hand-finished approach. The furniture is made from steel and is very simple and elegant in form. One of his most famous pieces, the Barcelona Chair first shown in 1929, is still in production today. This chair’s basic form is a distorted X with leather upholstered seat and back. It was only mass produced after the Second World War and so the pre-war examples are worth many times more than the later ones. 

Jacques-Emile Ruhlmann (1879-1933)
Ruhlmann is considered to be the outstanding Art Deco furniture designer although some of his best work was done before the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, the exhibition in Paris that gave Art Deco its name.

Ruhlmann started as a painter and drew furniture in his father’s workshop. His furniture making techniques were flawless. Joints could barely be discerned, giving pieces the impression of being made from a single carved section of wood. He used exotic woods like amboyna, violetwood and macassar ebony but in tasteful and simple designs. Even by the time of his first exhibition at the Salon d’Automne in 1913 his reputation was high. After the First World War he took over his father’s company which was renamed Rulhmann et Laurent. He increased the company’s scope by employing crafts people skilled in carpentry, upholstery, mirror grinding, veneering and inlaying.

The company never catered for the mass market. Its furniture was exclusive and distinguished by its elegance, long tapering legs and simple use of exotic materials. For all its elegance, the furniture was designed to be used and to be comfortable. Form and design served to enhance the use of the furniture.

Süe and Mare
In 1919 Louis Süe, an artist and architect, and André Mare, also an artist, formed the Compagnie des Arts Français. Its purpose was to make French furniture without foreign influences. They aimed to provide not only furniture but, by the use of outside contractors, a whole range of furnishings.

Their furniture was heavier and more flamboyant than that of Ruhlmann. They used inlays and veneers to create dramatic designs, patterns and pictures on their furniture. Although they were much admired and influential, their technique was no where near as good as Ruhlmann’s and much of their furniture has not survived.

Wiener Werkstätte
The Vienna Workshops were established in 1903 in Austria, long before Art Deco was an established movement. Founded by architect, Josef Hoffman, it consisted of a group of innovative artists and craftspeople who were experimenting with new designs and materials. Within ten years of setting up, they had opened branches in a number of foreign cities including Berlin, Zurich and New York. 

They based their work upon high standards of design and workmanship, rejecting all mass production. Their work shows ancient Egyptian and Cubist influences and they were also influenced by the Glasgow Four who included Charles Rennie Mackintosh.  (art antiques.com)


Arts and Crafts





Dictionary definition:  (though this definition is not directly contributed to the arts and crafts movement, it is still applicable and has therefore been included)

the handcrafting and decoration of esp. utilitarian objects.



Additional Information:


The Arts and Crafts Movement was a British, Canadian, and American aesthetic movement occurring in the last years of the 19th century and the early years of the 20th century. Inspired by the writings of John Ruskin and a romantic idealization of the craftsman taking pride in his personal handiwork, it was at its height between approximately 1880 and 1910.

It was a reformist movement that influenced British, Canadian, and American architecture, decorative arts, cabinet making, crafts, and even the “cottage” garden designs of William Robinson or Gertrude Jekyll. Its best-known practitioners were William Morris, Charles Robert Ashbee, T. J. Cobden Sanderson, Walter Crane, Nelson Dawson, Phoebe Anna Traquair, Herbert Tudor Buckland, Charles Rennie Mackintosh, Christopher Dresser, Edwin Lutyens, William De Morgan, Ernest Gimson, William Lethaby, Edward Schroeder Prior, Frank Lloyd Wright, Gustav Stickley, Greene & Greene, Charles Voysey, Christopher Whall and artists in the Pre-Raphaelite movement.

In the United States, the terms American Craftsman, or Craftsman style are often used to denote the style of architecture, interior design, and decorative arts that prevailed between the dominant eras of Art Nouveau and Art Deco, or roughly the period from 1910 to 1925.

In Canada, the term Arts and Crafts predominates, but the term Craftsman is also recognized.

[edit] Influences on later art

[edit] Europe

Widely exhibited in Europe, the Arts and Crafts movement’s qualities of simplicity and honest use of materials negating historicism inspired designers like Henry van de Velde and movements such as Art Nouveau, the Dutch De Stijl group, Vienna Secession, and eventually the Bauhaus. The movement can be assessed as a prelude to Modernism, where pure forms, stripped of historical associations, would be once again applied to industrial production.

In Russia, Viktor Hartmann, Viktor Vasnetsov and other artists associated with Abramtsevo Colony sought to revive the spirit and quality of medieval Russian decorative arts in the movement quite independent from that flourishing in Great Britain.

The Wiener Werkstätte, founded in 1903 by Josef Hoffmann and Koloman Moser, played an independent role in the development of Modernism, with its Wiener Werkstätte Style.

The British Utility furniture of World War II was simple in design and based on Arts and Crafts ideas.

In Ireland, the Honan Chapel, located in Cork, Ireland, on the grounds of University College Cork, built in 1916 is internationally recognised as representative of the Irish Arts and Crafts movement.

United States

In the United States, the Arts and Crafts Movement took on a distinctively more bourgeois flavor. While the European movement tried to recreate the virtuous world of craft labor that was being destroyed by industrialization, Americans tried to establish a new source of virtue to replace heroic craft production: the tasteful middle-class home. They thought that the simple but refined aesthetics of Arts and Crafts decorative arts would ennoble the new experience of industrial consumerism, making individuals more rational and society more harmonious. In short, the American Arts and Crafts Movement was the aesthetic counterpart of its contemporary political movement: Progressivism.

In the United States, the Arts and Crafts Movement spawned a wide variety of attempts to reinterpret European Arts and Crafts ideals for Americans. These included the “Craftsman“-style architecture, furniture, and other decorative arts such as the designs promoted by Gustav Stickley in his magazine, The Craftsman. A host of imitators of Stickley’s furniture (the designs of which are often mislabeled the “Mission Style“) included three companies formed by his brothers, the Roycroft community founded by Elbert Hubbard, the “Prairie School” of Frank Lloyd Wright, the Country Day School movement, the bungalow style of houses popularized by Greene and Greene, utopian communities like Byrdcliffe and Rose Valley, and the contemporary studio craft movement. Studio pottery — exemplified by Grueby, Newcomb, Teco, Overbeck and Rookwood pottery, Bernard Leach in Britain, and Mary Chase Perry Stratton‘s Pewabic Pottery in Detroit — as well as the art tiles by Ernest A. Batchelder in Pasadena, California, and idiosyncratic furniture of Charles Rohlfs also demonstrate the clear influence of Arts and Crafts Movement. Mission, Prairie, and the ‘California bungalow’ styles of homebuilding remain tremendously popular in the United States today. (wikipedia)


Furniture designers:

                William Morris: his work formed the centerpiece of the founding of the Arts & Crafts Movement, encompassing designs for wallpaper, carpet, fabric, woven tapestries, furniture, book binding and printing. He encouraged methods of hand production over machine production. Today he is especially known for his pattern designs

                Gustav Stickley: a well-known spokesman for the Arts and Crafts movement, combined the roles of furniture designer, manufacturer and architect. Stickley is best known today for his straightforward furniture, sometimes called “mission” or “Craftsman furniture.”


The Greene Brothers: well know architects of the Arts and Crafts Era, are famous for the Bungalows which are finely crafted homes built around the turn of the century. Perhaps, the most famous of the bungalows is the Gamble House in Pasadena. The majority of their homes are in Pasadena and the surrounding towns.








Additional information:

                For other uses, see Bauhaus (disambiguation).

Typography by Herbert Bayer above the entrance to the workshop block of the Bauhaus, Dessau, 2005.

Bauhaus (help·info) (“House of Building” or “Building School”) is the common term for the Staatliches Bauhaus (help·info), a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933.

The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.

The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1927, Hannes Meyer from 1927 to 1930 and Ludwig Mies van der Rohe from 1930 to 1933, when the school was closed by the Nazi regime.

The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. When the school moved from Weimar to Dessau, for instance, although it had been an important revenue source, the pottery shop was discontinued. When Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. (wikipedia)


Furniture Designers:

A principle of the Bauhaus was to serve the development of contemporary housing, from the most basic household equipment to the complete house. Walter Gropius, the director of the Bauhaus, was convinced, “that houses and their furnishings must have a meaningful relation to each other and aims to derive the form of every object from its natural functions and limitations, by means of systematic experimentation.”

The Bauhaus designers were fascinated by metal. Although metal has been employed for the frames of chairs since antiquity, it was surprising that the avant-garde metal furniture were greeted with consternation. The furniture looked so differently from the traditional style, that the masses could not relate to them.

For the Bauhaus designers metal or tubular steel was lighter, cheaper, less bulky and more hygienic than the traditional upholstered furniture. The idea behind this new aesthetics was to built cheap and beautiful homes, were the cool and durable materials of the furniture would create a new type of beauty. Steel has a natural elasticity. And steel had the added advantage of a certain uniformity. It gives the impression of a psychological and aesthetic purity. The formal transformation of chairs and sofas by the use of a framework of resilient metal or steel is a clear characteristic. Also beauty emanates from the furniture because of their exact forms and measurements, a kind of “Magic of precision”.

Marcel Breuer

Marcel Breuer, whose Wassily Chair is one of the famous examples of the Bauhaus furniture, was in charge of the carpentry workshop. Breuer said, that he first got the idea for using tubular steel in furniture design from his beloved Adler bicycle, whose strength and lightness impressed him. The Wassily Chair, named after the painter Wassily Kandinsky, for whose quarters in Dessau it was originally designed, is a reworking of the traditional club chair. It reveals the influence of the Dutch modernist Gerrit Rietveld, in its arrangements of bisecting horizontal and vertical planes.

Le Corbusier

Le Corbusier’s ideas of furniture were simple and to the point. He said for example, “… a chair is a machine for sitting on.” And the “machine concept” is shown clearly in some of his famous furniture designs. The so called LC4, the ultimate “Rest Machine” is one of the most comfortable Lounge Chairs ever built. The seat is held by elastic supports, which has led to new and unusual forms. Everything is dominated by smooth, elegant lines.

Mies van der Rohe

The furniture designs by Mies van der Rohe are among the most influential in the twentieth century. Van der Rohe’s furniture are connected to his architectural designs and correspond closely to the architectural concept. They compliment the interiors of his buildings. Mies designed furniture only for a relative short time (1927 to 1932), but nevertheless are among the most influential of the modernist movement. Especially the Barcelona chair, designed for the German Pavilion in Barcelona, became a Symbol for the elegance of avant-garde living. (Courtesy of Klaus Labuttis)







a side note from me— from what I can tell- kitsch is basically tacky items (that I really like). Lets see if I’m correct.


Dictionary definition:  something that appeals to popular or lowbrow taste and is often of poor quality


Additional information:

                Kitsch (/kɪtʃ/) is the German and Yiddish word denoting art that is considered an inferior, tasteless copy of an extant style of art. The term kitsch was a response to the 19th century art whose aesthetics convey exaggerated sentimentality and melodrama, hence, kitsch art is closely associated with sentimental art. Moreover, kitsch (art) also denotes the types of art that are like-wise æsthetically deficient (whether or not it is sentimental, glamorous, theatrical, or creative) making it a creative gesture that merely imitates the superficial appearances of art (via repeated conventions and formulae), thus, it is uncreative and unoriginal; it is not Art. Contemporaneously, kitsch also (loosely) denotes art that is æsthetically pretentious to the degree of being in poor taste, and to industrially-produced art-items that are considered trite and crass.


Hey- look at that. I was right. Kitsch would be the perfect category to put lawn furniture or gnomes or flamingos in on my website. Cool. I really like kitsch. Apparently it was a solution to the general sparsness of furniture during that time. Which is sort of how I decorate. The professionals call it “decorating whimsically”. But really- its just a mess of unrelated items clumped in a room together.


Designs common to the “kitsch” style:

Wild Lamps

There are some first-class examples of 1950s kitsch in lamps of the decade. There were lamps whose bases were ladies’ legs; “bubble” lamps that hung in clusters; a weird chandelier called “Sputnik” after the Soviet satellite; and lamps patterned after Gumby, a popular 1950s doll; lamps whose bases were ceramic hula dancers, ballerinas, Spanish dancers, or African princesses.

Ball Clock

Clocks from the 1950s are easily recognizable, from their pastel plastic cases to their odd shapesoften boomerangs, balls, or molecules. One of the most famous, and a big seller during the 1950s, was a Ball Clock designed in 1949 by George Nelson and Company of New York. Starkly simple in appearance, the clock featured twelve small balls stuck on the ends of twelve sticks, with each ball representing one of the hours. The clock’s hands were fastened to another larger circle set in the middle of the twelve ballsall extremely 1950s.


Odd planters called “golliwogs” were also the rage and can still be found today in shops that specialize in 1950s designs. The golliwogs were made of hand-painted aluminum set on a cast-iron base, and they had people’s stylized faces and bodies. Some were almost life-size.

Odd Knickknacks

Candleholders were imaginative and strange, and ashtrays (pastel-colored, boomerang-shaped ones were popular, as were those that resembled amoebas) outdid themselves. Large, free-form ashtrays were a sort of sculpture for those who could not afford artwork. Wall masksoften painted wood and pseudo-Africanalso graced the walls of many 1950s tract houses and apartments.

Marshmallow Sofa

Sofas and chairs were also available in pop styles. One of the most famous was the “marshmallow” sofa, designed by George Nelson and Company. The couch consisted of eighteen round, soft pillows that looked like marshmallows, attached to the seat and the back of a curved iron frame.

Patterns and Wall Covers

Like accessories, playful fabrics and wall coverings were also used to soften the stark modern interior of the 1950s. The boomerang shapeeverywhere in the 1950swas on a Formica pattern for kitchen counters. Wallpaper patterns inspired by primitive art were also popular, as were labyrinthine designs. Wild geometric designs were considered highbrow. A few Avantgarde homes suspended neon shapes in boomerang motifs from the ceiling of rooms used for entertaining, but mostly this motif was used in kicky cafés.



 George Nelson and company seems to be the foremost designer from this time.


Here’s another cool website I found: http://www.kitschdesign.co.za/








                Bakelite (pronounced /ˈɪkɨlaɪt/) is a material based on the thermosetting phenol formaldehyde resin polyoxybenzylmethylenglycolanhydride, developed in 1907–1909 by Belgian Dr. Leo Baekeland. Formed by the reaction under heat and pressure of phenol (a toxic, colourless crystalline solid) and formaldehyde (a simple organic compound), generally with a wood flour filler, it was the first plastic made from synthetic components. It was used for its electrically nonconductive and heat-resistant properties in radio and telephone casings and electrical insulators, and was also used in such diverse products as kitchenware, jewellery, pipe stems, and children’s toys. In 1993 Bakelite was designated an ACS National Historical Chemical Landmark in recognition of its significance as the world’s first synthetic plastic.[1]

The retro appeal of old Bakelite products and labor intensive manufacturing has made them quite collectible in recent years.

 Although it is no longer extensively used as an industrial manufacturing material, in the past Bakelite was used in myriad applications, such as saxophone mouthpieces, cameras, solid-body electric guitars, rotary-dial telephones, early machine guns, and appliance casings. It was at one point considered for the manufacture of coins, due to a shortage of traditional manufacturing material. In 1943, Bakelite and other non-metal materials were tested for usage as a penny in the United States before the Mint settled on zinc coated steel.[4][5]

The foremost usage of Bakelite today is as a substitute for porcelain and other opaque ceramics in applications where fine detail is unimportant (other thermoset resins can capture detail more finely when molded) and durability over traditional ceramic compounds is desired. As such, a main continuing use for bakelite is in the area of board and tabletop games. Devices such as billiard balls, dominoes, Mahjongg tiles and other gaming tilesets, and movers/pieces for games like chess, checkers, and backgammon, are constructed of Bakelite for the look, durability, fine polish, weight, and sound of the resulting pieces. Dice are sometimes made of Bakelite for weight and sound, but the majority are made of a thermoplastic such as ABS. It is also used to make the presentation boxes of luxury Breitling watches. Bakelite is also sometimes used as a substitute for metal in the construction of firearm magazines. (wikipedia)


The fact that bakelite traditionally is a non-conductor would explain why when you search for bakelite- you usually find things about handles. (like tea pot handles).  




WHOA- check this out. This is the coolest catalog website I’ve found so far: http://www.eero-aarnio.com/








Clearly… the designers were Charles and Ray Eames who lived:

The Eames House (also known as Case Study House No. 8) is a landmark of mid-20th century modern architecture located at 203 North Chautauqua Boulevard in the Pacific Palisades neighborhood of Los Angeles, California. It was constructed in 1949 by husband-and-wife design pioneers Charles and Ray (Kaiser) Eames, to serve as their home and studio. Unusually for such an avant-garde design, the Eames publicized the house as a thoroughly lived-in, usable, and well-loved home. While many icons of the modern movement are depicted as stark, barren spaces devoid of human use, photographs and motion pictures taken at the Eames house reveal a richly decorated, almost cluttered space full of thousands of books, art objects, artifacts, and charming knick-knacks as well as dozens of projects in various states of completion. The Eames’ gracious live-work lifestyle continues to be an influential model. (wikipedia)


Among the things that they made (other than the house) are:

  • Eames-Saarinen Kleinhans chair (1939)
  • Eames-Saarinen organic chair (1941)
  • Children’s chairs (1945)
  • Eames Lounge Chair Wood (LCW) (1945)
  • Circular table wood (1945)
  • Eames Plywood Side Chair (1946)
  • The Soft Pad Chair (1946)[7]
  • La chaise (1948)
  • Eames RAR (Rocker Armchair Rod) Rocker (1948)
  • Eames Eiffel Plastic Side Chair (1950)
  • The lounge Chair Metal(1950)
  • Eames Eiffel Plastic Armchair (1950)
  • Eames Desk and Storage Units (1950)
  • Eames Desk and Storage Units (1950)
  • The DAW (1950)
  • Eames Sofa Compact (1954)
  • Eames lounge chair and ottoman (1956)
  • Eames Aluminum Management Chair (1958)
  • Eames Aluminum Side Chair (1958)
  • Eames Aluminum Ottoman (1958)
  • Eames Executive Chair (1960) (aka: Lobby Chair, Time-Life Chair)
  • Eames Walnut Stool (3 styles; Shapes A, B and C 1960)
  • Eames tandem sling seating (1962)
  • Two piece plastic chair (1971)
  • Eames Sofa (1984) produced after Charles Eames’ death








At this moment… I can’t find anything on this topic. Will get back to you about that later with more information.



Post Modern




Dictionary definition:

                noting or pertaining to architecture of the late 20th century, appearing in the 1960s, that consciously uses complex forms, fantasy, and allusions to historic styles, in contrast to the austere forms and emphasis on utility of standard modern architecture

General information:

                Postmodern art is a term used to describe an art movement which was thought to be in contradiction to some aspect of modernism, or to have emerged or developed in its aftermath. In general movements such as Intermedia, Installation art, Conceptual Art and Multimedia, particularly involving video are described as postmodern. The traits associated with the use of the term postmodern in art include bricolage, use of words prominently as the central artistic element, collage, simplification, appropriation, depiction of consumer or popular culture and Performance art. (wikipedia)








Dictionary definition:

                a group of international designers and architects, formed in the 1980s and based in Milan, whose work is characterized by the use of bold colors, geometric shapes, and unconventional, often playful, designs.


Members of design:

                Alessandro Mendini, Martine Bedin, Andrea Branzi, Aldo Cibic, Michele de Lucchi, Nathalie du Pasquier, Michael Graves, Hans Hollein, Arata Isozaki, Shiro Kuromata, Matteo Thun, Javier Mariscal, George Sowden, Marco Zanini


Memphis Furniture Manufacturing Company was the largest component of what was once the largest furniture manufacturing operation in the United States. It was founded in 1896 by Robertson Morrow, and quickly grew to include Little Rock Furniture, New Orleans Furniture, and Oklahoma City Furniture.

Memphis Furniture itself employed over 1,000 people at its peak. By the late 1970’s, it faced growing competition from Carolina furniture manufacturers and unionization of its workforce. The multi-story urban manufacturing facility that was so efficient in the 1920’s was not competitive with the large, single story rural manufacturing facilities. It ceased operation and went into liquidation in 1983. (wikipedia)


Dutch Design





Dutch design week:

                The Dutch Design Week is an annual event about Dutch design, hosted in Eindhoven, Netherlands. The event takes place around the second week of October and is a one-week exhibition with many venues.

Due to its industrial character, hosting companies like Philips, Philips Design and DAF, Eindhoven sets itself the goal to become the national industry- and design capitol. Also, hosting the Design Academy Eindhoven and the Eindhoven University of Technology, the city produces a profound bases for innovation. In order to communicate these outcomes, the Dutch design week is organized. The joint efforts for this event are bundled in an organization called Design Platvorm Eindhoven, DPE in short.





Art Nouveau

  • Louis Majorelle
    • Louis Majorelle (Toul, 26 September 1859Nancy, 15 January 1926) was a French decorator and furniture designer who manufactured his own designs, in the French tradition of the ébéniste. He was one of the outstanding designers of furniture in the Art Nouveau style, and after 1901 formally served as one of the vice-presidents of the École de Nancy.
    • Beginning in the 1890s, Majorelle’s furniture, embellished with inlays, took their inspiration from nature: stems of plants, waterlily leaves, tendrils, dragonflies. Before 1900 he added a metalworking atelier to the workshops, to produce drawerpulls and mounts in keeping with the fluid lines of his woodwork. His studio also was responsible for the ironwork of balconies, staircase railings, and exterior details on many buildings in Nancy at the turn of the twentieth century. Often collaborating on lamp designs with the Daum Frères glassworks of Nancy, he helped make the city one of the European centers of Art Nouveau.(wikipedia)
  • Henry Van de Veld
    • (3 April 186325 October 1957[1][2]) was a Belgian painter, architect and interior designer. Together with Victor Horta he can be considered one of the main founders and representatives of Art Nouveau in Belgium. Van de Velde spent the most important part of his career in Germany and had a decisive influence on German architecture and design at the beginning of the 20th-century.
    • His own house, Bloemenwerf in Uccle, was his first attempt at architecture, and was inspired by the British and American Arts and Crafts Movement. He also designed interiors and furniture for the influential art gallery “L’Art Nouveau” of Samuel Bing in Paris in 1895. This gave the movement its first designation as Art Nouveau.

Art Deco

Ludwig Mies van der Rohe (1886-1969)

                born Maria Ludwig Michael Mies (March 27, 1886August 17, 1969) was a German architect.[1] He was commonly referred to and addressed by his surname, Mies, by most of his American students and others.

                He strived towards an architecture with a minimal framework of structural order balanced against the implied freedom of free-flowing open space. He called his buildings “skin and bones” architecture. He sought a rational approach that would guide the creative process of architectural design, and is known for his use of the aphorisms “less is more” and Gustave Flaubert‘s “God is in the details”.

                Mies designed modern furniture pieces using new industrial technologies that have become popular classics, such as the Barcelona chair and table, the Brno chair, and the Tugendhat chair. His furniture is known for fine craftsmanship, a mix of traditional luxurious fabrics like leather combined with modern chrome frames, and a distinct separation of the supporting structure and the supported surfaces, often employing cantilevers to enhance the feeling of lightness created by delicate structural frames. During this period, he collaborated closely with interior designer and companion Lilly Reich.





Jacques-Emile Ruhlmann (1879-1933)

his first names often seen reversed as Jacques-Émile, was a renowned French designer of furniture and interiors, epitomising for many the glamour of the French Art Deco style of the 1920s.

He was born in Paris from Alsatian parents who were in the general decorating business. When his father died in 1907 he took over the family firm.

In 1919 Ruhlmann founded, with Pierre Laurent, the company Ruhlmann et Laurent, specializing in interior design and producing luxury home goods that included furniture, wallpaper and lighting. By this time, Ruhlmann was making formal elegant furniture using precious and exotic woods in combination with ivory fittings, giving them a classic, timeless appeal.

Ruhlmann’s legacy as a designer was the subject of a major retrospective exhibition at the New York Metropolitan Museum of Art in 2004.


Arts and Crafts



Gustav Stickley

                was a furniture maker and architect as well as the leading spokesperson for the American Craftsman movement, a descendant of the British Arts and Crafts movement.

                Between 1900 and 1916 a style of furniture featuring “…a severely plain and rectilinear style which was visually enriched only be expressed structural features and the warm tones of the wood…” gained popularity in the U.S. This furniture, referred to as “mission oak”, was an “…American manifestation of the Arts and Crafts movement…” (Cathers, Furniture of the American Arts and Crafts Movement).

Stickley began making furniture in the mission oak style with the founding of the Craftsman Workshops in Eastwood, New York (now a part of Syracuse, New York) in 1904. His furniture was all handmade rather than machine made, crafted to be simple and useful; it was primarily built from native American tiger oak, joinery was exposed, upholstery was carried out with natural materials (canvas and leather), wood could be varnished but never painted, and there were no unnecessary lines. Furniture was smoked to give a dark finish, no nails were used only wooden pegs and beaten copper and iron hardware with bronze touches was employed.






Marcel Breuer

                Marcel Lajos Breuer (21 May 1902 Pécs, Hungary1 July 1981 New York City), architect and furniture designer, was an influential Hungarian-born modernist of Jewish descent. One of the masters of Modernism, Breuer displayed interest in modular construction and simple forms.

  • African chair, Collaboration with the Bauhaus weaver Gunta Stölzl
  • Sun Lounge Chair, Model No. 301
  • Dressing Table & Bureau. 1922, 1925
  • Slatted chairs (wood). 1922–24
  • Wassily Chair No.B3. 1925
  • Laccio Tables, small & large. 1927
  • Wassily chair, folding. 1927
  • Cesca Chair & Armchair. 1928
  • Thornet Typist’s Desk. 1928
  • Coffee Table. 1928
  • Tubular steel furniture. 1928–29
  • F 41 lounge chair on wheels. 1928–30
  • Broom Cupboard. 1930
  • Bookcase. 1931
  • Armchair, Model No.301. 1932–34
  • Aluminium chair. 1933
  • Isokon chairs. 1935
  • Aluminium chaise longue. 1935–36
  • Plywood furniture (five pieces). 1936–37


Le Corbusier

                chose to be known as Le Corbusier (October 6, 1887August 27, 1965), was a Swiss-French architect, designer, urbanist, writer and also painter, who is famous for being one of the pioneers of what now is called Modern architecture or the International Style. He was born in Switzerland and became a French citizen in his 30s.

He was a pioneer in studies of modern high design and was dedicated to providing better living conditions for the residents of crowded cities. His career spanned five decades, with his buildings constructed throughout central Europe, India, Russia, and one each in North and South America. He was also an urban planner, painter, sculptor, writer, and modern furniture designer.

                Corbusier said: “Chairs are architecture, sofas are bourgeois.”

Le Corbusier began experimenting with furniture design in 1928 after inviting the architect, Charlotte Perriand, to join his studio. His cousin, Pierre Jeanneret, also collaborated on many of the designs. Before the arrival of Perriand, Le Corbusier relied on ready-made furniture to furnish his projects, such as the simple pieces manufactured by Thonet, the company that manufactured his designs in the 1930s.

In 1928, Le Corbusier and Perriand began to put the expectations for furniture Le Corbusier outlined in his 1925 book L’Art Décoratif d’aujourd’hui into practice. In the book he defined three different furniture types: type-needs, type-furniture, and human-limb objects. He defined human-limb objects as: “Extensions of our limbs and adapted to human functions that are. Type-needs, type-functions, therefore type-objects and type-furniture. The human-limb object is a docile servant. A good servant is discreet and self-effacing in order to leave his master free. Certainly, works of art are tools, beautiful tools. And long live the good taste manifested by choice, subtlety, proportion, and harmony”.

The first results of the collaboration were three chrome-plated tubular steel chairs designed for two of his projects, The Maison la Roche in Paris and a pavilion for Barbara and Henry Church. The line of furniture was expanded for Le Corbusier’s 1929 Salon d’Automne installation, Equipment for the Home.

In the year 1964, while Le Corbusier was still alive, Cassina S.p.A. of Milan acquired the exclusive worldwide rights to manufacture his furniture designs. Today many copies exist, but Cassina is still the only manufacturer authorised by the Fondation Le Corbusier.




                George Nelson and company

                was one of the founders of American modernism, along with Charles and Ray Eames. George Nelson was born in Hartford, Connecticut. He died in New York City.

                (# current available from Herman Miller)

  • 1946 Basic Cabinet Series
  • 1946 Sofas, chairs, settees, and bedroom pieces all included in the first Herman Miller catalog
  • 1946 Slat Bench a/k/a Platform Bench #
  • 1952 Rosewood Group
  • 1952 Executive Office Group
  • 1954 Miniature Cases #
  • 1954 Steel-frame Group
  • 1954 Nelson End Table (and low coffee table) #
  • 1955 Flying Duck Chair
  • 1955 Coconut Chair # (currently available in black leather only, but not the matching ottoman)
  • 1956 Marshmallow Sofa #
  • 1956 Thin Edge Cases
  • 1956 Kangaroo Chair
  • 1958 Swagged-Leg (a/k/a/ Swag Leg) Group #
  • 1959 Comprehensive Storage System (CSS)
  • 1963 Catenary Group
  • 1964 Action Office I
  • 1964 Sling Sofa

His firm, George Nelson Associates, also designed a large series of wall and table clocks for the Howard Miller company, as well as Bubble Lamps which were hanging plastic covered metal shades in a number of shapes and sizes (also for Howard Miller but currently available from Modernica (http://www.modernica.net), wrought iron fireplace pieces, planters, room dividers, ceiling-mounted “Ribbon Wall”, spice cabinets, and many other products that became milestones in the history of a profession that he helped to shape.

A number of the nearly 300 classic wall clocks designed for Howard Miller Clock Company (including the Ball, Kite, Eye, Turbine, Spindle, Petal and Spike clocks, as well as a handful of desk clocks) are currently available from Vitra.

Many of his designs were actually designed by employees of his “George Nelson Associates” design firm, including Irving Harper and John Pile.

                Fairchild House

New York, New York. USA 1941-The Fairchild House was built for the Airplane manufacturer Sherman Fairchild and was meant to be a “machine for living. What made the Fairchild House different from every other Brown Stone in New York was its views. There was a courtyard in the middle of the building and all the windows faced in toward it. This made the home feel more tranquil and the view provided use for Nelson’s signature floor to ceiling windows. Much of the house is designed in style not necessarily common in early modern design. This is evidence of Nelson’s philosophy that “good design is timeless.”[2]

[edit] Sling Sofa

Herman Miller 1963- This sofa is made of leather and filled with solid foam cushions. The joints are all held with epoxy so that it can be more easily mass produced and sold for a cheaper price. There is no need for hand crafting with this sofa.[3] Because of its perfect proportions and light appearance it doesn’t look like it’s just an elongated chair. Nelson’s use of a single welt along the perimeter of the padding gives the seating an approachable softness and yet, there is more going on that cannot be seen. The padding is held up by rubber bands that allow for more comfort and the use of epoxy for the joints gives the shape a much smoother feel. It is a modern design only because it was made recently. Like most of Nelson’s work it was only designed to be as useful and comfortable as possible.






                Charles and Ray Eames

                                American designers, married in 1941, who worked and made major contributions in many fields of design including industrial design, furniture design, art, graphic design, film and architecture.

Eames Lounge Chair Wood (LCW)

  • Eames-Saarinen Kleinhans chair (1939)
  • Eames-Saarinen organic chair (1941)
  • Children’s chairs (1945)
  • Eames Lounge Chair Wood (LCW) (1945)
  • Circular table wood (1945)
  • Eames Plywood Side Chair (1946)
  • The Soft Pad Chair (1946)[7]
  • La chaise (1948)
  • Eames RAR (Rocker Armchair Rod) Rocker (1948)
  • Eames Eiffel Plastic Side Chair (1950)
  • The lounge Chair Metal(1950)
  • Eames Eiffel Plastic Armchair (1950)
  • Eames Desk and Storage Units (1950)
  • Eames Desk and Storage Units (1950)
  • The DAW (1950)
  • Eames Sofa Compact (1954)
  • Eames lounge chair and ottoman (1956)
  • Eames Aluminum Management Chair (1958)
  • Eames Aluminum Side Chair (1958)
  • Eames Aluminum Ottoman (1958)
  • Eames Executive Chair (1960) (aka: Lobby Chair, Time-Life Chair)
  • Eames Walnut Stool (3 styles; Shapes A, B and C 1960)
  • Eames tandem sling seating (1962)
  • Two piece plastic chair (1971)
  • Eames Sofa (1984) produced after Charles Eames’ death



                Alessandro Mendini,

                                Italian designer and architect. He played an important part in the development of Italian design. He also worked, aside from his artistic career, for Casabella, Modo and Domus magazines. In the seventies he was one of the main personalities of the Radical design movement. In 1979 he joined the Studio Alchimia as a partner and here he worked with Ettore Sottsass and Michele De Lucchi.

                His design has always been characterized by his strong interest in mixing different cultures and different forms of expression; he creates graphics, furniture, interiors, paintings and architectures and wrote several articles and books; he is also renowned as an enthusiastic member of jury in architectural competition for young designers, such as the DBEW competition in South Korea or the Braun prize. He also teaches at the University of Milan.

Javier Mariscal

                is a Spanish artist and designer whose work has spanned a wide range of mediums, ranging from painting and sculpture to interior design and landscaping. He was born in February 1950 in the city of Valencia, Spain, into a family of eleven brothers and sisters. Since 1970, he has been living and working in Barcelona. His language is synthetic, with few strokes and a great deal of expressiveness. He started studying design at the Elisava School in Barcelona which he soon left so that he could learn directly in his environment and follow his own creative impulses. His first steps were in the world of underground comic, a task that he soon combined with illustration, sculpture, graphic design and interior design.

                the Duplex, for which he designed one of his most famous pieces, the Duplex stool, an authentic icon of the 1980s. In 1981, his work as a furniture designer led him to participate in the exhibition Memphis, an International Style, in Milan.


George Sowden,

                was born in Leeds, UK in 1942. He studied architecture at Gloucestershire College of Art in the 1960’s. He moved to Milano in 1970 where he started working with Ettore Sottsass and Olivetti. In 1981, he was one of the co-founders[1] of the Memphis Group, the design movement that had a significant impact on design aesthetics in the eighties.

The same year he founded his design studio, SowdenDesign, and has since collaborated with numerous world famous companies, such as Olivetti, Alessi, Bodum, Guzzini, Lorenz, Rancilio, Steelcase, Swatch, Segis, Memphis, IPM , Moulinex, Telecom Italia, Tefal and Pyrex.



Here are some sketches of ideas i thought about doing before i landed on this idea.

this is the idea i finally settled on

this is the idea i finally settled oni was thinking about doing a doll house and a room... but decided not to

i have made the base for all my pages- which is good. i’m currently fighting with the hover pictures… and my main menu picture scroller. hopefully i’ll be able to make progress on that today.
I got a type of picture scroll functioning. Its not what i had originally intended- but i do rather love it. it used to stop every time you rolled over it— so i fixed that. i’m trying to minimize textual instructions on my front page. I also went through and made my links for all the subsidary pages… cart, login, ect. Its all color coded, which i hope people get, but i’m not positive that they will. But we can hope anyway. i’m going to take screen shots of all t he pages and post them… hold that thought. Ok. they are in the gallery now. go and check it out- its pretty cool! 
In new and exciting news- it apparently impossible to make small images have the rollover effect of larger images. so that was a collassal waste of 3 weeks of my life. instead, i’m going to have the pictures grow, i think. which is sort of unfortunate, because then you have to set the roll over AND the roll off images. but anyway. i have an old image hover code that would do it, but i don’t think that the formatting is right. however… i might look into that. no new pictures yet- i recently found out that we are supposed to title the furniture pieces… so ive been tracking down all of those names. its more time consuming than you’d first think. hopefully i’ll have progress to share tomorrow. 
Haha! I have completed my website. I figured out that if you want to grow and shrink your pictures, use the toggle function, so 1 click will make them big, and 1 click will make them small. Also, i went back and condensed my pages a bit so that they fit all on one screen (if the screen is pretty big). I am really happy with how the site turned out. My index page with the scrolling pictures is definitely my favorite part. The flash intro is good, and its simple, which i think is important. I think that i have made a pretty functional and pretty modern site, so i’m pleased. I don’t have any new screen shots for you, because in total- i have around 15-120 pages, and they look basically like they did last time i posted pictures… but now they work. I am working on posting the site, but i don’t have enough student space to do so at this time, so i guess we’ll wait and see. Having used dreamweaver and front page, i can safely say that i love how intuitive dreamweaver is (it replaces old versions of pictures with new ones). I found a snag when i added my links to my home buttons the other day- for some reason they adopted the link of the abouus buttons right next to them. Somehow, the <a href> tag hadn’t been closed, and was applying to both buttons. so i fixed the last of those yesterday as well. This has been a great project, and i will definitely stick this in my portfolio.

Cinema 4D
January 24, 2009, 9:26 pm
Filed under: Uncategorized

Learning Cinema 4D has been a challenge, but it has been incredibly interesting. Here is what i’ve learned so far:


My first spoon!

My first spoon!

My sphere. With the topography of a sand dune. And a shade applied.

My sphere. With the topography of a sand dune. And a shade applied.

My stapler. This was my first official thing... hopefully i'll get better

My stapler. This was my first official thing... hopefully i'll get better

The maze. My maze isn't so much a maze... more of an artistic map of my brain.

The maze. My maze isn't so much a maze... more of an artistic map of my brain.


































This is the beginning of my table setting. i’m sort of attracted to the star design- just because its little kiddish- and thats sort of my angle. but i’m going to think about that.