This was a final presentation. I put all the drawings together in this small(5.5"X4") booklet. I also added the historical background of each drawing at the back of each page.
QUATREFOIL
[Gothic era : Circa. 1140-1500]
One of the Gothic motifs
QUATREFOIL
[Gothic era : Circa. 1140-1500]
One of the Gothic motifs
LINENFOLD
[Gothic era : Circa. 1140-1500]
One of the Gothic motifs
GROIN VAULT
[Gothic era : Circa. 1140-1500]
One of the Gothic characteristic structures. It is produced by the intersection at right angles of two barrel vaults. The word "groin" refers to the edge between the intersecting vaults.
FLYING BUTTRESS
[Gothic era : Circa. 1140-1500]
One of the Gothic characteristic structures. Exterior flying buttresses used to open up wall space for windows
TRACERY
[Gothic era : Circa. 1140-1500]
One of the Gothic structural characteristic element. It is the stonework elements that support the glass in a Gothic window. The term probably derives from the 'tracing floors' on which the complex patterns of late Gothic windows were laid out.
NECKLACE BOX
[Ming dynasty : 1368-1644]
[Qing dynasty : 1644-1912]
This is a Chinese necklace box for use by officials. It is made with leather and hand craved wood.
CERAMIC PILLOW
[Tang dynasty : 618 - 907]
[Ming dynasty : 1368-1644]
This is a Chinese pillow made with ceramic. It is first manufactured in the Tang Dynasty and became popular for the middle to upper classes during the Ming dynasty. It was used to encourage a better sleeping position for the body or maintain the highly complex hairstyles worn by women during the Ming dynasty.
YOKE-BACK CHAIR
[Ming dynasty : 1368-1644]
[Qing dynasty : 1644-1912]
Traditional Chinese "yoke-back" chairs have been around since at least the 11th century, known also as the "official's hat" chair and the "lamp-hanger" chair
RENAISSANCE SEDIA CHAIR
[Renaissance in Italy : Circa. 1400-1600]
The most common chair in wealthy homes in the Italian Renaissance. This type refers to an armchair with a tall back. Both the back and the arms are supported by extensions of the chair legs.
BAROQUE ARMCHAIR
[Louis XIV : 1643-1715]
The Baroque chair owes its overall form to the Renaissance sedia. The nature of the visual relationship is that almost every element of the chair in the Baroque version has become more complicated in form, position and decoration.
REGENCY ARMCHAIR
[Louis XV : 1715-1774
ROCOCO FAUTEUIL
[Louis XV : 1715-1774]
There’s a sturdiness and a solidity to Louis XV chairs, but with generous helpings of serpentine curves: along the seat rails, the back, arms, and the legs. The fauteuils, or covered arm chairs, still have a broad, rectangular appearance to them, but the shape is romanced with curves, carving, and gilding.
MELON MOTIF
[Elizabethan period : 1558-1603]
This is a characteristic motif of Elizabethan furniture, also known as ‘round cup and cover form’. It was often used for tables’ legs and bed posts.
WILLIAM AND MARY TABLE
[William and Mary : 1689-1702]]
Relates to Baroque style. The characteristic feature of William and Mary furniture is the perfectly curved cross stretcher.
CHIPPENDALE’S CHINOISERIE
SIDE CHAIR
[Late Georgian : 1770 – 1810]
Chippendale was a designer, author and manufacturer. Among his many pieces, three principal strands stand out ; Gothic, Rococo, and Chinoiseries.
His version of Chinoiserie was not faithful to Chinese design.
HEPPLEWHITE’S SHIELD-BACK
SIDE CHAIR
[Late Georgian : 1770 – 1810]
Hepplewhite is mostly known for delicate chairs whose backs take a shield or oval form.
SHERATON CHAIR
[Late Georgian : 1770 – 1810]
His chairs are known for their straight legs and backs (aligns with Neoclassical style)
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