#the aesthetic is mainly art nouveau !

[magicalella]

Hi all!! For those of you who don’t know me, My name is Ella Griffin, I’m a 24 year old trans woman based in south florida. For the last four years, I’ve been working on a super special project that I’m beyond thrilled to share with you all: my debut novel, The White Liar. As a big fan of fantasy books, I’ve felt for a long time that there’s a serious lack of authentic trans representation in the genre. For years, I yearned for even just one iconic transfem hero in a high fantasy setting. The White Liar is my attempt to fill that gap in the literary canon.

As a bit of background, I am a massive fan of hard fantasy books with an epic scope and in-depth magic systems; such as Brandon Sanderson’s Cosmere books or Ursula Le Guin’s Earthsea series. I’m also a big fan of gothic literature and character-driven classics like Victor Hugo’s Les Miserables and Anna Karenina, all of which have played an influence on this book. The White Liar’s setting is heavily inspired by celtic folklore, mythology and history with a feminist twist.

It’s a world where fae creatures range from tiny glowing insectoids to massive flying mounts and even humanoid beings. Yet, even the tiniest of these has the potential to unlock unfathomable magical potential through the art of Serimancy! Serimancy, the primary magic system of the book, gives users the ability to transmute or ‘spin’ the silk made by fae creatures into supernatural strength, telekinetic threads, and twelve other distinctive powers. Think Rumplestiltskin spinning straw into gold, but more vaporwave.

Without giving too much away, the book features a diverse cast of characters from all different backgrounds, including transfem, transmasc, nonbinary, aspec and disabled characters, although those aspects don’t always define their motives or character arcs. Mainly, The White Liar is a book about the nature of truth and identity; the ways in which our environment affects how we perceive those things, and the friction that creates with our own perception.

I would also characterize the book as a gaslamp fantasy like the Mistborn series or the video game Lies of P, with a baroque/art nouveau-meets-Bridgerton 19th century aesthetic. I’m a 100% independent author with a summary $0 budget publishing through kindle direct, and flat broke, so I would highly appreciate any and all support with this project, be it word of mouth or otherwise. The cover art is a digital painting created entirely by me and is canon to the book!

Thank you so, so much for giving me your time and attention. This book is my love letter to the queer community and I truly hope someone somewhere finds it hopeful or inspiring like I’ve found with the works that inspire me.

The White Liar is available now on E-book here:

[heritagebrowser]

The most famous art nouveau style shop interior must be the shop of Nicholas Fouquet

L

Because of the particularly remarkable decorations of the Fouquet jewelry store, reconstituted and presented within the collections of the Carnavalet museum, you are immediately immersed in the Art Nouveau style, born in Belgium and further developed in France (and later also other distinct european regions), which will dominate the architecture, the decorative arts then the plastic arts (paintings, sculpture) until the First World War. A style characterized by curved and elegant lines; floral, plant or animal motifs inspired by nature; slender and idealized female silhouettes with extra long, flowing and evanescent hair. A style that will also put color back at the heart of arts and architecture.

To create the decorations for his jewelry store, presented here at the Carnavalet museum, Georges Fouquet (1862-1957) called on the Czech Alfons Mucha (1860-1939), an essential and emblematic illustrator of Art Nouveau from the end of the 19th century . Mucha was born on July 24, 1860 in Moravia, a region today partly encompassed by Czechia. After passing through Prague, Vienna and Munich, he arrived in Paris in 1887 to study art. At the same time, he gradually became known by producing magazines, illustrating catalogs or creating sublime advertising posters. His portraits of the famous actress Sarah Bernhardt, like those of many women in a vaporous and typically Art Nouveau style, made him famous. So much so that he was officially rewarded for his talents at the Paris Universal Exhibition in 1900, notably thanks to a collection of jewelry that he designed.

This is how, in 1901, Georges Fouquet invited Mucha to design the decor for his new jewelry store located at 6 rue Royale, between Place de la Concorde and La Madeleine. The artist created a modern and functional boutique (Art Nouveau is in fact a quest for both aesthetics and functionality), designed as a work of art in its own right. Mosaics, furniture, display cases, stained glass windows, lighting, door handles... everything in the decorations and volumes is of naturalistic inspiration, with a lot of curves, plant and floral motifs, or even animal motifs (the bronze peacocks behind and in the (counter tops are beautiful). A central figure in Mucha's work, the elegant woman is present here too, but mainly in front of the store or in small touches inside. Dreamlike, magical and almost phantasmagorical, the powerful settings imagined by Alfons Mucha will surprise, fascinate and seduce his contemporaries. Dismantled in 1923, most of the shop's decor was given to the Carnavalet museum by Georges Fouquet in 1941. But only in the 1980's the shop interior was reconstructed in the museum.

[retro-friki]

Top 5 painters/artists

5. Sandro Botticelli: Mainly because The Birth of Venus awoke something within me at age 6.

4. Alphonse Mucha: Yeah, I’m basic. Art Nouveau is pretty and a great source of inspiration.

I just think they’re neat.

3. José Guadalupe Posada: You know this guy, he made La Catrina!

(Yeah, that’s from him, he wasn’t the first one to draw funky Mexican skeletons, but he made the most representative one. This is why I find it so odd whenever I see someone claiming that painting your face as a Catrina is “cultural appropriation” since it has nothing to do with our “ancient traditions”). He made his lithographies for newspapers and popular publications. His art is a showcase of Mexican daily life during the Turn of the century.

(This is from an article about an “scandalous” ball held by gay men, half of them in drag, a very influential event in Mexican LGBT history.) Also, more funky skeletons:

2.Remedios Varo: A Spanish surrealist painter who later migrated to Mexico. Her paintings are full of symbolism and they have an overall cool aesthetic.

1.Francisco de Goya: You know…

All his art is very expressive. The themes of his paintings go from the Spanish Royal family to the Spanish daily life and the Horrors of War.

My favorites are the Caprichos. They can be pretty scary. Here, have some monsters and witches.

[daman19942]

LuLu Lounge Maxis Remodel

Inspired by Studio Town’s very own 82 Sunrise Boulevard (aka Fairchild Film Studios), I bring you my latest Maxis Remodel...LuLu Lounge! I first teased this back in September but I never quite happy with the interior (it is a huge footprint) so I kept trying different ideas and tweaking things. Nonetheless, I finally have declared it “done” and ready to share!

As usual, I did make some architectural changes. The whole building has been extended by one tile, mainly so I could dress up the entrance with two-story doors and a new marquee. The original description said LuLu Lounge offers velvet couches and ambient music, but as I leaned into the Studio Town aesthetic, I wanted something more “old Hollywood.” That meant lots of wood and a little art nouveau styling. The second floor is accessible but largely decorative, but there is a small office above the bathrooms if you want to run it as a business. Everything has been tested in a copy. The uploaded file has never been played. 

There is some CC included in the file, which is outlined below. Because this makeover was inspired by Studio Town, downloading the 1t2 conversions is vital to the lot appearing as shown. Please note that Argon’s seasonal topiares are bundled, so you’ll be getting the set of 5 (Egg, Skyscraper, Pyramid, Llama, and Dolphin). Thank you to the CC creators!

CC Included (Exterior wall) Sims1 SS Movie 1 and Movie 2 by simthing TS1 Superstar Studio Fence by Crisps&Kerosene TS1 Iron Fence and Gate by grinder (Topiaries) Surplus Llama Lawn Ornament and The Poetic Porpoise Topiary by MaxoidMonkey, updated for Seasons by Argon Neukem Systems “Repertoire” Jazz Speaker by Zeroth

CC Shown But Not Included NL Wall Curtain Texture Default by HugeLunatic

CC Not Included But Suggested Formal Sign by Simlogical Sims 2 Store Deco Collection by shastakiss

Download: SFS | MTS

Let me know if you run into any issues!

[osakanone]

"Last Exile is not steampunk but dieselpunk"

(paraphrasing from a user on another platform)

i understand the origin of your misconception, user on another platform that will not be named and i'm pedantic, sad and vocal enough about this to wall of text you

last exile isn't dieselpunk, its not even steampunk; its post-steampunk

1) it doesn't look like dieselpunk, actually

proto-art deco (eg not art-deco actually) steampunk is not automatically dieselpunk

you're looking at this and thinking, "oh it must be 1950's america" because you're mis-seeing art-deco where it isn't

art-deco's entire visual language is appropriation expressed through geometric rules of the fauvism and ballets russes

but airships!

i get you're pulling from the interbellum period because "zepplin" but the culture and politics is all very 16th/17th century prussia, switzerland, austria, etc -- to say "airship = dieselpunk" means every final fantasy game with an airship is dieselpunk which is blatantly untrue.

there's a convergent evolution of media here and you're projecting a lens that only really came into existence as a reaction to the popularity of steampunk circa 2010 and last exile aired in like 2003 predating all of that during the second resurgence of steampunk in the early 2000's following its origins in i think 1987?

but characters/design!

likewise the look of the characters and artstyle is all art nouveau based which isn't expressed anywhere in dieselpunk

this is owed to Range Murata being influenced a lot by art nouveau and makoto kobayashi being very influenced by the work of french comic artist mobius (jean giraud) who in turn is influenced by fauvism and zenas winsor mccay

2) it doesn't act like dieselpunk, actually

if you want to go by structural definitions and not aesthetic definitions: the setting literally runs on doing things to water to boil it in a special way that makes things float

the dominant politics of the setting to begin with is all 1600's/1700's european continent, until it expands into territorialization (a metamodernist idea you don't see anywhere in dieselpunk)

there is not a corporate structure anywhere in sight (the legal formalist frameworks of modern governence and post-modern lenses do not exist yet), and the modern definition of a scientist also doesn't exist in last exile outside of the guild's researchers who themselves are more preist-like in their approach and culture

3) it is not concerned with dieselpunk's themes

dieselpunk is likewise primarily concerned with explorations of totalitarianism through a lens of scifi, fantasy and noir usually contexturalized as post-classic-conservative into the beginnings of a very very early proto-neoliberalism vs "the other" which is nebulously defined as either nazis, communism or nazi communism (as seen in everything from The Rocketeer to The Grand Dark) -- which usually come as a modernist "well at least we're not like those guys, go team!"

none of that is anywhere in last exile

the irony usually is that dieselpunk is never actually punk; dieselpunk is almost never anti-fascist, anti-industrialist (not to be confused with anti-industrial), anti-militarist (read: mil industrial project) or anti-brutalist and usually endorses all of those things as the norm

last exile takes VERY big swings at all of these things, which is mainly concerned with exploring how cultures stabilize under the influence of other cultures foreign policies and how the territorialized nations are deliberately held back for the interests of the invader (in this case the guild) who then pit the territorialized nations against eachother in a zero-sum strategy of containment -- which is honestly taking shots at every single one of those points and is squarely aimed at highlighting the issues with the kind of technocratic fascism which arose in italy and russia circa the 1920's upon those 17th/18th century european cultures

4) its very concerned with steampunk's themes, albiet from a stanndpoint of technocracy, not theologism or old-world vs new world

steampunk's dominant concept in classic literature or formative literature is that of exposing corruption or the realization of corruption from within -- forgoing the brutalist war-focused ideas in dieselpunk and the unrecoverable corruption of cyberpunk for actionable rebellions against larger entities, typically by interdicting their quest for something fantastical…

in this case rather than a company, empire, nation, king or government it is instead a technocratic territorializer who has instilled false religions and false cultural constructs as a means to control containerized nations in its own interests…

which is… literally… the story…

[grandhotelabyss]

Thoughts on Sontag's The Aesthetics of Silence?

A great essay: the kind of performance—impeccably well-read, meticulously thought through—that gets lost in the discussions of Sontag as icon or celebrity. Also a master class in how to describe, critique, evaluate, and contextualize without ever seeming to debunk, to exert a blatant will-to-power over the works under scrutiny—

To describe silence as a rhetorical term is, of course, far from condemning this rhetoric as fraudulent or in bad faith. The truth of myths is never a literal truth. The myths of contemporary art can be evaluated only in terms of the diversity and fruitfulness of their application.

—a decorum or tact totally lost among today's smug sociological and historicist academic critics. I am broadly unsympathetic to the art she discusses—Duchamp, Cage, Stein, etc.—but she brings alive its impetus and urgency, makes me see it anew for the spiritual ambition it represents. Speaking of decorum and tact, this is my favorite observation in this essay every line of which is quotable; it bears on the discussion of humor on here earlier:

But viewed as a spiritual project, a vehicle of aspirations toward an absolute, what any work of art supplies is a specific model for meta social or meta-ethical tact, a standard of decorum. Each art-work indicates the unity of certain preferences about what can and cannot be said (or represented). At the same time that it may make a tacit proposal for upsetting previously consecrated rulings on what can be said (or represented), it issues its own set of limits.

And the end of the essay, early as it comes in her oeuvre, belonging to the late 1960s, where she rounds upon irony as a strategy of silence, and implicitly upon the project of silence as the dissolution of consciousness—

From Socrates forward, there are countless witnesses to the value of irony for the private individual: as a complex, serious method of seeking and holding one's truth, and as a method of saving one's sanity. But as irony becomes the good taste of what is, after all, an essentially collective activity—the making of art—it may prove less serviceable. One need not speak as categorically as Nietzsche, who thought the spread of irony throughout a culture always signified the floodtide of decadence and the approaching end of that culture's vitality and powers. In the post-political, electronically connected cosmopolis in which all serious modern artists have taken out premature citizenship, certain organic connections between culture and "thinking" (and art is certainly now, mainly, a form of thinking) may have been broken, so that Nietzsche's diagnosis no longer applies. Still, there remains a question as to how far the resources of irony can be stretched. It seems unlikely that the possibilities of continually undermining one's assumptions can go on unfolding indefinitely into the future, without being eventually checked by despair or by a laugh that leaves one without any breath at all.

—contains the seed of her later move toward humanistic rather than revolutionary politics and the "Romantic realist" novel instead of the nouveau roman.

[arthistoryanimalia]

For #FroggyFriday:

Frog trio in amber colored glass by René Lalique (French, 1860-1945), d. 1 3/4 in. (4.4 cm); likely originally a button or stickpin, a guilded brass mount was later added to make it a brooch. Walters Art Museum

Lalique was one of the finest jewelers of the Art Nouveau period, but his movement into mainly glassworks was concurrent with the rise of Art Deco; this piece from 1911 is a good example of this transitional period in design.

Here is an even earlier example:

Frog necklace by Lalique, c. 1902-3, 18k gold, diamond, enamel, and glass. Private collection.

Although this fabulous frog necklace is still from within the Art Nouveau period, these chunky square frogs seem like precursors to the later Art Deco aesthetic, as well as Lalique's own shift from jewelry to art glass. As noted in the 2008 exhibition catalog for Artistic Luxury: Fabergé, Tiffany, Lalique, "Lalique's final designs in jewelry incorporated glass as the major element in repeating patterns of abstracted forms such as frogs" (p. 46; Lalique's frog necklace is cat.152, photo on p. 49).

BTW, that whole catalog is full of photos of amazing pieces, with lots of animal motifs! #BookRecommendation:

[woodsdyke]

I love the way you use color in your art!!! Could you talk a little bit about the aesthetic choices you make wrt color and why? Your style is so distinctive, I’m curious if that through-line between your work is just a personal preference or part of something larger in your work?

first of all, thank you so much!!

i love talking about color so this post might be kinda hefty

gonna talk specifically about how my art's been in the past three years - the subjects and styles i use have changed quite a bit lately.

i love a lot of classical art and early century works (mainly art nouveau - think mucha, privat-livemont) and a lot of color work i do comes from that. recently i've gotten into baroque/rococo which has some fascinating colors to work with and kind of... tweak as a digital artist with Every Color available to me. most of the characters i draw are some form of historical (jazz age, 18th century, 19th century cowboy stuff) and taking inspo from the art of those times i think really lends something to the work i do

my favorite 19th-20th century art relies on a lot of warm jewel tones. i try to capture some sense of nostalgia

for my landscape work - i'm a hiker and always have been, i Love The Woods. i grew up in appalachia and then moved to colorado, and without any sort of changes or tweaks, the colors of nature are SO vibrant.

these are based on photographs and just Looked Like That. i also enjoy taking colors from my landscape work and using it for other things - it's already in nature, so the palettes just naturally complement each other

and sometimes i just like to go off the walls. even still, these colors are based off Shit I Saw - first one is from when i was walking in my neighborhood at dusk and took some photos of an abandoned laundromat. second is when i was in the mountains when there were wildfires in the distance and the whole sky turned gray and pink and the sun was bright red. last one from seeing the utah desert right before the sun sets

so tl;dr all of the colors i use draw inspiration from Something I Saw once; the time i an artemisia gentileschi painting in person. some cool clouds during a really cool hike. some neon lights from a bar making the snow look bright pink. there's a lot of merit in really paying to what's around you, and i think it helps convey the sort of nostalgia or familiarity i try to present, even if the subject itself isn't familiar at all

ANYWAY that was probably more than u wanted but i have many thoughts

[wordsinhaled]

about me

thanks for the tag, TJ! :D tagged by @tj-dragonblade

nickname: N

sign: virgo sun, virgo moon, sagittarius rising

height: 4’9-10”

last thing i googled: “gwendoline christie” for drawing references! i’m trying to figure her face out for the sandman tarot i’m working on

song stuck in my head: “let’s go to bed” by the cure

amount of sleep: between 6-7 hours usually

dream job: therapist with work-life balance

wearing: oversized black hozier tshirt (thanks @ghostboyjules !!!), black corduroy pants, docs, black belt w/ silver buckle. my wife said i have “80s boyfriend” energy today which is honestly goals

movies/books that summarize me: hmmmm. medieval literature: sir gawain and the green knight. also, the green knight (the film with dev patel). then… the sandman. american gods. pan’s labyrinth. the 8th doctor movie. and probably many others!

favorite song: a tie between “pyramid song” and “reckoner” by radiohead

aesthetic: i’m still figuring this out clothingwise since i own very little clothing currently that sparks true joy. but - aesthetically - the ideal clothes vibes would be mainly thrifted, a little bit vintage, a little bit witchy, a little bit tailored menswear, a little bit goth… stick that in a blender and you get… whatever mishmash of things i’m putting together that feel cool and probably confuse conservatives who wanna know what my gender is. artwise/visual aestheticwise - art nouveau, art deco, MCM, illuminated manuscripts, dusty libraries, whatever la roux & stromae have going on, etc etc.

favorite authors: i come back to neil gaiman most frequently and consistently so - yes!

random fun fact: uhhhhh. i’m learning french on duolingo right now!

tagging @dancinbutterfly @moorishflower @fishfingersandscarves @ghostboyjules @wizardofgoodfortune @teejaystumbles @mandolinearts @ginjones @landwriter and anyone else who would like to :) (no pressure at all and also… pardon if you’ve already done this!)

[lavampira]

3, 10, 13, + 18 for elaith <3

[oc questions]

tyyyy <3

3. what architectural or design aesthetic would best suit them?

not to be cliché but that woodsy-esque brand of art nouveau architecture that high fantasy media often uses for elves is so perfect for her, but also like. treehouses. small cabins. but in a cluttered way like howl’s moving castle

10. what piece of moody poetry or novel quote best encompasses your character?

it’s not poetry or a novel reference but there’s a tweet I pinned to my pinterest board for her that’s like ‘the woods have remembered you ever since the first time you got lost in them’ and it’s so perfect for her.

13. is your character bilingual or multilingual? which language are they most comfortable in or prefer using? how did they come to learn them?

she’s multilingual! she mainly speaks in common, but she’s also fluent in druidic and sylvan (learned from her mentor), and elven (learned from her elven parent).

18. what is one thing that they only let those closest to them see?

her little doodles and flower/spore/leaf prints! she’s shy about them.

[theredheadwhoblogs]

Hi guys, still haven't done a blog yet (very indecisive!)

I'm still thinking about doing a blog about designy things that I like but I'm not sure if I should start on Instagram (as in on stories) or straight on a blog hosting website.

I've just tried to edit my existing website (from uni) and everything just kept crashing for some reason.. so maybe this is a sign to start afresh?

Also, I don't want to JUST talk about children's books but other things as well that I enjoy...

Anyhoo, I have been doing a lot of research bit recently, mainly about what I want to talk about, eg sketch booking, art nouveau, graphic novels etc. I have also been building up a 'junk journal' of flyers and leaflets that I find aesthetically interesting (moreorless like an archive) Just wish I could share this more with other people.

Also, the drawings I've been doing recently also have somewhat of a journal aspect to them. So currently I'm drawing things that I've seen online in shops like clothes and home accessories.. and then doing little notes about them. Like I'm being really analytical but at the same time I'm very interested in it.. almost like I'm documenting things I like!?

Again maybe I should share this with other people; but my main issue is that I've always had an issue with the Instagram algorithm and so whenever I post something that is art related (as in MY art) nothing gets shown to anyone??

Just trying to figure it all out.. so bear with me as I may or may not do a 'dump post' of things I've been loving recently (brace yourselves guys, it's gonna be wild!)

[titleknown]

For those who wanted examples of that Bolivian architecture, there it is!

Though... I appear to have struck a bit of a nerve, and not entirely unwarrantedly given I am nowhere near a specialist in architecture, I just kinda casually dislike Gehry's buildings and did not expect this post to blow up like it did.

Like, I mainly picked that one for the irony of it, but I just broadly in general find (Again, from a laypersons' outsider perspective) Gehry's stuff alienating and unpleasant, and not in a fun way. To compare it, it is to postmodern architecture what the grotesque alienating city from The King And The Mockingbird is to Neoclassical; if anyone's seen that film (they should, it's great BTW).

Like, in terms of buildings with wild curves and wacky flourishes I personally prefer them to look more akin to vintage doo-wop or art nouveau or stuff like an IRL equivalent of Barry Jackson's backgrounds from Cool World or a Naoto Ohshima landscape, colorful and wildly baroque instead of trying to cram modernist steel-and-glass into that style for the sake of A Statement.

The reason I contrasted with Bolivia is that like, from what I know (IE, saw on Wikipedia when digging), Gehry's part of the "deconstructivist" movement in architecture, which is meant to deconstruct the capitalist aesthetics of modernism, but has ended up as a status symbol that cities vie for in the capitalist world.

Which seems to be a common fail-state in the avant-guarde, if I may say. Like, when conceptual art such as readymades like Fountain asked "What is art, really?" and the rich who fund gallery art unanimously responded "Anything we can justify using as a tax shelter, NEXT!" and the rest of that art world kinda just went along with it.

So you have a lot of miserable art that was meant to be deliberately warped and not-the-fun-kind of grotesque to stick it to the man; stripped of that purpose of sticking it to the man, and all you're left with is something that is purposefully unpleasant as a bauble for the rich instead of places you actively want to live in.

But, again, I am not as familiar with the deeper discourse on this as one might want, so I may as well tag in @biomechanicalmush, specifically because they're an artist I deeply respect who mentioned the ignorance of my perspective

So I'm super curious to hear their views on what they like about Gehry's work given that (At least in my view) their artstyle feels like the opposite of Gehry's to me.

Tho I may as well also tag in @pumpkinsouppe, who said they hate Gehry specifically because of their own background in understanding that work, and I'm curious what they have to say too.

You ever think about how in Socialist Bolivia they get these gorgeous Neo Andean buildings with these beautiful bright colors and bold forms, meanwhile in the capitalist world we get Frank Gehry, who's buildings appear hostile to human life and sanity and generally look like if skyscrapers had tumors and they tried to make those tumors into real buildings; and who's attempt at a "brain health center" would probably turn you into the fucking Joker if you went there?

...I'm actually not joking about that last one, look at it:

It's like if they gentrified a fucking Psychonauts level...

[artg211]

Dadaism

Topics of Interest

Art Nouveau

Feminine

Organic

Elegant

Art Deco

Symmetry

Geometric

Simplicity

Dadaism

Random

Absurd

Humor

I selected Dadaism because it is outside of my comfort zone and I know the least about it, I also found the social-political connections fascinating. 

Keywords

Humor 

Freedom

Spontaneity 

Random

Absurd

Dadaism pokes fun and breaks the boundaries of art. It breaks social norms and makes important statements abstractly. It is known for being random, irrational, and absurd to shock the audience. A significant feature of Dadaism is collage. It takes very separate and contrasting imagery and combines them into one piece that isn’t necessarily cohesive.

Hannah Hoch is a German Dada artist. Her work appealed to me because she is a pioneer of Dadaism. She became associated with the Berlin Dada group which was male-dominated. Her work was highly regarded despite her male colleagues not taking her seriously. She made political collages from fashion magazines, illustrated journals, photographs, and more. She mainly makes work comments on gender and identity. She represents the rebellious, absurd art that Dada artists mirror today.

Dadaism was at peak popularity from 1916 to 1924. The movement began after the First World War when artists began to express their disagreement with the war. At the time, The cabaret was a place where radical artists would meet. Their art was a protest against the war which inspired even more experimental, aggressive, and political works.

I wanted to approach Dadaism through a collage of illustrations and photos. Since Dadaism is associated with political issues I wanted to create something meaningful to me. Hannah Hoch was a big inspiration for my creative direction. I knew I wanted to talk about feminism and challenge social norms as the movement has always done. I decided to create an artwork challenging the stigma surrounding menstruation. To do this, I combined feminine girls and objects as well as sanitary products. In some way, I wanted to romanticize periods which goes against what women are taught by society. I struggled with creating randomness, as I found I was being too structured at first to accurately represent Dadaism.

I wanted to create a piece that felt cohesive and aesthetic despite its randomness. I knew I wanted to use the social stigma against periods to evoke a reaction from viewers. The randomness and unrealistic imagery in my artwork add to that message. It is also a humours approach to a serious topic that greatly affects anyone with a period.

[coloradospringsstainedglass]

Why Modern Stained Glass Is a Beautiful Choice in Colorado Springs

New Post has been published on https://coloradospringsstainedglass.com/2023/09/14/modern-stained-glass-beautiful-choice/

Why Modern Stained Glass Is a Beautiful Choice in Colorado Springs

Modern stained glass offers a stunning way to bring art and beauty into contemporary homes. With its origins dating back centuries, stained glass has evolved to encompass countless styles from traditional to abstract. Here in Colorado Springs, the popularity of modern stained glass continues to grow as homeowners discover its ability to add unique flair. From leaded glass to beveled designs, the possibilities are endless.

In this blog, we will explore the rich history and evolution of stained glass along with current trends. We’ll also detail the many clever applications for incorporating modern stained glass in Colorado Springs homes. And we’ll provide guidance on customization options, maintenance, costs, and working with a local studio. Read on to learn why stained glass is an excellent choice to elevate your home’s style and value.

A Brief History of Stained Glass

While many people associate stained glass with medieval cathedrals, its origins date back much further. As early as the 7th century BCE, ancient Romans and Greeks used colored glass to create mosaic-like decor. By the 10th century CE, stained glass adorned churches and basilicas across Europe. Artisans shaped glass and lead into breathtaking windows depicting religious imagery and events. Dubbed the “Poor Man’s Bible,” these vivid scenes illustrated stories for largely illiterate populations.

Stained glass evolved from the Renaissance period’s figural themes to the abstract and geometric forms of the Art Nouveau and Arts and Crafts movements. Frank Lloyd Wright often incorporated prairie-style themed glass into his structures. These nature-inspired designs continue to influence modern stained glass today. The medium expanded beyond religious contexts into more secular settings like private residences and civic buildings.

While early stained glass could be prohibitively expensive, modern glass manufacturing innovations made it more economically accessible. Contemporary artists have pushed the medium in new creative directions with inventive techniques and avant-garde designs. Once relegated mainly to windows, stained glass now appears in everything from room dividers to tabletop art.

Popular Modern Styles of Stained Glass

Beyond classic medieval motifs, contemporary stained glass encompasses an array of styles:

– Leaded glass – Pieces of colored glass separated by lead cames creating crisscross patterns

– Art deco – Bold geometric shapes like zigzags, chevrons and sunbursts

– Prairie – Frank Lloyd Wright inspired, earthy tones and prairie-style motifs

– Abstract – Non-representational designs focused on color, texture and form

– Contemporary – Sleek, creative styles incorporating current trends like metallics

– Minimalist – Clean lines and simple shapes create an airy, modern aesthetic

– Beveled glass – Multiple glass bevels refract light for jewel-toned sparkle

– Picture window panels – Stained glass artwork sandwiched between two pieces of glass

The evolution of stained glass allows for unlimited design options to match any aesthetic.

Modern Stained Glass Trends

Several stained glass trends resonate with Colorado Springs homeowners:

– Colorless glass – Provides privacy without obscuring light. Choices like leaded, beveled, and diamond glass sparkle beautifully.

– Minimalist styles – Clean lines and simple shapes for an airy, modern look.

– Large-scale installations – Bold stained glass walls, dividers and ceilings make a dramatic statement.

Stained Glass Applications in Contemporary Homes

Stained glass offers versatility to enhance any space when thoughtfully incorporated:

– Windows – Traditional and modern styles illuminate rooms with artful light.

– Doors – Welcome guests with a vibrant focal point in an entryway.

– Transoms – Unify design above interior/exterior doors.

– Sidelights – Flank doors with coordinated lit glass.

– Room dividers – Define spaces with partitions boasting light transmission.

– Wall art – Install colorful abstract pieces or subtle textured glass.

– Kitchens – Kitchen stained glass windows provide an eye-catching twist.

– Bathrooms – Obscure glass ensures privacy near windows and in showers.

– Bedrooms – Soften morning light and add peaceful ambience.

– Ceilings – Skylights and hanging panels make unique lighting statements.

The options for stained glass features are virtually endless to enhance any home’s style.

Benefits of Modern Stained Glass

Beyond beauty, stained glass offers additional perks:

– Natural light diffusion – Allows light to permeate while diffusing harsh rays.

– Privacy with style – Glass can obscure views without sacrificing light.

– Unique aesthetics – Custom art glass immediately enhances decor.

– Higher home value – Stained glass is an exotic detail that appeals to buyers.

– Timeless appeal – While trends come and go, stained glass remains classic.

– Curb appeal – Distinctive windows or entryways create great first impressions.

– Artistic expression – Make a unique statement with custom stained glass.

– Illumination – Catch, reflect, and refract light in eye-catching ways.

– Versatility – Use in traditional or modern settings, any room, large or small applications.

– Durability – Stained glass properly maintained can last decades or centuries.

Customization Options

One of the best facets of stained glass is the inherent customization. Bespoke art glass tailored specifically to your home’s architecture and interior elevates the entire space.

Some customization considerations include:

– Design – Work with our artisans to create a one-of-a-kind look by rendering your vision or concept pieces.

– Color palette – Selecting hues to complement your color scheme ensures cohesion.

– Size – Thoughtfully measure openings and walls to determine perfect proportions.

– Style – Match existing aesthetics like modern, traditional, coastal, etc.

– Space – Consider the room’s purpose and traffic flow when planning stained glass placement.

– Budget – Prices vary based on factors like complexity and materials. We offer options at all price points.

– Theme – Incorporate meaningful motifs like flowers, seascapes, geometry patterns, or abstract shapes.

– Glass types – Select from stained, painted, leaded, beveled, or a combination.

– Function – Factor in privacy, light control, insulation, and energy efficiency.

The right stained glass design hinges on tailoring to your personal needs and tastes.

Maintaining and Caring for Stained Glass

To keep stained glass looking its best:

– Use a gentle glass cleaner and microfiber cloths to avoid scratching surfaces.

– Avoid harsh chemicals and abrasive scrubbing.

– Inspect lead cames and solder joints periodically for any needed repairs to prevent moisture damage.

– Have protective storm glass installed for exterior windows for added insulation and security.

– Check for broken glass or lead immediately to avoid cracks worsening. Most studios offer repair services.

Simple precautions preserve the enduring beauty of stained glass for decades to come.

Cost Considerations

Prices for stained glass vary based on:

– Size of the piece – Labor and materials increase for larger installations.

– Complexity of design – Intricate details and custom work raise costs.

– Installation needs – Professional installation and finishing also impact budget.

We offer stained glass across all price points and will work within your budget.

Local Stained Glass Studio in Colorado Springs

As a family-owned stained glass studio established in Colorado Springs since 1991, we offer:

– 30+ years of expertise creating custom stained glass.

– A stunning showroom to view designs.

– Master artisans on staff providing impeccable craftsmanship.

– Consultations to match the glass to your home’s style.

– Local installation crews to professionally finish each unique project.

– Personalized customer service and access to our artists throughout your project.

– Competitive prices and financing options to fit any budget.

Modern Stained Glass Adds Contemporary Style

Modern stained glass introduces creative beauty into homes with light diffusion, elegant privacy, artistic flair, and added value. The possibilities are endless for stylish stained glass features in any space. As a local Colorado Springs studio, we expertly guide you through the rewarding process of designing, fabricating, and installing breathtaking custom stained glass. We have served neighborhoods like Briargate, Old Colorado City, Broadmoor, Westside, and Rockrimmon for over 30 years. Contact us today to learn more about illuminating your home with stunning stained glass.

Explore Options for Modern Stained Glass in Colorado Springs

For a consultation or quote on incorporating beautiful modern stained glass in your Colorado Springs home, contact Colorado Springs Stained Glass today.

[laventadorn]

camomile + nutmeg? :)

chamomile ⇢ what kind of things do you like receiving as gifts?

….you know, i don’t know! probably the ones that are tailored specifically to a weird thing i like, e.g. the time my friends bought me a star trek deep space nine raktajino style mug or my other friend got me a nice copy of william blake poetry from a used bookstore :) also cat plushies :3

nutmeg ⇢ how’s your room/home decorated? do you have a specific theme or style going on?

1980’s miami beach style art deco - lots of pastels, their nouveau revival flowers, etc. i am dying for some rounded furniture!!! but it’s soooo expensive!!!! right now i’ve mainly got pastel green walls, pink accents, vintage flamingo sheets, and my 80’s aesthetic lamps :3 (i live in a single big room - like a loft)

thank you for your questions! <3

[an-indecisive-mess]

A Little List About Frankie

Near sighted and wears glasses. She has to squint if she doesn’t wear them and she also doesn’t wear contacts because she hates pulling them off her eyes. She finds the feeling disgusting.

Shares her father’s love of older appliances and Disney movies.

Talented artist. She painted rose vines around her room back in her home in New York and in her room in Disney, and has dozens upon dozens of sketchbooks and paints that she gets into when she has free time.

Used to “Paint Bomb” abandoned billboards and buildings back in her world with her friends for fun and to make those abandoned places more beautiful and noticeable. So that everyone could admire them again.

Her aesthetic is Art Nouveau mixed with Retro Style.

Has a scar on her lower back after getting struck by lightning when she sacrificed herself to save both Disney and her world from an imploding portal. Unfortunately, she also developed PTSD -which gets triggered whenever someone mentions or touches the scar- and a fear of heights after being struck by lightning.

Wears the Beacon of Hope as a reminder of how she became Guardian.

Her home in Disney acts as a safe haven for any villainous characters (mainly henchmen) who want a better life or freedom from their masters and mistresses. They must swear to not cause any trouble or not interfere with Frankie’s work as Guardian, or they’ll be removed from her home. Her home is also enchanted to grow more rooms and space to suit the inhabitants' needs.

Her Beacon allows her to do many different things. Chief among them are teleporting to different worlds within Disney, transforming into different creatures or objects to better disguise herself or granting her new body parts to adapt in battle, seeing what her Guardian assignments are, or communication purposes with a member of the Royal Disney Court or a member of the Magic Council.

Not the best cook. In fact, she has burnt almost every single meal she tried to make. She has tried to do better, but can’t seem to get any better with any meal she makes without something going up in flames. The only thing she can make without destroying is tea or any other beverages.

Loves playing Tripoly with some of the residents in her house and has become an undefeated champion of the game. Keeps several jars of pennies to hold her winnings and as preparation for any upcoming matches.

Has several pets from various worlds in Disney that she received as gifts from her assignments and missions. Chief among them are a Gwythaint (The Black Cauldron) she named Daenerys and Kamari and Azizi (Lion King).

Keeps Kamari and Azizi as pets/guard hyenas after she found them both outside her house. Azizi had gotten a paw stuck in a bear trap, Kamari didn’t want to leave his friend’s side, and Frankie helped take care of both of them while Azizi was recovering. The hyenas stuck around to show their gratitude to her (but mostly because she actually feeds them).

Bisexual and has had many crushes on various characters, but the one character she is hopelessly devoted and completely smitten for will forever be Randall Boggs.