Victorian feel, perhaps echoing William Morris


We’ve been busy of late and have slacked off writing our blog….sorry to all of our die-hard fans (and there are 2 of you!). Here’s a new blog about fabric. I love fabric and would really love to take a few classes on textile design. Maybe in my next educational career…I’m gettin’ kinda old for this school stuff!


 This Victorian fabric an explosion of pattern, visual texture (perhaps tactile as well) and rhythm. Radiating geometric shapes contain varied colored patterns, which contribute to the overall green color of this fabric and add visual interest. The radiating geometric shapes are within proportion to one another. The smallest shape inside the larger arches creates a focal point for each grouping. Despite the difference in patterns used, there is the presence of rhythm by repetition, gradation, alternation, progression, transition, contrast, and even radiation! Wow!

Proportionally, the parts of the fabric are similar and create a harmonic whole. There is variety and unity created by the shape or forms and the patterns that fill those forms. The fabric is symmetrical and the repetitive use of the similar shapes adds to that symmetry. This fabric gives off the visual feeling of texture and the semi-circle lines add movement and interest. There is only positive spaced used in this fabric, nothing goes without decoration, pattern or color. The fabric has a heavy Victorian feel, perhaps echoing William Morris in design. You could use this in a dining room, study, or ideally in a solarium.


Fashionable Finishes that Will Turn You Green with Envy

No one can resist colored glass, especially when it’s employed as a finish. I loved this doorknob so much I dissected it. Its color still mesmerizes me!


The maker of this emerald green retro antique glass doorknob employs rhythm by repetition, progression and radiation in both the pull and base. In support of the knob’s circular design principles, the designer chose a round pull, base, and stem. As such, the form of this doorknob occupies a cylinder.  Thus all parts share the same basic shape, which provides a sense of unity and repetition.

The decrease in size from handle to base represents the progression from a larger central part to the smaller supporting element.

The designer also added both visual and tactile texture to the pull with the surface and subsurface cuts. Both the pull and the base share the radial repetition found in the cut pattern of the glass.  However, the designer added a focal point on top of the pull as seen in the star design and central circle incised with intersecting lines, from which leaf-like cuts radiate outward.

Further, the designer employed the design elements of color and light to strengthen the visual quality of the doorknob.  The unifying color of both the base and pull are emerald green, while the stem appears to be a burnished copper or perhaps aged virgin iron. The color harmonies of the complementary “red and green” are displayed in subtle, yet energizing ways with the emerald colored handle and base, offset by the deep burnt umber of the stem, suggesting red elements that create a visual vibration between the two.

Finally, interest in added to this doorknob by the use of texture and light. Cuts in the glass refract light and display unifying textures, while more light is implied in the design by its transparency as opposed to using a solid or opaque green.

The doorknob clearly illustrates that good design may be achieved in obvious ways, such as unifying elements of individual parts seen in repetition of shape, texture, and focal point, as well as in more subtle ways found in progression, color and light.