My semester of design classes just ended and after a week of sleepless nights and burning the candle at both ends my brain apparently doesn’t want to let go. I only have three more classes to go before I am finished and I could literally not be any more excited. Working a full-time job and going to school is no walk in the park my friends…especially when projects consist of manual labor (hand-drawn floor plans, fabric swatch boards, coloring).
All complaining aside, I really enjoy using my creativity on a weekly basis and I am becoming more and more comfortable with fabric combinations — I was always very intimidated by that. Color, furniture placement, style, lighting, and accessorizing have always come easy to me…fabrics, not so much. I have also enhanced my knowledge of historical furniture and period styles. This comes in quite handy when watching movies and thinking of set and production design. As if I didn’t already have enough problems watching a film without constantly looking at what’s in the background, now I have the added burden of having my brain scream out, “Look, a Louis XVI chair!…….”Holy crap, check out that sweet Mackintosh chair!”…….”The egg and dart detail on that piece is amazing!”
Now I find myself watching movies purely for their asthetics: Midnight in Paris, Marie Antoinette, and let’s not forget my most favorite film of all time, Moulin Rouge. I’ve seen it so many times I can quote it. Actually, there’s a great interview I found online of Anne Siebel, who worked on both Midnight in Paris and Marie Antoinette (not to mention a slew of others). I also posted on of my favorite interviews with Catherine Martin regarding Moulin Rouge. This movie is what started my love for movies and how they are enhanced through design (this also began my crush on Ewan McGregor).