My preference for books is always a hard copy, but sometimes having easy access to the information is more important than having a physical book, especially when copies of the actual book are impossible to find or really expensive.
That’s the case with this book, Plastering Plain and Decorative. First published in 1890, the book has become known as “The Plasterer’s Bible”. Now out of print, except for the occasional third-party reprint, it went through four editions. It contains hundreds of black & white photographs and drawings which aren’t always of a very good quality with most of the modern reprints, usually because they are printed in a smaller size than the original quarto size and because the scan quality of the original images is bad.
On top of not being of a very good quality, they are also nearly as expensive as an original copy, which would be a better bet as those are stitched like a traditional book and not perfect-bound (glued edges) like all soft cover books are. I have seen so-so quality reprints go from anywhere from $100 to $300.
Fortunately there is an inexpensive (free) copy of the book online at the Internet Archive. This isn’t just a book of nice drawings and photos, this is a book written for crafts people. Besides the layout diagrams, there are drawings of the actual tools used to create complicated plaster elements and a huge list of plaster types as well as the ingredients and mixtures used to create them in various time periods, such as instructions on what type of animal hair to use in the staff pieces for strength. It is an early edition of the book and contains over 700 pages which is more than is included in later editions.
The book covers not just typical plasterwork but, sculpting, mold making, terra cotta work, scagliola, sgraffito, and composite decorations. Besides Western European techniques it examines designs and techniques from Japan, China, India, Persia and the Middle East.
There is also a section on concrete work such as staircases, sidewalks, road, roofs, fountains, and other decorative elements.
You can find the digital book here at The Internet Archive. There are a number of different digital files available for download with varying file sizes depending on the quality of the images you want to have available.
This is one of the design books on my Top Ten list. Authors Jim Tolpin and George R. Walker examine the role of proportion in design from ancient times to the present. While the emphasis is on furniture design, they show how much of the world is governed by simple proportions, noting how ratios such as 1:2; 3:5 and 4:5 were ubiquitous in the designs of pre-industrial artisans.
This is not a recipe book but a guide to a new way of looking at design through the eyes of centuries of artists.
Published by Lost Arts Press, this is just one of a whole line of fantastic books on design and hand woodworking that they offer.
You’ll receive a link after you purchase the course to download the PDF.
This new first edition is the only one of it’s kind; a film glossary created for film designers. Whether you are a novice or an industry professional, you’ll find useful information in this book that doesn’t exist in any other film glossary,. As well as nearly 1500 up-to-date terms on production, cameras, crew positions, post-production, legal aspects, stage equipment, and industry slang, there are hundreds of entries on architecture, hardware, set construction, and more.
The 2023 Ebook is due to be available in mid-December. Series purchasers will be the first to get the book when in becomes available and will receive a download link.
The 10-Week Course Description
This is the only time the series will be offered at this price and it will return to the normal price when the series begins on October 31.
This self-paced online series covers the fundamental skills that a Set Designer in the feature film and television industry here in Los Angeles are expected to have.
This is similar in difficulty to a one-semester graduate-level program at a university, but much of the material presented here is not covered at most colleges and is normally only available at the professional level. I’ve been developing this series for several years, basing it on classes I teach at the Art Directors Guild in Los Angeles.
Here is an outline of the material that will be covered in the series:
Week 1 – The Basics
Standard drafting conventions and symbols for set construction drawings. Set construction: typical flat construction techniques and variations.
Week 2 – Cameras & Optics
Understanding basic camera and lens terms: aspect ratios, focal length, depth of field, sensor sizes, exposure, stage lighting, using camera angle templates.
Scaling from photographs and artwork: calculating dimensions, understanding picture perspective and allowing for lens distortion.
Week 3 – Analyzing the Script / Reference Materials
How to break down a script for set design; using storyboards; techniques for estimating drawing time schedules.
References: using online, printed, and survey photo references; building a reference library on a budget.
Week 4 – Working Drawings
Step-by-step directions on creating proper construction drawings: plans and elevations; details, full-size details, and digital cut files; reflected ceilings and furniture plans; stage spotting plans, and director’s plans.
Week 5 – Door & Window Details
Diagrams and explanations of door and window construction and various adaptations for stage sets; creating accurate-looking period reconstructions; understanding, using, and sourcing hardware.
Week 6 – Stairways
The fundamentals of stair design: types of stairs, stair construction, how the choice of stair type affects design, and designing elliptical stairs.
Week 7 – Mouldings & Staff Elements
Understanding and using the Classical Orders of architecture; the proportions of mouldings based on style type; using a moulding catalog and creating built-up moulds.
Using plaster staff and compo elements in a set; designing with brick skins and textured surfaces.
Week 8 – Backings, Special Effects, & Visual Effects
Using painted and photo backings: The advantages and drawbacks of various types; creating custom backings; how to calculate correct placement distance from the set.
Special effects considerations: replicating fire, water, and wind effects; understanding legal requirements for special effects work on a sound stage; dealing with practical fireplaces.
Visual effects work: shooting with green or blue screens; using LED walls or volumes.
Week 9 – Backlots & Location Surveys
Shooting on studio backlots; shooting on location; proper surveying techniques; assembling a personal survey tool kit.
Week 10 – Physical Models
The advantages of physical study models; determining model scales; various model types and construction techniques.
Class Materials & Videos
Each week there will be tools, charts, and reference material to download as well as video instruction to help you do the exercises and create your portfolio drawings.
Along with the classes, you’ll have access to a private chat area that is only available to students of the series and alumnae who have taken courses previously. Here you’ll be able to meet other designers, discuss class material, get advice on your career, and exchange ideas and experiences from both the classes and real-world entertainment jobs.
Prerequisites:
– You must know how to draft. Drafting ability is essential to effectively completing the course and ending up with a set of professional quality working drawings. I’ll be offering a course on drafting later in 2022 to fulfill this prerequisite.
– Be familiar with CAD software – You are free to use any CAD software you are familiar with. Using software that you are still learning may make the lessons more challenging than you can handle. There is no standard drawing software in the entertainment industry as far as the Art Department is concerned. There are preferences among certain designers but one aspect of the job is a need to create files that can be used by many different other programs. 3D modeling won’t be required for any of the class projects but feel free to work that way if that is part of your usual design process.
There is a 14-day money-back guarantee from the time you begin the series if you change your mind. If you’re unsure about whether the series is right for you, you can schedule a free 15-minute discovery call to talk with me and I’ll be happy to answer any questions you might have.
The Art Director’s Guild sponsored a book signing event at their gallery space in North Hollywood yesterday, with co-author Karen Maness on-hand to sign copies of the new book, The Art Of The Hollywood Backdrop.
The book is a cooperative project between the authors, Karen Maness and Richard Isackes and the Art Director’s Guild. With a focus on hand-painted rather than photographic backings, the book traces not only the history and development of backdrops through Hollywood films but the artists who have developed the techniques used and who have passed along that knowledge to successive generations of scenic artists.
The event was well attended by not only Guild members but by members of the Strang family and the Coakley family of J.C. Backings, the two families which have not only dominated the field in Hollywood but have been the biggest promoters and curators of the art form.
The Coakley family and fellow artists of J.C.Backings
Co-author Karen Maness graciously signed books all afternoon.
This is a big book, and I say that in every sense of the word. Larger than a quarto format at 11 x 14 inches, the hard-cover and cased edition is 352 pages long and weighs in at 13 pounds. Filled with crisp images of both black and white and full-color backings, the photos show the backings not only in a straight-on form but in the environment that they were meant for. It’s filled with stills from the original films as well as set stills showing them in relationship to the sound stages and the companion scenery.
This book will definitely appeal to film lovers who have very little understanding of film scenery and stagecraft as well as film professionals who have many films to their credit.
It is available for order through the publisher’s website and will soon make it’s way into bookstores. If you are still making that holiday gift list, this is definitely a book that will have huge appeal to anyone who loves movies. Read an excerpt here, and you can order the book here from Regan Arts.
“There is a tendency among those accustomed to the large-scale of moulding detail on exterior work in wood or stone to make their mouldings on furniture and interior woodwork too large. The full-size furniture moulding so carefully drawn by Mr. Warne should be of the utmost service not only to furniture designers but to students of architecture and interior decoration.”
“This book covers many different types of English furniture; bedsteads, bookcases, bureaus, cabinets, chests, cupboards, chairs and others. This book illustrates cover this book covers molding details on English furniture from about 1574 to 1820 molding is the method adopted by the cabinetmaker to give definition to the lines of his work and the sections of molded detail very very much as one style has succeeded another through the oak, walnut, mahogany and satinwood periods of English furniture the workings of moldings was then so laborious that the craftsman use them with greater restraint and obtained more pleasing effects by their use than is frequently the case today when profusion often eliminates interest.”
H. P. Shapland, 1923
E.j. Warne’s book, Furniture Mouldings, is still one of the best resources on 16th to 19th century British furniture. Almost never out of print, copies can be had for as little as $1.
Until you get a print copy, you can download a digital scan of the book below. Scanned from an ex library copy, there are a number of damaged pages but you can get a good idea of the scope of the book.
I think I’ve already made it clear that you just can’t have too many books, especially ones on design and architecture. But it’s also a real pain dragging a lot of them around with you from job to job and it becomes a bigger job to keep track of them once they’re out of your house. So, I try to only take books to my current workplace that I either don’t have a digital version of or just really need to have close at hand.
If I had to limit myself to just 10 books, these would be the books I’d take to start a job.
Here is my must-have list with sources:
1. Architectural Graphic Standards – 5th Edition – This was when the books were filled with great hand drawings and actually showed you in detail how things were built. Lots of period details as well. Out of print for over 50 years (at least in this edition) you can still find copies for anywhere from $20 to $200. The 3rd edition would be a suitable replacement. the first edition is also good to have and has been reprinted several times. Check Abebooks for copies. Not available digitally.
If you are in Great Britain, McKays is the closest equivalent, and is actually superior in a number of ways from our standpoint as set designers. On the Continent, an older copy of Neufert’s is a must. See this earlier post for details. Not available digitally.
In Germany, the best book on period construction I’ve found is Konstruction Und Form Im Bauen, by Friedrich Hess. There are lots of very nice drawings and measured details. Long out of print but you can still find copies second-hand. In Sweden, an excellent book on traditional construction is Stora Boken Om Byggnadsvård, by Göran Gudmundsson. This is a current book and still in print. Neither are available digitally.
2. Time-Saver Standards for Interior Design and Space Planning, 2nd Edition. This is the design complement to Architectural Graphic Standards and covers nearly every situation regarding building interiors. You can find used copies for around $75. There is a digital version available but it’s not only difficult to navigate because of the size of the book but at the price you’d be better off getting a hardback edition.
3. Styles Of Ornament – Alexander Speltz. Originally published in 1904, this book uses over 4000 drawings to illustrate 6000 years of historical design. As a general design reference I don’t think it has an equal. Architecture, furniture, text, carving, metalwork are all covered. A must-have. (Handbook Of Ornament by Franz Meyer would be a close second.) Available from a number of publishers for as little as $10. A digital version is available.
4. The Stair Builder’s Handbook – T.W. Love – Not a design book per se, but a book of rise and run tables that make stair layout a breeze. Available from Contractor Resource for about $18.
Also, In April a new book will be out called Simply Stairs – The Definitive Handbook for Stair Builders, by Mark Milner, published by Whittles Publishing in London for £25. Pre-release information on the book makes it look very promising.
5. Backstage Handbook – Paul Carter. Originally a technical manual for theatrical designers, the book is full of great information for film work as well. There are more details in this earlier post from several years ago. Available from Broadway Press for about $22. No digital version is available.
6. American Cinematographers Manual – The new 10th edition will cost you about $80 in hardback and almost the same in it’s digital version through the iTunes and Android sites. There’s a free pdf of the 7th edition here, but much of the latest technology isn’t in it. This is the go-to book for all things dealing with cameras and image capture. A lot of people will tell you you don’t need this. I’m sure you could also have a great career as a car designer without knowing anything about how cars work. Because when it comes down to it, all we’re really doing is designing big, pretty things to bounce light off of. Just remember, if the department names were based on physics we’d be the Light Reflector Design Department.
7. Building Construction Illustrated – Francis Ching. An excellent and thorough book about construction details including wood framing systems as well as masonry. About $30. No digital version is available.
8. The Classical Orders of Architecture – Robert Chitham. I think this is the best modern book around that deals with the classical architecture proportional system. This book was out of print for quite a while and fortunately is back in print. The new edition deals with the proportions for both metric and Imperial systems. Used copies can be found for about $45.
9. Illustrated Cabinetmaking – Bill Hylton. I covered this book in an earlier post. If you want or need to know basic furniture design and how furniture goes together this is the book you’ll want to refer to. It’s been referred to as the Grey’s Anatomy of furniture building. Full of exploded drawings of many kinds of pieces. Available from Fox Chapel Publishing for $24.95.
10. By Hand & Eye – George R. Walker & Jim Tolpin. Just because this is number 10 on the list doesn’t mean it’s the least important. In fact if you’re just starting out in set design this is the first one I’d tell you to buy. Most bad designs are caused by bad proportions. This book will give you a solid understanding of proportion and keep you from making simple mistakes. You can download a sample chapter here. Also, I wrote a longer post on the book earlier. Walker and Tolpin are promising a workbook that will come out later this year based on the book’s concepts so look for that. Available from Lost Art Press for $38, hardbound.
Low Budget Option – Cut back on the Starbucks for a couple days and buy a digital version for $18. The mental stimulation might be just as good as the caffeine and it’ll be a lot healthier too.
So what have I missed? There are other books I could list these are the best. What’s on your shelf? What books would you say are ‘Must Haves’?
Share your titles with the rest of us. Let me know the important titles I’ve missed here, I’m sure there are a lot. As an incentive, everyone who posts book suggestions goes into a drawing at the end of the week for a free digital version of By Hand & Eye.
“Cyclopaedia, or, an Universal Dictionary of Arts and Sciences: Containing the Definitions of the Terms, and Accounts of the Things Signify’d Thereby, in the Several Arts, both Liberal and Mechanical, and the Several Sciences, Human and Divine: the Figures, Kinds, Properties, Productions, Preparations, and Uses, of Things Natural and Artificial; the Rise, Progress, and State of Things Ecclesiastical, Civil, Military, and Commercial: with the Several Systems, Sects, Opinions, etc; among Philosophers, Divines, Mathematicians, Physicians, Antiquaries, Criticks, etc.: The Whole Intended as a Course of Ancient and Modern Learning.”
Fellow Set Designer Scott Schneider alerted me to two reference sites that are a real treasure trove of images. The University of Wisconsin has recently digitized an original 1728 edition of Ephraim Chambers’ Cyclopaedia. They have done an excellent job of creating high quality scans of the plates that have always been hard to read in older scans.
You can find the link to the scans here. I’ve posted the scans of some of my favorites below.
Scott also drew my attention to a great site for period photos and drawings at:
There are a lot of design books published every year and occasionally a few get written that are actually worth buying. By Hand & Eye is one of those. It’s a book that delivers where a lot of others have gone and failed. Written in an easy, nonsense-free style, the book sets out to explain the “art” of designing with proportions rather than numbers. I’ve found that a lot of books on design tend to read more like a doctoral thesis than something that will actually explain the material in easily understandable language. By Hand & Eye succeeds because authors Walker and Tolpin are actually practitioners of their craft rather than just writers. It’s like taking a film course from someone who’s actually made a film rather than just talk about it.
Lost Art Press is a relatively new publisher who’s books are primarily aimed at the traditional woodworking crowd but you’ll be missing out on some gems if you assume their books are only useful to furniture makers. Their books are quality products both in their content and their construction. These are not the cheap perfect-bound high-acid tomes that are the product of most publishers and will end up disintegrating on you shelves. (With that in mind, If you do happen to be a furniture and book lover, and the name Andre Roubo means anything to you, you need to must check this page out immediately.)
Jim Tolpin was the most familiar to me as I own a number of his other books, but George Walker is relatively new to the publishing world. George writes a blog called Design Matters which is a record of his journey in the search for understanding what makes for good design. He and Tolpin met several years ago and found they were both on the same path but had approached it from different directions; Walker from a preference for traditional furniture and Tolpin from a more modern bent. Both were determined to discover the “magic formula” that meant the difference between a chair or building being handsome or ugly.
What they discovered is that numbers don’t matter. In fact much of the time they just get in the way. Most of the treasured icons of furniture and architecture were made before the measured rule was in use. It was the divider that ruled rather than the inch or foot. And this system of working when far beyond architecture and furniture.
The exercises they outline are especially helpful if you have only worked on a computer as you’ll be forced to think purely about the design process without the intrusion of a ‘digital helper’. By learning to think proportionally you’ll approach design from a much less restricted footing. A lot of times computers just get in the way of good design instead of enhancing it. Once you stop using numbers and just concentrating on ratios you’ll realize you can make things much easier for yourself.
The book are also a great introduction to traditional geometry and proportion if you haven’t really studied it before or a great refresher if it’s been a while since you exchanged a mouse for a compass. They are developing a website for online access to exercises in the book and you can download some sample animations of the exercises from this web page. You can also read more about the book and download a sample chapter on this page.
While the book does concentrate on furniture design the information translates to everything else in the design world as most of the principals are found in classic architecture.
For example, traditional sailing ships and cannon have a lot in common with the classical orders in that they were all based on a proportional system. This not only insured that all the moulds would be in proportion to the length of a cannon barrel but that the trunions would be sturdy enough to carry the barrels weight and that the wall thickness of the tube would handle the explosions of the powder charges. The ship’s rigging was based on a similar system. If you knew the mast length you could figure the thickness of the mast stays and the diameter of every piece of rigging on the ship, all without a calculator.
Even an entire structure could and can be built with just a stick and a piece of cordage. Take a hewn log cabin. The picture below illustrates the only drawing you need for a house. It would be scratched out in the dirt with the cord and stick using the cabin width as the main unit of measure.
The length is easily determined in relationship to the width, resulting in a 1.6 plan ratio. The wall height is determined as 5/8s of the width. The same length determines the diagonal roof line which results in a 3/8 rise or a 9/12 pitch. The intersections would be marked with stakes and used as a full size pattern for cutting the timbers and joints without having to use a bevel gauge or fuss with estimating angles.
By doubling the cord the lengths are easily halved into eighths. The metric system is good if you’re working with numbers, multiples of 2 are better if you are laying out a pattern with simple tools.
At one time or another you have probably struggled with a badly proportioned room without realizing it. If you have ever had to design a paneled room and find that it’s impossible to get the panel sizes to work out correctly from one wall to the next, it’s most likely because the room was designed to a bad proportion. Get the proportion of width to length wrong and period details become a nightmare.
By Hand & Eye is now available through the Lost Art Press website. You can order the book here for $34. Also, if you have a peculiar aversion to quality paper products there’s a digital edition available for $16.
Three Types Of Dividers You Should Own
Thinking that you don’t need dividers if you work on a computer is a real mistake. If you have a set of compasses, a set of proportional dividers and a set of equal-space dividers you can accomplish a lot of things in less time than it takes for you to start your computer.
Here are the three types of dividers you should have and where to find them.
Compasses / Dividers
There are a large number of compass and divider styles available. You need to find the best type to fit your work methods.
Dividers and compasses are both the easiest and cheapest of all three types to find and have the greatest variety. If you are just doing the exercises from the book or doing small design drawings on vellum you only need a typical compass. You don’t need to settle for a cheap office store/elementary school type, there are plenty of quality compasses available on Ebay for as little as a few dollars. Usually they will come as part of complete drafting sets, which aren’t a bad thing to own, but often you can find them as one-offs. A compass around 6″ in length should be all you need. If you are feeling like drawing something larger, you’ll need a beam compass. I own one like this which is the best I have ever found. It’s called a Feranco Beam Compass and it was made by a small firm in Cincinnati. They’re out of business but you can find them second hand. Or, you can use a metal straight edge with a set of trammel points like these.
Proportional Dividers
proportional dividers come in a number of styles, most will work for design except for the type manufactured for nautical calculations.
These are definitely more expensive than a set of dividers but are a huge time saver if you are trying to scale a drawing to a different size or want to design to a giver proportion. The cost for a set of these will run anywhere from $30 to $300 depending on the vintage and make. The pair on the left are a 1810 pair made in London. The legs are of iron which are dove-tailed into the German silver body. The tolerances are very tight on these dividers and they stay put when you set them which is often a problem with cheaper dividers. The vintage sets have points which are triangular in shape and come to a very sharp point, which they need to be. Dull points require tuning with a very fine file or emery cloth. This should be avoided if possible because the accuracy depends on the lengths of the legs being a definitive ratio to each other. The modern sets have round pins which come to a point. The advantage of this being that if the dividers are dropped the pins can be replaced, something impossible with traditional sets.
The vintage sets came in two types: standard or second quality in which the indicators ‘Lines’ and ‘Circles’ are engraved on the front, and first quality in which besides these the indicators ‘Plans’ and ‘Solids’ are engraved on the reverse side. For 2D line work you only need the first two indicators. Also, when you are looking for a used set, be sure that one of the indicators does not say ‘Speed”. These are a pair made for nautical use and won’t be very useful for our purposes.
The better quality sets had designations for solids and planes which are for volumetric calculations
When you set the dividers to a ratio, the difference in distance between the longer and shorter legs will mirror this. Set the ‘Line’ scale to 8 and then spread the long set of legs along a straight line. The distance between the short legs will be 1/8th the distance. The same method works with circles. Set the scale to , say 5, and them spread the long legs across the diameter of a circle. You ‘walk’ the legs around the circumference of the circle to divide it into 5 equal segments.
The ’10’ setting under circles gives you the ratio for the Golden Proportion.
If you like designing to the Golden Proportion, you can set the Circle scale to ’10’ and you will have a proportion of 1.618 between the two sets of legs.
Equal Space Dividers
Equal space divider come in two sizes: 6″ and 12″
This type of divider is the most expensive of the three, but for scaling or proportion work from drawings or photographs they are impossible to beat. These are the dividers I use the most of all I own and if I lost them I’d have to replace them immediately, despite the steep price. I bought my set decades ago for $130, new now they list for $350. Ouch. My 12″ set were handmade my Alteneder & Sons in Philadelphia and are collectors items. You may get lucky and find a pair on Ebay. New, a 12″ pair runs from $400 to $500. I’d recommend finding a second-hand pair but make sure the tips are not bent or the accuracy will be nil. These dividers are sometimes referred to as 10-space or 11-point dividers. Check the Ebay sites in Britain and Canada. I’ve seen them show up there as well.
With these dividers you can very quickly divide a space into as many as 10 units. I used to use them mainly for laying out stairs or room paneling but now they are irreplaceable for scaling off a photograph or drawing while simultaneously drafting on the computer. Trying to scale the material from the computer screen while doing this would be much slower. For the times I do have an image in digital form and need to scale from the screen, I’ll flip a piece of acetate over the monitor to keep the sharp teeth from scratching the screen. It’s fun to watch people with expensive monitors see me do this and gasp in horror.
For those of you who work in Sketchup and are new to rendering, or are confused by all the different rendering software packages available, a new book is coming out March 25 that will help. Daniel Tal, landscape architect and author of Sketchup For Site Design, has written a new book, Rendering In Sketchup, which is now available for pre-order or as a digital download.
There are now a number of rendering programs on the market for use with Sketchup, with a majority of them working from within Sketchup without having to exit the program. This can be a plus or a minus depending on how you work. Even though most of the programs offer free-use trial periods of their software, It can be pretty difficult and time-consuming to decide which is the best one for your workflow and budget.
Daniel is an excellent teacher and has written a very thorough and detailed book on the process of rendering from Sketchup using a variety of software programs as well as explaining post-rendering work with Photoshop. While not every rendering engine is covered, he does go into a great amount of detail explaining not only the basics of rendering, but his own methods using Shaderlight, SU Podium and Twilight Render.
The book covers workflow, hardware requirements, how to model efficiently for renders, use and teaching of textures and a lot more. At over 600 pages, the book is both a reference and a guide and can be read for pertinent chapters rather than just cover to cover.
You can get more information on the book here, and you can view the videos on Daniel’s Youtube site here
Here is a really good tutorial by Daniel you should watch which is based on the material from his book:
If you want to know all of your rendering engine options, here is a list of rendering programs that work with or within Sketchup; ( Prices are as of March, 2013. )
From within Sketchup:
Shaderlight – $299 full license; timed access from $50
On campaign during the Boer War, 1900. Major-General R. Pole-Carew , right, is seated in a Roorkhee campaign chair. National Army Museum, London
It’s all our fault. America and India, that is. When the British Empire was at it’s height of power it was sending troops to three continents. It would have been an extreme hardship for the officers, gentlemen in a class above that of the common soldier, to have traveled to these far-off places without the comforts and trappings that they were used to at home.
That meant that the campaign tents that were pitched in the American wilderness and the jungles of India had to be filled with proper furniture. Soon the best furniture makers in London, including Thomas Chippendale were turning out pieces which were designed specifically for, well, camping. To maintain the prestige of the British Army the furniture they brought with them had to be practical, portable and stylish.
A suite of Victorian walnut campaign furniture from 1863. From the book British Campaign Furniture by Nicholas Brawer
These were more than just a few choice pieces which were tossed into a cart. Some officers, when ordering their camp furnishings at the British Crown’s expense, selected nearly 50 pieces including beds, chests, writing tables, bookcases and chamber pot holders. The size of some of the tents they inhabited while on campaign would have rivaled the size of the average room in a fine country estate. Not to mention the caravan of wagons and horses necessary to carry it all from place to place.
I first learned about campaign furniture while I was working on The Patriot in 1999. We reproduced some Georgian campaign chairs like the one below and I was struck by the ingenuity of the design. Some of the comfort may have been compromised but not the style. Sure the stretchers were flat and mostly featureless but the overall lines were there.
George III caned mahogany folding chair, 18th century. Christopher Clark Antiques, Ltd., Glos., England
Three years later I came across Nicholas Brawer’s book, British Campaign Furniture 1740 – 1914. It still remains, amazingly, the only book on the subject. Brawer explains that the real explosion in campaign furniture came after the Napoleonic Wars, when a brisk increase in travel both on the continent and abroad created a huge market for portable and functional furniture.
In 1899, the British Army experienced an entirely new type of war. The Boer War in South Africa changed the way people thought about modern conflict and the idea of a ‘Gentleman’s War’ was gone. The over-designed and over-stuffed campaign furniture of the Victorian Era was unpractical for the new hit-and-run tactics which demanded something lighter and more austere. The Roorkhee Chair came out of this need for a chair that was both simple and still robust enough to stand rough treatment. Weighing between 11 and 13 pounds, the chair was usually covered in canvas with leather straps for arms and easily broke down for travel. The design also had the advantage of allowing the chair to sit with all four feet level no matter how uneven the ground was. The name of the designer is lost to history, but the chair was named in honor of the Indian Army Corps of Engineers in Roorkhee, India.
Roorkhee chair fitted with canvas seat and back. From British Campaign Furniture by Nicholas Brawer.
Chair disassembled for travel
another style of leg
Victorian Mahogany campaign chair from the 1870’s. The ancestor of the Rorrkhee chair, it wasn’t as robust even though it could break-down as well. The pieces were carefully numbered to match their corresponding pieces to make assembly easy for anyone.
Unfortunately Brawer’s book has been out of print for years, so if you find a copy you should grab it. There are reproductions being made including some very nice ones by Lewis Drake & Associates.
I took the big file of submarine research, surveys and photos and tossed it in the trash. Then I stopped to think about it. Was I really ever going to use this information again? I’d done three sub movies before, what were the chances of ever doing another one. I looked at it sitting on the trash pile and then scooped it back out, just in case.
That’s been my constant dilemma, what to do with the dozens of boxes of files from past film projects. I finally decided that if there was no way to easily put my hands on a file, I might as well toss all of them.
I’ve been in the midst of trying to catalogue and organize my collection of +2000 books and decided the research needed to get catalogued the same way.
The thought of trying to manually type in the info of all those books kept me from even starting the project until I found Delicious Library. When you open the program you are presented with a virtual bookshelf.
This is the way your books appear on the virtual bookshelf
You just wave the barcode on the book in front of the screen and the program searches the internet and within 3 seconds it loads a photo of the cover of the book onto the shelf. The window along the side records the publisher, date, value, reviews and a lot more. There are multiple ways of organizing and viewing the items including by Dewey decimal system, author, title, location or value.
If the book is older and doesn’t have a barcode, you can enter the ISBN number and it will log it. You can also input older books by inputting the title and author and it will search for all the books editions. If, like me, you have a LOT of books, or DVDs, when you purchase the program you can also purchase a handheld barcode reader that allows you to scan about a hundred items at a time. When you plug the scanner into your computer, the program will download and record the items onto the ‘shelf’.
The program is also a great way of cataloguing anything else, including research. I created a system of boxes and have the various files noted as to which box they are in so I can do a word search in the system and an icon of the file and its location pop up.
The only downside is that Delicious Library is for Macs only. For PC users, the nearest similar products which work similarly are Librarian Pro 2, or All My Books.
The Designer's Assistant 