Tweet

The May 27, 1922 issue of The Evening Independent carried a story about moonshiners wearing “cow shoes” to trick revenuers — rather than leaving suspicious footprints leading up to their secret stills, they’d leave innocent-looking hoofprints in the dirt and grass. The New Yorker‘s “Photo Booth” had a good snap of one of the shoes (above).

Shiners Wear “Cow Shoes” (via Kottke)

Tweet

Tweet

The interior is light, spacious and airy, with open staircases and lovely peeks through well placed windows of the forest like surroundings.

While I’m often quick to criticize the architecture of our current era, I’m also gratified to find a project that really works. The architect has created a smartly designed, gorgeous home that fits the surroundings and takes advantage of the amazing light that nature creates. This home shines at night, as the interior lighting softly illuminates the smart very livable interior.

Daylight dancing over cantilevers and recesses

Light loves the interior

Interior lighting takes center stage as day softens into evening light

Source: Dezeen

Tweet

Jens Risom

One of the first designers to bring Scandinavian design to America, furniture designer Jens Risom celebrates his 96th birthday today. Mr. Risom came to New York in 1939 after years of study in Copenhagen, including business college. At first Risom found it difficult to find work as a furniture designer, so he turned to textiles. His freelance work landed in the pages of Collier’s “House of Ideas” designed by Edward Durell Stone during the 1939 World’s Fair.

Risom’s journey to iconic designer status began in 1941, when he partnered with Hans Knoll, starting the Hans Knoll Furniture Company in 1942. Fifteen of the first 20 designs in the inaugural catalog were designed by Risom. Some of these designs are still in production today, his chairs of cedar and what was once surplus military webbing are much sought after iconic designs of the mid- 20th century.

Risom Arm Chair 1941

After serving in the US Army during World War II, Risom  briefly returned to Knoll before launching his own studio, Jens Risom Design (JRD) in May of 1946.

His work was popular, he was one of six furniture designers featured in Playboy, and one of Risom’s office chairs was used by Lyndon Johnson in the Oval Office

His work is on display at the Museum of Modern Art, the Yale University Art Gallery, the Brooklyn Museum, the Rhode Island School of Design Museum and the Cooper-Hewitt, National Design Museum

1961 Playboy photo featuring left to right - George Nelson, Edward Wormley, Eero Saarinen, Harry Bertoia, Charles Eames and Jens Risom.

Sources: DWR, Wikipedia

Tweet

So what does a French food blog have to do with Set Design? Here I don’t have to go through a myriad of word contortions to get there, as Emilie has combined two of my passions, food and color. Pantone color. Pantone is the color language I use to speak with my clients, especially creative directors who’s roots are in graphic design.

Enough text, let’s get to the pictures. Using tart shells and various fruits, Emilie has created  dimensional pantone color swatches that really are good enough to eat. If I can find a full day or two to spend in the kitchen, I’m going to work on edible pantone swatches in chocolate and frites.

Tweet

Beauty truly is in the eye of the beholder, as the writer of the original blog post refers to these rulers as “rubbish”. I disagree. These are craftsmen’s tools, once a necessary component of a successful project. Remember: Measure twice, cut once, and last one out the door please turn off the lights.

Tweet

So where is the big thinking in the “real” world? As a society, we seem to have lost enthusiasm for the future. It was cool to see the space shuttles flying over DC and New York. It’s cool that those vehicles will be in museums, but where are the new spacecraft? Where is our shared spirit of adventure and exploration?

Where is the Playboy Club in space?

Why are we not looking to colonize space? Or the deep sea?

Web Urbanist had some thoughts here. In the meantime, we should all dream big.

We will, of course, use Vectorworks to design our future.

Tweet

Unpacking the set for TSA. Designed by KLAD, built by Gotham Scenic. Pro Tip: Don't wear a metal belt to a load in at the Department of Homeland Security.

Multi level runway - and we're covering it with high gloss flaming pink glitter. Perfect for lingerie models in stilettos.

Grip Stands in formation ready for the production battle.

We're ready to start shooting "Living Well with Montel" if only the Art Director would stop tweaking.

Tele-Prompter up. Waiting for Montel to enter stage left. And we're live in 5-4-3...

Tweet

The need for pre-visualization will only grow over time. Pre-visualization saves time, and money, in preparing productions. It is now possible to cue an entire show off-site with just a few people. The cueing can be brought to the venue and quickly tweaked. There are no surprises, no crew calls and more time for rehearsals or other work.

It’s all about knowing the software and using the tools.

Beginning April 18th, professional and student designers can submit entries to the 2012 Inspired Visions Global Rendering Competition. This annual competition, which is sponsored by Nemetschek Vectorworks, and MAXON Computer, recognizes today’s top architects and designers from around the world, and their abilities to visually render Vectorworks models with Renderworks or CINEMA 4D. Submissions will be accepted until 16 August 2012, in the following categories:

· Rendering with Renderworks 2012
· Rendering with CINEMA 4D
· Monochromatic model (rendered in Renderworks or CINEMA 4D)

“We are excited to collaborate again with our sister company, MAXON Computer,” says Theresa Downs, communications director at Nemetschek Vectorworks. “It is evident that more and more designers are using both programs to create renderings, and we expect great things from the entries this year.”

The panel of judges includes Daniel Jansenson, principal at Daniel Jansenson Architect and author of Remarkable Renderworks, from Santa Monica, Ca.; Tyler Littman, principal designer and owner of Sholight, LLC, from New York; Nicholas Dunand, freelance designer and sculptor, from Melbourne, Australia; Erik Recke, freelance architectural visualizer at Datenland, from Hamburg, Germany; Alejandro Nogueira, CEO at DECC Arte 3D from Tecamachalco, Edo. de Mexico, Mexico; and René Racz from Lichtmaschine Multimedia GmbH, Basel, Switzerland.

Each category winner chosen by these judges will receive $2,500 USD and will be featured in an official media release and on Planet Vectorworks. Winners will also be promoted on the Nemetschek Vectorworks and MAXON social media channels, such as Facebook, Twitter and YouTube.

In addition, the public will select their Fan Favorite from all entries, which will be posted on the competition’s website. Voting will take place directly on the site.

Designers may enter multiple categories. However, all entries must be built on a Vectorworks model. Interested competitors who lack the current versions of the software can request a free, 30-day version of Vectorworks with Renderworks software at http://www.vectorworks.net/trial/form  or http://student.myvectorworks.net , or they can download a 42-day free version of CINEMA 4D at http://www.maxon.net/downloads/demo-version.html.

To enter, vote or learn more about the competition, visit http://inspiredvisions.vectorworks.net.

Of course, having a copy of Entertainment and Lighting Design with Vectorworks Spotlight will help you win this competition, pretty good ROI.

Read my NAB article for PLSN about the use of visualization and collaboration here.

Tweet

Forget the rule of the triangle here, this kitchens or kitchens (keep reading) has many more rules to be considered. This kitchen has to last at least five years, that’s not really long in kitchen years, but most kitchens don’t ave to be assembled, disassembled, stored, reassembled, etc. etc. on a regular basis. Most real kitchens have one arrangement. The stove will be where the stove all be and the plumbing is fixed in one location. This one needs to have many different floor plans and finishes. So, this kitchen will have one set of cabinet cores and several different sets of doors and drawer fronts. Not to mention counter tops, set dressing, and paint treatments.

Obviously, this kitchen will be used in commercial advertising for many different products. What products? We don’t know. Many haven’t been developed or even invented. We have to anticipate the many possible uses.

Of course, like a real kitchen, everything has to work. That’s not always true in a set kitchen. Unlike a real kitchen,we don’t know where the sink will be from show to show. This has to be a modular design combining stock and custom pieces with almost infinite flexibility.

Lighting and electric has to be configured into each piece. The under cabinet lighting will likely bean RGB LED system for different looks and to allow for compete color balance. There will need to be the ability to light the interior of the cabinets, whether they has glass fronted does or not. All of the lighting will need to be concealed and controlled from a, somewhat, remote location.

whew!

Obviously these drawings are the very first quick schematics and studies. And obviously, we’ll post as many details as we can, when we can. Right now, back to the drawing board.

But, if you’d like to se some nice, real kitchens, that don’t come apart, click here.

Tweet

Sometime back, Cruzine had an interesting post that inspired today’s thought, and several designs. The brilliant designs and lofty photography can set the mind to dreaming and the hand to drawing. Just because these are buildings doesn’t mean they can’t inspire kitchens, interviews sets or the movement of actors or consumers within a space.

Check out the link for some great images and links to even larger images for greater impact.

And color, let’s not forget color, but our regular readers know we love color.

Tweet

Well, nice weather and great minds reminiscing alike, Retronaut and Vintage Everyday both posted photographer Tom Reavis‘ great images from the same time and place.

Enjoy. It’s not MiMo, but…

Tweet

It was always this time, of year; Spring Break from school. My parents would take me out of school for an extra week and we would make the annual trek to Florida in the camper. The first stop was always Flagler Beach State Park, and then we would work our way down the Space Coast through Daytona, Fort Lauderdale, and Miami towards my Aunt Jean and Uncle Jack in South Dade, really still part of Greater Miami. I think Dadeland was the first Mall I ever visited, beginning when it was open air.

Little did I know then how the visits to Miami Seaquarium, and Miami Beach would influence my future taste in architecture and styling. Everything was generally new and modern. Even the supermarkets, gas stations, and motels represented progress. Like the Space Program. Optimism was in the air, the future was bright, and technology was the key. Science ruled and education was of paramount importance.

Now, MiMo or Miami Modern is a preservation movement. This is much like the efforts it took to preserve South Beach Deco in the early 1980′s. Why do we never learn?

Last year, Modern Capital took a trip down my personal memory lane.

Always looking for another opportunity to get back to Miami. It hasn’t been 40 years, but it has been too long.

Tweet

I used motion stabilization software to remove the shake from the hand-held footage. This makes it look more professional, but I assure you it simply home movie footage, although it was taken with a very good 16mm camera, and was perfectly exposed, something that was tough to do back in those days before auto exposure.

This is a quick little time capsule of space, dimension and movement from a time of the golden age of electric signs. As I watched this movie, I thought about how much of the Times Square signage of today is just burn your retinas bright flat panels.

I spend many nights walking through Times Square and often, if I pause for a moment and put my tourist goggles on, I see a visual cacophony. Huge flat screen after huge flat screen, super bright images flailing about, one after another coming together into advertising soup.

Except of course for the whirring,  flashing multi layered Chase sign with its twinkling jewel like logo, jutting out from the facade of 3 Times Square.  Full disclosure, I chose as a contrast this newer, hand crafted sign, by the very talented craftspeople at Spectrum Sign, because KLAD designed it. This is all the shameless self promotion you’ll have to endure in this post.

I wanted to share this with my fellow sign affectionados, I think you’ll appreciate how much easier it is for your eye to differentate the messages from each other, because great design and exquisite craft is a connector for all our senses, and these signs leave impressions on us. Perhaps the huge white digital flat screens do the same for some people, I cannot really visually remember any particular flat panel that stands out. (terrible attempt at a bad pun). It’s easy to see for yourself, watch this movie and make a mental note of any of the signs that left an impression. The next time you’re in Times Square, stand in the bowtie and see what leaves an impression. Is it a giant, super bright flat screen?

Tweet

Most of our readers will likely be familiar with Kawasaki as the Apple Evangelist Officer. or from our review of his last book Enchantment, which we reviewed last year. Guy is prolific, but this is only the second book he has written about a specific product. The first was, of course, The Macintosh Way.

The man does know how to write and how to share enthusiasm. He also walks the walk using Google+ several hours a day, in addition to his other postings and Tweets.

What the Plus! Google+ for the Rest of Us is a brief, yet thorough overview of the ins and outs of Google+. Reading, What the Plus! and, as I like to put it, Playing the Home Game, that is working Google+ as one reads, the text provides a clear comparison with Facebook and Twitter, making the new, familiar. What the Plus! is a valuable manual in  social media. It’s just $2.99 or less and available as an eBook in your favorite flavors.

All that and nary a mention of Vectorworks. Oooops.

Tweet

Call For Submissions For April’s Concept: FORM & MUSIC: LET’S HEAR YOUR DESIGN
Submissions due on April 27, 2012 8pm EDT

Winner Announced: May 11, 2012
Registering and submitting is free.

Monthly Winners Awarded: $150 Visa Gift Card + other prizes

Submission Requirements:
Submissions must be a single 24″ x 36″ board in PDF form as well as a Vectorworks (.vwx) file. Your board can contain any type of drawings or images, but must include, at minimum, one image created in Vectorworks. For complete submission details go here for the Submission Guidelines. Thee are rules, easiest way to lose is to not follow the rules.

Of course, your first move should be to buy a copy of Entertainment and Lighting Design with Vectorworks Spotlight.

If this competition isn’t up your alley, Nemetschek Vectorworks has announced a year’s worth of themes.

Tweet

This is the third of three posts describing creating a scene and lighting design for an Easter Egg using Vectorworks. I guess it’s more a prop design, but it’s just an excuse to have some fun and maybe learn a few things along the way. This is also a great illustration of how easy it is to model seemingly complex  objects using Vectorworks and how to readily make a great presentation using Renderworks.

First let’s look at the floor texture I described in the last post. This is really simple. It is a simple Color Shader, with the color set to White and the Brightness set to 100%. The Reflectivity Shader is reflecting white and set to 35%, we don’t want this to be just a mirror, it’s a cool glossy surface. Finally there is a blurriness setting set to 15% so the reflections are just a little bit soft.

The floor is huge and the floor is positioned, as is the camera, (manipulated through the camera view settings) so that we never see off of the floor.

Another option would be to model something like a television/film studio cyc with curved corners and sweeps that meet the floor. The lights would then have to be Spotlights rater than the Directional lights as no matter where they are placed, the Directional light would cast a shadow of the cyc walls in to the rendering.

So, I like things a bit extreme. In general, in our work, we have to be a bit conservative, so this is an opportunity to go over the top. A Pink Cheetah Easter Egg sounds about right. The Pink Cheetah is an image file that I’ve had (and used) for a long time. I brought that in as a texture. Set it to a 20% Mirror Reflectivity Shader.

It’s not quite right, so I added a decal of the shield and a gem. I’ve also bumped up the Ambient Light and added a spotlight to accent the front of the egg.Now, this is an appropriately over the top celebratory egg. Of course, I want to add more, colored lights on and around the egg, but I also want to keep the lesson simple. Dilemmas.

Read about the building of the model here and creating the Lighting Design for the Easter Egg here.

Of course, there are many other tips and techniques like this described in my new book Entertainment and Lighting Design with Vectorworks Spotlight available from Nemetschek Vectorworks.

Entertainment and Lighting Design with Vectorworks Spotlight takes the reader from simple techniques like this through the process of designing the sets and lights for a Broadway show.

Need Help? Post any Vectorworks related question in the comments section. Kevin will post his answers here.

Tweet

First, I have deleted the guides and selected the Egg object. I then rotated the Egg twice using the  Modify>Rotate>Rotate 3D Command. In each case, I rotated -15° Along the Active Layer Plane. I rotated once along the Y axis and once along the Z axis. That should make a more interesting composition than the straight on view. In the front view, I ‘nudged’ the object up to zero. Nudge isn’t really an accurate way to move objects, but this is an illustration, not a technical drawing. I added a large white reflective floor under the egg, a white Renderworks background, and a Camera Object to look at the egg on the floor in perspective.

Any basic lighting set-up requires three–point lighting – a Key, a Fill, and a Back Light. This is true on stage, or in film, television, photography, or Vectorworks.

Go to the Top/Plan View. From the Visualization tool set, select the Light tool and the first option on the Tool Bar-–Directional Light Mode also select the Set Direction Mode (the sixth option in the Tool Bar).

Your first light should be 45° from the straight on angle of your perspective view. Click on your object and drag to place the light. This is the Key Light and can be named in the Data Tab of the OIP. In the Shape tab of the OIP, set the elevation to 60° and the brightness to 60%.

The Fill Light comes in lower and fills in places missed by the Key. Typically this is a softer light, so click and drag this light to be 45° from the Key Light. In the OIP, set the elevation to 20° and the brightness to 40% for this light, turn shadows off in the OIP.

For the Back Light, select the Mirror tool from the Basic tool set and Mirror the Fill Light using the Mirror and Duplicate Mode. Set the elevation of the Back Light to 45° and the brightness to 30%.

For more dramatic lighting you can use the Spotlight Option for the Light Tool Objects. NOTE; proper heights have to be set for Spotlights. Directional Light Objects do not need a Z elevation.

Go to View>Lighting>Lighting Options and  set the Indirect Lighting Options (via the drop down menu) to Normal-2 bounces. I also have the Key and Back light set to soft shadows. I’ve added a lavender color to the Back light and bumped it to 35% brightness.

Next up, we will make textures and do a final render. Read about the building of the model here.

Of course, there are many other tips and techniques like this described in my new book Entertainment and Lighting Design with Vectorworks Spotlight available from Nemetschek Vectorworks.

Entertainment and Lighting Design with Vectorworks Spotlight takes the reader from simple techniques like this through the process of designing the sets and lights for a Broadway show.

Need Help? Post any Vectorworks related question in the comments section. Kevin will post his answers here.

Tweet

This might take a few posts. The first question is “What is the shape of an egg?” It is not an oval, ellipse, or a circle. Yes they are all different and an egg is not an oval, even if they have the derivation. It is close enough to a circle in plan view that we won’t model with Revolve with Rail. To model an egg, we’ll use a simple Sweep command. But first the profile. We only need one side of the egg to make it 3D. We could use a full egg, but the model would be a mess.

Warning, this is pretty nerdy.

An Egg has a nominal proportion of 2:2.625. It is always amazing how objects in nature are so close to the Golden Proportion. In Vectorworks, I started with the 1′ by 2 5/8″ rectangle on the right. I’m working in the front view and on the Layer Plane. I added the 1″ by 1″ rectangle on the left. I used absolute positioning to place these objects. I drew the 45° line as a guide and I added the full circle as an illustration of the geometry. If you start with that circle and the line, the shape is readily scalable.

I then drew the three arcs filled with pale yellow and lavender. It is Easter after all. Those arcs have a Magenta Pen Color for clarity. You should be able to see the centers of those arcs and then easily draw them, snapping to one another as you go.

With this geometry, I can now easily extrapolate as much of the rest of the egg as I like. This is pretty close to the size of a chicken egg, so I could select the three arcs that define the the outline, Compose into a shape and Offset between 1/32 and 1/16th of an inch using the Offset Original Object mode, with Close open Curves. That would give me the geometry to model a hollow shell. I could use and offset of the outline to create the ‘white’ of the egg. I can add a yoke with either a sweep or a Sphere Object.

But I’m not going to do any of that. This is eventually about the pretty. Some thing you can do with Vectorworks, but not Paas.

Shift Select the three arcs and go to Modify>Compose to create one shape from the three. Note that the yellow fill now fills the all of new object. By Default, the yellow fill will become Object Attribute Texture. We’ll change that in a subsequent post about this same model.

With the new half egg object selected, go to Model>Sweep and with the defaults selected, click OK. And now you have easily created a 3D egg object.

Note that in the Sweep Dialogue, you can change the amount of the rotation, creating a partial sweep, kind of like a quarter orange peel or similar. You can also change the Pitch of the sweep which allows for the creation of some unique objects.

As always, experiment.

Easter Egg

You should end up with something just like this, once rendered in Final Quality Renderworks. Of course, you can get rid of all of the guide objects. We will do that as well.

Next up, we will light the egg and then make textures.

Of course, there are many other tips and techniques like this described in my new book Entertainment and Lighting Design with Vectorworks Spotlight available from Nemetschek Vectorworks.

Entertainment and Lighting Design with Vectorworks Spotlight takes the reader from simple techniques like this through the process of designing the sets and lights for a Broadway show.

Need Help? Post any Vectorworks related question in the comments section. Kevin will post his answers here. Yes, I committed Kevin to this – KM

Tweet