|Paul Schulman Design was launched in 2001, with a focus on the intricate balance between construction and design. Since, Paul has been offering the full range of redesign services – from commercial, to residential.Expanding on that, Schulman’s flair for furniture extends further than remodeling and redesigning entire homes, but also into the design and creation of custom furniture pieces. Schulman’s specialty is truly his ability to combine interior design and construction. See his website to view astonishing “Before” and “After” photos of past projects.Originally a Boston native, Schulman has called Chicago home for more than a decade. Prior to opening up shop in Chicago, Schulman ran his own design store and showroom in Milwaukee, Wis. Schulman’s passion for design stems from his life-long interest and education in the fine arts.||With a Master of Fine Arts in Sculpture and a Bachelor of Fine Arts in Metalsmithing, Schulman approaches all projects with an eye toward history, architecture, and fine design. Schulman’s expansive knowledge of raw materials allows him to navigate projects so that when completed, they are relevant to the client’s vision and are impeccably beautiful.Named Chicago Magazine’s Best Custom Furniture Maker in its “Best Of Chicago” issue and selected one of ten men to watch in CS Men’s “The New Boys Club” issue, Schulman continually garners attention thanks to his talent and hands-on approach to business, and is sure to remain a bellwether of practical, modern design.
|This British Indian Style, or Anglo-Indian, based interior offers subtle elegance while remaining simple in its rustic, lodge-like nature. Global elements, such as the Indian frieze fragment displayed on the hearth and the traditional Indian octangular table juxtaposed against the modern, Phillipe Starck designed, molded plastic accessories and the contemporary blown glass pieces, give the space rich character, while also staying true to the style’s attribute of mixing forms and cultures. Sensitive use of color and the exceptional, Taj Mahal inspired, Tibetan rug heightens the sophistication of the room while other selections, such as the ample, 1920?s English leather armchair and patinaed trunk add an air of old world romance.||Sensitive use of color and the exceptional, Taj Mahal inspired, Tibetan rug heightens the sophistication of the room while other selections, such as the ample, 1920?s English leather armchair and patinaed trunk add an air of old world romance.
~ Prisma markers and colored pencils on vellum ~
|Jenny Joanisse and Teresa Brown have worked near each other, but not together. Their art is very close to me because they are, and so I know the personal depth of each individual, and feel easily the emotional affect of each piece, from subject to line to color. But the contemplative aspect of the works is visible to those not familiar. You can feel the reserve and consideration in the compositions. It is as if their creation is a relief, a released sigh, an achievement, a marking of time. The process, the conscious connectivity to the craft and the self, is evident, making the energy of both women palpable within their art.|
Black on one side, colorful on the other side, from two-dimensional still life drawing into three-dimensional landscape in a sophisticated marriage of scale and color, Zadok Ben David‘s Blackfield installation is blanketing a London gallery floor with more than 12,000 petite steel cut plant sculptures derived from botanical illustrations from Victorian sources and text books and arising out of a thin layer of sand.
Photo source: trendland.com
|Hermès collaborates with Japanese Polaroid Artist Hiroshi Sugimoto on a breathtaking collection of scarves to form the third edition in the Hermès’ ‘Editeur’ series. Inspired by Hiroshi’s epic ‘Colours of Shadow’ project, Hermès have released a limited line of 140 silk scarves, available in 20 different designs invoking Hiroshi’s experimentations with Polaroid instant film and natural light gradations and tones.
Photos by: Jerico Mandybur & Hermès
|mc2 design lab is a creative collaborative effort between industrial designers Desmond Miller and Jerry Cmehil. The boys run the gamut, specializing in industrial design, furniture design and interior architectural design.
Desmond Miller, born in Lisboa, Portugal, studied Interior Design at the Art Institute of Philadelphia and completed his education in Interior and Industrial Design Technology at Parson’s School of Design. He began his design career in Philadelphia, PA working as an interior designer for high profile design firms while freelancing as a product designer. After moving to New York he continued designing interiors for private residences as well as designing custom products for several prestigious design firms and showrooms in the US and abroad. Desmond’s aesthetic is derived from the disciplines of modern, classic, and minimal design principles respecting their history while emphasizing what’s to come. He is also the senior designer at ddc New York.
|Jerry Cmehil is originally from the Czech Republic, where he studied Furniture Design at the Academy of Applied Arts in Prague. He was first practical training in design and manufacturing at the Art Craft Studios in Karlin, Prague. After completing his education at Columbia University with a Masters Degree in Advanced Architectural Design, Jerry began working in New York City with the most prestigious design firms on their product lines and equally prominent clientele on their private residences throughout the world. He specializes in high-end audio visual installations, industrial product design and interior architectural design.
mc2 design lab’s diverse furniture pieces remain modern and minimal, while offering up an edge of uniqueness with one-of-a-kind touches. Everyday objects are rethought, reformed and re-inspired with fusions of color, line and seemingly gravity defying shapes.
“420” has yet to be completed. Mismanagement lead to continuous problems for both the film itself, as well as the crew. This is not uncommon in the film industry, and regardless, it gave me an opportunity to try and make the most of next to nothing, creating 4 sets (two without any furnishings to begin with), on a budget of $90, including paint. What doesn’t kill you gives you character (well, Nietzsche said, “makes us stronger”, and it certainly did that, but overtime the character build has seemingly outweighed the slight addition of muscle mass gained creating sets for this film).
The location was a slightly furnished home in a Detroit neighborhood, with two unfurnished bedrooms, one of which needed to be a nursery and the other the room of a young, at poverty level couple. The kitchen and living room contained a few pre-existing furnishings, which were altered or “cheated” and added to, as well as the of painting a few choice walls. To acquire items for the sets I largely drove around Detroit seeking the needed pieces off the side of the street. Ha. True. You’d be surprised what people throw out, key props came into existence via this venue.
Other elements I either bought to knowingly return, borrowed from the crew’s rental home in which all the out-of-towners, such as myself, were residing in, or from other crew members. The sets read believable as the home of Alonzo and Tess, a young, struggling couple who are unexpectedly expecting while still trying to learn each other and themselves.
This I feel I accomplished while staying true to my palette statement for the film:
The core ‘roy g biv’ color palette is our pull, with Alonzo and Tess in Red, Amira’s happenings in Blue, Foyd’s debacles in Green, Latino scenarios in Orange and Singh’s loft, love and life relating to his work of a clean/sterile feel through a powdery ‘surgical’ desaturated blue. All of these colors are set to yellow, translated in a sometimes warm, sometimes stale eggshell, off-white.
Ultimately, in color theory vocabulary, we are working from one of three primaries in order to distinguish each individual unique story. Yellow, our core color, intrinsic throughout, and Red and Blue for the most featured/character intrusive stories of Amira’s run-in’s and detached but all to aware family life and Red for Alonso and Tess’s stressed, anguished arrangement. Warm and Cool to fit the intensity of character more within; as well as without. Secondary hues (made from two primarys) for less in-depth stories, with still the intention of warm/cool, reiterating the severity of the character’s relationships. Off of these primary and secondary hue’s are incorporated its complimentary (color opposite in spectrum (i.e. ‘color wheel’)) in a subordinate, desaturated value, set slightly against a muted tertiary (a combination of a primary and secondary colors and also the hues in between the p&s on either side of the color wheel).
Here is a small collection of select scenes from this unfinished feature. I was only responsible for the Art Direction on the scenes involving the young expecting couple, unfortunately this clip does not include all scenes regarding these characters.
Erika was an absolute pleasure to work with. Right from our initial contact email she was full of energy and creativity. During pre-production she was full of constant ideas and thoughts that were great to bounce back and forth. During principal photography that constant energy and creative thought came to fruition during the all too common problem solving required in feature film production. It was a grand experience that I look forward to having again.
Jesse Lee Cairnie – Director of Photography
Erika worked as hard or harder than anybody on set creating sets from scratch with almost no money. She would be an invaluable asset to any production.
Oliver Tompson, 1st AD
An enigma of individuality, Danielle Johnson aka Danz aka Computer Magic is her own sound. Fueled by an obsession with music stemming back to growing up in the Catskills of New York, music has always been her mainstay.
Danz joined the NYC music scene at 18 as a DJ and Promoter, eventually leaving her studies at Hunter College to focus strictly on her music career. Her party roster as a DJ included Ruff Club and Germs with Denny Le Nimh and Spencer Product, Saturdays at the TriBeca Grand for GBH, Space at the Darkroom with Dev Hynes, and Movie Night at the Darkroom with Anton Glamb.
Eventually she took the next step toward something she had yet to do, develop her own music. Danz relocated to her Mother’s in Tampa, Florida where she began teaching herself to create music in Ableton. The result was Computer Magic – a solid mesh of space-like dance beats and personable, sweetheart lyrics; Computer Magic melds the human and the machine. “When I was younger, one of my favorite movies was Blade Runner. And after I saw it, I read ‘Do Androids Dream of Electric Sheep?,’ the Philip K. Dick book that inspired that movie. I loved the book, I loved the movie and it was just such a cool subject – what’s going to happen in the future, robots being hardly detectable among humans – that it was an interesting thing to play on.”
Danz returned to New York and with drummer Chris Egan – another darling of the New York scene, who’s played with Solange Knowles, Turing Machine, Har Mar Superstar, and Adam Green – started performing live. Two years later and Computer Magic has just finished a tour in Japan, while simultaneously releasing Scientific Experience, a compilation album (P-vine & Tugboat Records). They will be releasing a debut full length album this summer. “The idea is to keep improving, to become the best I can. It’ll have the same kind of theme: 1970s science fiction and the vintage future.”
This short film is entered in the Doorpost Film Project where it was one of 20 Finalists. I was also nominated for “Best Art Direction” in the Detroit Independent Film Festival for this piece.
We shot over a weekend with myself (being Art Director) and two PA’s creating the sets the night before shooting. Art Department: first to arrive on set, last to leave.
My intention was to bring a muted, almost faded palette to the film, invoke a feeling of time ambiguousness, and creatively define the “Lost and Found” shop’s inventory, i.e. lost religion, childhood, love, etc.
“Working with Erika in pre-pro and on set was delightful. She utilized every available second to give us the best film possible, and offered creative ideas sparked by her attention to the story. Very resourceful, attentive to detail and a “yes” person to the last breath. A wonderful experience!
– Caleb Slain Director & Editor