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Set-up a Woodworking Shop Critical Tools - YouTube

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Sustainable Design - Create Eco-friendly Objects and Spaces – A course by Lucas Muñoz

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Sustainable Design - Create Eco-friendly Objects and Spaces – A course by Lucas Muñoz

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Sustainable Design - Create Eco-friendly Objects and Spaces – A course by Lucas Muñoz

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Boats and boating--Equipment and supplies

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Set-up a Woodworking Shop Critical Tools - YouTube

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Furniture designed for inspiring workplaces

We're changing the way furniture is made, by connecting customers to local makers

A global platform for local making

Opendesk is an online marketplace that hosts independently designed furniture and connects its customers to local makers around the world. Rather than mass manufacturing and shipping worldwide, we're building a distributed and ethical supply chain through a global maker network.

HOW IT WORKS

Request quotes

Get quotes from local makers in your area within two business days

Choose your maker

Choose the local maker's quote that works best for you

Receive your furniture

Get furniture delivered to your door in 2-4 weeks, direct from your maker

Inspiring workplaces for amazing companies

We spend one third of our lives working, so our work environments matter. These companies bought Opendesk designs from local makers because they're beautiful, made on-demand and built for collaboration

The Guardian

"Opendesk is changing the way furniture is produced and moved, cutting out time-consuming and expensive shipping, showrooms and storage."

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Furniture designed for inspiring workplaces

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We're changing the way furniture is made, by connecting customers to local makers Opendesk is an online marketplace that hosts independently designed furniture and connects its customers to local makers around the world. Rather than mass manufacturing and shipping worldwide, we're building a distributed and ethical supply chain through a global maker network.

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Video: How to cut dovetail joints by hand

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Video: How to cut dovetail joints by hand

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Introduction: How to Hand Cut Dovetails

Dovetails can be complex, but they do not need to be. This is the simplest and easiest way I know to Hand cut a Dovetail joint. As Hand tool Woodworking skills go this one is very easy once you master a few basic skills. Also, there are thousands of ways to do it. this is just one method that does not require much thought or a pile of jigs.

Tools needed:

Squair: http://amzn.to/2ia9M3Z

Marking knife: http://amzn.to/2hPHf34

Chisel Set: http://amzn.to/2i26mzX

Dovetail Saw: http://www.highlandwoodworking.com/veritas-doveta...

Moxon Vise: How I made mine: https://www.instructables.com/id/Make-a-Moxon-Vise...

Mallet: How I made mine: https://www.instructables.com/id/How-to-Make-a-Tra...

Step 2: Mark Out the Tails

I like to use a storyboard to transfer the marks tot he end of the board. This way I can make the same tales on all the boards. Then with a square, I transfer those marks across the top square tot he face of the board. Make sure to x out the segments that need to be removed. It is no fun to cut out the wrong pieces.

Step 3: Cut Tails

I do not mark out the angle to cut the tales at. In all honesty, it really does not matter. I just put the saw on the cut line and lean it a bit till it looks good to me. A lot of people get all bent out of shape about the angle on the tails and it makes no difference in the world at this point as long as it looks good to you.

Step 4: Remove Tail Waste

I start with a chisel set back about 1/16" or so from the depth line and make a quick down stroke along the line. then come in at about a 30-degree angle and pair back to the stop cut that was just made. Then, repeat the presses tell you are down about half way. Next, flip the board over and do the same thing from the other side till you break through. Last. I put the chisel right into the stop line and clean out the wood right back to the line under-cutting the joint slightly for a better fit.

Step 8: Final Fitting

For most people you are not going to get it to fit right off the saw the first time. Once you put the two boards together you will see places where they are tight or overlapping. I use a chisel to slowly remove material tell the fit is tight. Be sure to not remove material from any edge that will be a final show edge. you can remove material from either the pins or tails. give it a try and see what it does. I will often remove material from both. This way you can maintain a tight show face. Remember less is more. This is the make or break step where te skill is developed. If you take off too much too fast you will have large gaps.

Step 9: Fit the Joint

After going back and forth with the fitting presses and testing the fit you will eventually have a fit that works. it should require a bit of force to put together and be a bit of a struggle to take apart. Remember this is not a skill that can be developed overnight. The more you do it the better it will get.

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How to Hand Cut Dovetails: Dovetails can be complex, but they do not need to be. This is the simplest and easiest way I know to Hand cut a Dovetail joint. As Hand tool Woodworking skills go this one is very easy once you master a few basic skills.

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Dovetails have long been recognized as the premier joint for casework and drawers - and for good reason. They're the strongest way to join the corners of a box, and they look great.

However, dovetails also have a reputation as a difficult joint to master. But cutting dovetails by hand only looks difficult. It's actually just a process of sawing and chiseling to a line. It's that easy. (And with a bit of practice, everyone can saw and chisel to a line.) In fact, when I teach dovetailing, I start people out not by cutting dovetails, but just sawing to a line. Once you've mastered sawing to a line, you're on your way to creating this time-honored joint.

No doubt you've seen the multitude of jigs available for routing dovetails. But there are several good reasons for skipping the jigs and learning to cut dovetails with hand tools. Undoubtedly the main reason is the pleasure that comes when crafting the joint with a saw, chisel and mallet. Cutting dovetails is fun. Another reason is the personal satisfaction of meeting the challenge head-on. And once you develop the skills, you'll find that you can cut a variety of dovetail joints that can't be produced with a jig. Keep reading, and I'll show you step-by-step how to lay out and cut woodworking's most beautiful joint.

A Few Terms

Before diving in, it's helpful to understand some of the terms associated with dovetails. All dovetails have two mating parts: tails and pins. Tails are usually wider than pins and are tapered on the face. Pins are narrow and tapered on the ends. It's the tapered, mechanical interlock, combined with the long-grain gluing surfaces, that give dovetail joints their tremendous strength.

Through dovetails are the most common type; the joint is aptly named because each member of the joint goes "through" the adjacent member. Consequently, through dovetails can be viewed from either face.

Half-blind dovetails can only be viewed from one face; on the adjacent face the joint is hidden. On a typical drawer, through dovetails are used to join the side pieces to the back and half-blind dovetails join the sides to the drawer front.

All dovetails have baselines; the baseline indicates the height of the tail or pin.

Dovetail Tools

The tools for dovetailing are not expensive but it's important to have the right ones. It's also important to have them well-tuned.

Before cutting a dovetail you'll need to do a bit of measuring and marking, commonly referred to as layout. Good layout is essential. Remember: Dovetailing is the simple act of sawing and chiseling to a line; if the line is inaccurate the joint won't fit together.
Want to learn more about dovetailing tools for beginners? Check out Chris Schwarz's post here.
One of the most important tasks is marking baselines. The baseline is created with a marking gauge - a simple tool that consists of a head, beam and cutter. The head slides along the beam and locks in place with a thumbscrew. Some gauges use a steel pin for the cutter while others use a tiny wheel. Either type of cutter will work so long as it's sharp. A dull marking gauge will tear the fibers, making it difficult or impossible to craft a clean dovetail joint.

In contrast, a sharp gauge will cleanly sever the tough end-grain fibers to create an incised layout line. As you chisel out the waste between the tails and pins, the edge of the chisel will drop precisely into the baseline to give you that great fit that you're striving for.

Other layout tools you'll need include a layout knife, a square and a dovetail marker. An X-acto knife works well; it's razor sharp and the narrow point will easily scribe between the tails and pins. The type of square is unimportant as long as it is 90°; I prefer the Starrett combination squares for their precision and versatility.

To mark the angle of the tails and pins, I use a Veritas dovetail marker. Its simple extruded aluminum design functions well, it's inexpensive and I can rework the soft aluminum to an angle of my choosing, typically 14°. A 14° pitch provides the good looks and mechanical interlock that I'm always after.

Of course, you'll also need a dovetail saw, a few chisels and a mallet. There are two types of dovetail saws available today: Western style and Japanese. Traditional Western-style dovetail saws cut on the push stroke and feature a thick back to stiffen the blade and prevent it from buckling. However, Japanese saws cut on the pull stroke, which places the blade in tension during the cut so it doesn't have the tendency to buckle.

Consequently, Japanese saws have a thinner blade and cut a finer kerf. Also, the unique tooth design of the Japanese saws cause them to cut more aggressively than Western saws. Which is best? When I teach dovetailing I encourage people to experiment with each. Although most choose the Japanese saws, others feel they get more control and a truer cut with the Western saw. Regardless of which style that you prefer, it's important to use a high-quality dovetailing saw.

The best chisel for chopping waste from between the tail and pins is a short one. A short chisel provides the control you need when driving the chisel with a mallet; long chisels are designed for paring. For many years I've used the long-discontinued Stanley #750 socket chisels. The short 9″ length and perfect balance of these old tools are just what's needed for dovetailing.

Stanley #750s are still available from old tool dealers, and Lie-Nielsen Toolworks has just recently begun manufacturing its own improved version of these venerable chisels. Of course, if you already own a set of inexpensive chisels, you can also do what many of my students do - cut the excess length from the handle. Although it may sound odd, reducing the handle length greatly improves the balance of a long, top-heavy chisel. And the improvement will be reflected in the quality of your dovetails.

An important step to fine-tune chisels for dovetailing is to further bevel the sides of the blade up by the cutting edge. On most new chisels, the sides are too square, and the excess steel crushes the fibers of the tails and pins as you chisel the waste. Grinding the sides close to a knife-edge will eliminate the problem. Of course, you should also hone the chisels to razor sharpness.

Having the right mallet is important, too. I've found that a round, 12-ounce mallet works best. Heavier mallets are tiring to use and the extra weight just isn't needed. Also, the head of a square mallet must always be aligned to the chisel before striking. Not so with a round mallet.

Once you've gathered your tools and tuned them up, you're ready to begin.

Layout

The first step in the layout process is to mark the baselines. Note that the baseline is marked on both faces of both halves of the joint. It's also necessary to mark the baseline on the edges of the tail board. First, set the gauge to the thickness of the stock. As you mark the baseline, focus on keeping the head of the marking gauge firmly against the end of the stock. To avoid tearing the grain, make several light passes with the gauge as opposed to one heavy cut.

Next mark the half pins on each corner of the pin board, and then divide the board into the number of desired tails. Each point of the divider becomes the center of a pin. After marking the slope of the pins on the end of the stock, mark the face with a square.

Sawing

As I stated earlier, dovetailing is essentially sawing and chiseling to a line. Once you've mastered that technique you can cut great-looking dovetails.

Start by positioning the saw on the near corner of the stock and pull the saw to establish a small kerf. During this initial cut, it's helpful to use your thumb to guide the saw. As you pull the saw toward you, lower the blade into the stock to establish the top line.

Now use long, smooth strokes to follow the line on the face of the stock. Stop when you've reached the baseline. Once you've sawn all the pins, make several extra saw- kerfs into the waste area between the pins. These cuts will make it a lot easier to chisel the waste between the pins.

Next, select a narrow chisel, 3⁄8″or 1⁄2″, and make certain that it is razor sharp. A narrow chisel has less cutting resistance than a wider chisel and you'll have better control of the tool.

To remove the waste between the pins, it's best to cut halfway through the stock from each face. But remove the bulk of the wood first by positioning the chisel about 1⁄16″ away from the base- line. Drive the chisel halfway through the stock, flip the stock over and repeat.

Now position the edge of the chisel in the baseline (note how easily it drops into the incised line) and repeat the process. It's good practice to undercut the baseline very slightly. The undercut surface ensures a tight fit and doesn't weaken the joint. (Remember that the strength comes from the inter-locking tails and pins as well as the long-grain gluing surfaces.)

Now examine the end grain surface very closely. You should see a fine line along the edge of the stock that was created by the marking gauge. If you don't see this line, you've chiseled too far - or not far enough.

Lay Out the Tails

The tail-board layout is created from the pin board. First position the tail board face down on the bench. Next, place the pin board over the tail board, align the face with the baseline of the tail board, and then clamp it in place. Remember, too, that the wide part of each pin should be facing the inside of the joint.

Mark the tails with your layout knife. Position the blade of the knife against the pin and use the pin to guide the cut. To complete the layout, mark the end of each tail with a knife and square.

Sawing the tails is similar to sawing the pins except you'll have to tilt the blade on the vertical axis. I think it's bad practice to angle the tail board in the vise; it's best to learn to angle the saw instead. Otherwise, when sawing the tails of a wide board for large casework, one corner of the board will be positioned high up in the air which will make sawing difficult. Instead, clamp the tail board in the vise (make sure it's level) and saw all the cuts one direction.

Then saw all the cuts that are angled the opposite direction. I use the same technique for chiseling the waste as I use on the pins; make a few extra saw kerfs and chisel half way from each face. Remember to undercut this end- grain surface slightly. However, be careful to not undercut the surfaces at each corner. Otherwise you'll see a distracting void in the assembled joint.

To assemble the joint, first position the pin board upright in the vise. Now gently press the tail board into the pin board using pressure from your thumbs. When assembling dovetails on wide case- work, I'll use gentle taps from a dead-blow mallet. You can hear and feel where a portion of the joint may be too tight.

Simply pare a shaving from any such areas, slide the joint together, and step back and admire your work. With patience you'll find that dovetailing is one of woodworking's most pleasurable tasks.

Here are some supplies and tools we find essential in our everyday work around the shop. We may receive a commission from sales referred by our links; however, we have carefully selected these products for their usefulness and quality.

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The right techniques and tools (plus a few tricks) will give you a good start on mastering this fine traditional joint. Dovetails have long been recognized as the premier joint for casework and drawers - and for good reason. They're the strongest way to join the corners of a box, and they look great....

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JAPANESE TRADITIONAL WOODWORKING PART 2 george Nakashima interview

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Wed, 08/29/2012 - 07:49 - Chris McCarthy

Should is a modal verb that has more than one meaning. The obvious meaning is that we use to give advice (eg. You should quit smoking), but it could also mean that you expect something to happen in the future

eg. John called and told me he's on his way. He should be here soon.

The past tense of should is should have + past participle.

Had better is similar, but it's used for more urgent advice with bad consequences if you don't follow it (eg. You had better quit smoking or you'll die).

Lesson by Sebastian, teacher at EC Cape Town English School
Now decide which form is needed in these 8 sentences:

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Wed, 08/29/2012 - 07:49 - Chris McCarthy Should is a modal verb that has more than one meaning. The obvious meaning is that we use to give advice (eg. You should quit smoking), but it could also mean that you expect something to happen in the future eg.

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Entrainement pour connaître les verbes irrégulier de l'Anglais.

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Source: Longman Dictionary of Contemporary English 5th Edition (For Advanced Learners)

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Express similarities and differences with comparative words and expressions: the same, alike, unlike, different from, similar to, and more.

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6 best furniture design software tools

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6 best furniture design software tools - vocabulaire

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6 best furniture design software tools

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Opendesk, a revolution in furniture design

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Opendesk, a revolution in furniture design

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OpenDesk a revolution in furniture design

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Set-up a Woodworking Shop Critical Tools - YouTube

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Set-up a Woodworking Shop Critical Tools

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Set-up a Woodworking Shop Critical Tools (correction)

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JAPANESE TRADITIONAL WOODWORKING PART 2 george Nakashima interview

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Throughout human history, art has constantly changed in style, evolved in capability, and adapted based on what is going on in the world. From Picasso's art influenced by World Wars and revolutions to new design styles that emerged with advanced technology, visual art has always been changing. And those changes can occur rapidly, even within a decade. Inspired by this concept of constant change in graphic design (and our own recent redesign), 3Points design lead Jeffrey Rabin came up with a thought experiment: what would the 3Points logo look like in other recent decades? In this post, you can see Jeffrey's interpretation of our 3Points logo through each of these decades, as well as the reasoning behind why certain elements and styles are associated with specific decades. So sit back and prepare for a nostalgic and visual joyride through the last five decades of graphic design... and beyond!
1970s

In the 1970s, a lot of design featured repetition, free-form fonts, and simple shapes. The use of overlapping/interconnecting shapes was a rising style in print design, and lava lamps (although invented in the '60s) were just one of the many psychedelic trends to grow in popularity throughout the decade ( both in visual art and decor). Print design was becoming more and more popular, yet the technology to take complex designs and print them on various media was not there yet. This was in part the reason for the simplicity seen in a lot of the decade's most famous work.

By embracing these characteristics, our '70s rendition of the 3Points logo features a "lava lamp-like" font repeatedly placed over itself to form a 3D effect. On top of this, the design incorporates our three orbs, only now they are overlaid on one another to capture that retro '70s vibe. The design also incorporates a Pantone green color scheme, reflecting the print capabilities from that era.

1980s

Whether you are talking about design, pop culture, or just about anything, the 1980s is often the decade that stands out the most from the rest, from an artistic perspective. Heavily influenced by futuristic and sci-fi pop culture, design in the '80s displayed modern techniques (for the time), neon colors, and a lot of shiny chrome. There is even a whole sub-category of music and design inspired by the '80s known as " synthwave " (which we took as inspiration for our 1980s logo).

Fully embracing the neon/synthwave style of the 1980s, this version of the 3Points logo shows the drastic change in design capabilities and style between the '70s and '80s. (And really, the '80s logo is by far the most unique compared to even modern decades.) On top of a broader color scheme, the use of three-dimensional shapes and gradients shows just how much more a design could be in this futuristic style of graphic design. Furthermore, much like a lot of the "modern" design work of the '80s, we were able to incorporate a fading grid along with one large, looming shape in the background.

1990s

Although technology was still rapidly evolving in the '90s, graphic design itself saw a simplification in style and feel. There was a prominent rise in Memphis style, which practically fills everyone's memories of the decade. Color combinations of fuschia, teal, and any warm color (yellow and orange mostly) became very trendy, dominating a lot of print design across the United States. While the '80s featured a lot of sleek and shiny fonts, the '90s saw a rise in blocky fonts with strokes and shadows. Because technology allowed for these kinds of designs to become high-quality prints, everyone took advantage of the new possibilities. Most importantly, although Adobe Photoshop was first developed in 1988, it was first released in 1990; the ability to digitally blend and illustrate elements, along with the ability to manipulate photos, not only created a whole new sector of graphic design, but also brought about the dawn of a new age of digital art and design.

Having been born in 1996, I still have vivid flashbacks to the color-filled brand imagery that used to surround me. While modeling this design upon pre-existing work, I strived to create something that I could imagine seeing over 20 years ago. Although it is an exaggerated take on common '90s design practices, this rendition truly embodies the evolutionary and pattern-based style of design that ruled the decade. While this version sees the loss of our traditional green color palette in an effort to use popular colors of the decade, we brought back the three circles, which each embody different elements of the '90s style in this design.

2000s

Although there were leaps and bounds of progress in the '70s, '80s, and '90s, those improvements do not compare to the expansion and revolution of graphic design in the 2000s. Print methods were relatively similar, and the technology, although improving, was never truly breaking the barrier of what was possible. That progression became exponential very, very quickly in the 2000s with the rapid improvement of technology. All of a sudden, people weren't designing simply for print or digital media. Designers had to make sure their work looked good on something as large as a billboard and as small as a screen that fits in a pocket. New software allowed designers to easily create three-dimensional objects and manipulate typography like never before. On top of all this development, some of the most iconic designs in human history were created during this decade, including Shepard Fairey's Obama Hope poster (which opened a whole other door into the legality of certain design practices, a rabbit hole that we won't go down today) and Apple's single-colored iPod ads. Whether it was the artists who were learning to use new tools or the new tools themselves that allowed the creation of new and exciting artwork, the possibilities of graphic design were expanding more and more by the day.

Here you can see the original 3Points Communications logo - 3Points was founded in early 2010, so this logo is more a reflection of the 2000s than the 2010s. [Also worth noting: unlike the preceding designs, which were created for this exercise, this was our actual logo, which means it is less exaggerated to reflect its decade.] Much like some of the most popular new logos of the 2000s ( AT&T, Wikipedia, and Microsoft, to name a few), it features three-dimensional shapes, which were then a must-have for a brand hoping to keep up with the times. Although most brands chose to use either the effect of a gradient or a drop shadow to achieve a 3D feel, both are used here. On top of this, we can now see 3Points sporting a sleek and thin font. Thick fonts were very popular in the '90s; however, the look considered modern in the 2000s was sleek and minimalistic.

2010s

Mobile Workability: Although Adobe Creative Cloud can be used on mobile devices currently, I believe we will see massive improvements in the program's usability on mobile devices, to the point where it is just as easy to work on an iPad as it is on an iMac.

Merging with Animation: A lot of people who have design degrees may know basic animation, but it is usually not their forte. With the two arts becoming slowly blended together (on almost EVERY design job application, there is a line that says "experience with After Effects is a plus") it is safe to say that companies will be looking for "all-in-one" designers in the near future.

More Expensive Software: It pains me to say this, but Adobe's cloud-based subscription service has only gone up in price since its introduction, and I don't see that trend going away (much like the price of other high-demand tech commodities, such as phones and streaming services). While Adobe offers very good discounts to students and teachers, the freelance designer will see more and more of their earnings going back toward paying for the very tools that they use to make money.

More Freelance, Less Full-Time: While almost every industry has demand for a designer, the longevity of that demand varies. A company may need a logo, a dog-walker may need a website, or a gym may need new business cards, but what comes after that? Outside the communication industry (which has a daily demand for all sorts of materials, whether internal or client-based), I see design evolving into more of a project-by-project profession for a lot of professionals.

After an explosion, there is always a shockwave that comes after. The 2010s can be described as the shockwave of the explosion in technology. With capabilities that vastly outdo anything previously seen, modern graphic design practices involve a lot of creative photo manipulationand three-dimensional effects.A vast majority of design work now caters to digital media instead of print, as the use of animation in design work has emerged as a trend (the two practices are becoming more and more associated with one another). This is interesting because the "art" world of graphic design is becoming increasingly complex, while the business side of design is becoming more simplified. Some major brands such as Uber, Dunkin',and American Expresshave seen their logos simplified in both color scheme and visual appearance. There is now a large contrast between "graphic art" and "graphic design"; the most popular artists, such as Bosslogic, Cole,and Photified, are putting out visually captivating work, while brands are simplifying their look and communications agencies are sticking with the minimalist yet modern feel.

Our current logo (especially looking at its jump from the 2000s predecessor) is exemplary of the clean look that is featured in graphic design today. The 3D effect of the orbs looks much more modern, deviating from a drop shadow and white/color gradient, and instead using various shades of green to give it a three-dimensional feel (almost as if remastering the previous look). The typography has a much more rounded and modern look, unlike the prior elongated and compact font. Although this logo was created near the end of this decade, it clearly shows the jump in simplicity and quality from the decade prior. On top of that, losing the drop shadow allows for much easier use and application, as there is no longer a worry about how the logo will show up on print or digital media.

2020s (the future)

As design has continually evolved over the decades, it would be foolish to say it will be the same over the next ten years. While it is impossible to say with any certainty where design will go in the 2020s, here are a few aspects that I predict will be important:

In terms of this logo, there is not much I can elaborate on, as there is no work to compare it to! However, I do feel that the "art of the logo" may change. Most business logos are created in Adobe Illustrator as "vector files" or 2D shapes, so they can easily be redistributed and used on various sorts of media. I think more emerging businesses will experiment with flashier, art-based logos that will stray from this path, opting for as much flair and uniqueness as possible, while sacrificing ease of reproduction and simplicity. Some possibilities could include animated logos (only displayed digitally) or logos that emphasize three-dimensional elements.

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Design Through the Decades: The Evolution of Graphic Design over the Last 50 Years... and Beyond

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Throughout human history, art has constantly changed in style, evolved in capability, and adapted based on what is going on in the world. From Picasso's art influenced by World Wars and revolutions...

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In celebration of Envato Tuts+'s ten-year anniversary, we're going to look back even further in time to explore the era-defining trends and styles in graphic design and illustration over the past ten decades.

Studies of design and illustration have always given historians intriguing insights into changing trends in aesthetics, buying patterns, and popular culture, but it's also invaluable for designers to know what has influenced and continues to influence their work today.

Love vintage design, or simply want to find out more about how designers worked in the past? You'll want to keep reading!

Make sure to pay a visit to GraphicRiver and Envato Elements to source vintage-inspired photos, illustrations, fonts and templates to channel a bygone time in your own designs.

Design in the 1920s

The 1920s marked one of the most important and exciting decades for the visual arts, and its remarkable influence is still felt across the design industry today.

The 'Jazz Age' marked an era of new social freedoms and economic growth, and favored design styles followed suit. At the start of the decade, more fluid, realist styles such as Art Nouveau were still very popular across the commercial arts, but by the middle of the decade this was dramatically replaced by new modernist styles which were gaining traction in Europe.

Art Deco, a style defined by modernist, geometric designs and luxurious materials and colors, first emerged in France but quickly grew in popularity, becoming one of the first international design movements and resulting in some of the most glamorous buildings, interiors and artworks the world has ever seen.

Particularly in New York, the post-war economy was booming, and in this atmosphere of financial excess, advertising design experienced an incredibly creative period. Poster artists embraced the Art Deco style wholeheartedly, focussing on creating strongly graphic layouts, with rich color palettes and geometric type styles. The glamor of flapper girls, exotic travel, and new food and drink dominated billboards, enticing viewers to dance the Charleston or buy Coca-Cola.

French-Ukrainian artist A. M. Cassandre designed this Art Deco poster for Pivolo in 1924. This now famous example of poster advertising displays the traits of early Art Deco style-strong silhouetted forms, simple layout style, and geometric type. © www.cassandre.fr

Design in the 1930s

The excesses of the 1920s unfortunately couldn't last forever. The Great Depression had a sombre influence over design in the 1930s, with a more restrained form of Art Deco which focussed on curved forms replacing the glitter and glamor of the decade before. In poster art, we can see how the rich palette of colors from early Art Deco is replaced with more subdued tones.

Also influential during this decade was the accessibility of modern technology for consumers. Electricity, the automobile, and the telephone made radical changes to daily life, and design increasingly reflected this.

The Futurist art movement emphasized the supremacy of technology, speed and industry in an ever-changing world. Designers and illustrators focussed their efforts on giving a sense of movement and scale to their designs. 3D-style gradients and textures also became popular, helping poster work feel immersive and larger than life.

"L'Atlantique" poster by A. M. Cassandre, 1931. © www.cassandre.fr

Design in the 1940s

With the outbreak of the Second World War in 1939, fascism began to creep across Europe and threatened to spill over onto a global platform during the early part of the 1940s. This frightening new reality led to the once commercial emphasis of design to be replaced by propaganda and motivational imagery.

Some of the most interesting design to emerge in this period was that of the Soviet propaganda artists, who were inspired by Art Deco and Constructivism (a Russian art movement which emphasized art as having a social purpose) but developed a unique and direct style rendered in sombre shades of red, black and grey.

Stylistically, modernism was becoming a more influential movement, and we can see this in the use of abstract illustration, irregular layouts, and minimal color palettes. At the start of the 1940s, realist illustrations which romanticized battle were very popular, but by the end of the decade, consumers were ready for something very different.

We can see the roots of the Mid-Century Modern movement in design and illustration from the late 1940s. Visible brush strokes, witty designs and rich colors marked the end of the dark days of war and heralded a sunnier Post-War period.

This retro advertisement kit is inspired by the more colorful, optimistic style of the late 1940s

Design in the 1950s

Designers have looked back to 1950s design time and time again, and with good reason. The era was an incredibly rich, optimistic and exciting time for design. Just as we have today, there were many different trends which found their place in the Fifties design landscape.

In America, a booming economy meant that ordinary homes now had kitchen appliances, motor cars, and televisions, all of which were advertised heavily to the public. Across commercial advertising we see atmospheric, cheerful illustrations and photos in pastel ice-cream shades or technicolor brights. The sense of movement, youth and excitement generated by this style of image is infectious, and still has remarkable influence over advertising design today.

Magazine cover illustration for the August 1950 issue of Science and Mechanics.

Meanwhile, other designers were exploring modernism's potential and giving it a fun, playful twist. Flat design was made popular by the Mid-Century Modern movement, which focussed on playful patterns and textures, and used simple, pared-back color palettes in earthy shades.

The Fifties were also a time for boundary-pushing in typography and typeface design. Perhaps the most famous example is designer Paul Rand's reimagining of the logo for IBM in 1956. With its distinctive jaunty, geometric lettering, this type style influenced the perky, animated character of other typefaces which came to dominate billboards and signage across the last half of the decade.

Design in the 1960s

Graphic design in the Sixties tended to split into two main stylistic groups. Some designers continued to evolve the simple, modernist style favored during the 1950s, and many were influenced by the Swiss Style, which came to have a huge influence over layout design and typography during the decade.

The Sixties were also a wonderful time for modernist illustration, with artists like Charley Harper exploring geometric shapes, stylized design and grainy textures in their drawings. Their simple, striking work had commercial appeal, making them a perfect fit for advertising work and textile prints during the period.

The other popular design movement in the Sixties was a reaction to the restrictions of minimal, modernist design. Psychedelic design was influenced by the free love movement, rock 'n' roll, and hallucinogenic drugs.

Graphic design merged with art, as designers and illustrators became more experimental and threw out the traditional rule books preaching grid structures and ordered layouts. A rainbow of acid colors, fluid lines, and trippy patterns came to define the look of the pop culture scene of the Sixties, and it's still much more evocative of the Sixties in popular culture today than its modernist counterpart.

This cover of the San Francisco Oracle, January 1967, has an Art Nouveau-inspired psychadelic design

In today's tutorial, I'm going to show you how to create a vintage vector scooter illustration. I'll show you how to create simplified line art without...

Design in the 1970s

1970s design has enjoyed a recent revival in design, fashion, and illustration, and perhaps this is in part because it's such a rich resource for retro design in so many forms. The decade was defined by a diverse range of pop culture and social movements, which allowed individuals to express who they were more extrovertly through fashion, music, and art. Punk, Disco and the hippy movement were just a few of the cultural trends which defined the decade, and their influence spilled over into the world of design.

Flyer template inspired by the music-centric design styles of the 1970s.

In graphic design, we start to see photography becoming more dominant during this period, with illustration taking a more supportive role in magazine and ad design. Photography, as with everything in the Seventies, explored extremes-it was either moody greyscale or disco-bright technicolor. Magazines like Rolling Stone embellished photos with anarchic collage touches, bright color, and 'look at me' typography.

Developments in typesetting technology also helped the Seventies to become the decade that is defined by jaw-dropping typography, which is at turns both garish and revolutionary. Three-dimensional effects, curved lettering and cartoonish proportions make for type that pushes the limits of good taste, and has become the defining characteristic of 'retro' design.

Design in the 1980s

In the decade of boom and excess, there's also nothing subtle about Eighties design. Topping the Seventies for sheer 'look at me' value, this decade carried over the more brash elements of Seventies design, such as disco typography, and exaggerated them even more.

Punk still had a huge influence on popular culture in the early 1980s, and an anarchic use of color was used by designers to contrast against newspaper-clipping text and moody silhouetted photography. Anti-establishment British bands like The Smiths and The Clash used traditional design elements like serif typefaces and reimagined them with a neon color palette and jumpy grids, creating engaging, confrontational album art in the process.

Album cover for London Calling by The Clash (Released in 1979 in the UK, and 1980 in the US)

Album cover for The Smiths' The Queen is Dead (1986)

In the latter part of the decade, garish, neon-saturated styles came to dominate commercial design and spilled over into music and the arts. Some of the most recognisable design traits of the Eighties can be sourced from the inescapable type styles that were developed from the mid-Eighties onwards. Sharply italicized lettering fonts in neon pinks and purples adorned album covers and advertising billboards alike.

While not all Eighties design is considered to be indeed 'good' at all, let alone tasteful, thankfully some designers were still creating amazing work, some of which has come to be recognized as iconic and well-loved as examples of 'nostalgia art' decades later. Some of the most incredible design during the 1980s appeared on movie posters, with complex collage designs, super-bright colors and highly detailed layouts. Illustrations were hyper-realistic and dramatic, with exaggerated light and shadows.

The promotional artwork for movie Labyrinth (1986) is a beautiful example of the highly detailed, illustrated collage style favored by poster designers in the 1980s

Design in the 1990s

The designs that defined the 1990s take a little longer to come to mind than the visual culture of the hippy 70s and brash 80s, but it's actually an incredibly significant decade for the development of graphic design as we know it today. Digital design technology had evolved and become more accessible (remember Microsoft Paint?), which meant that the days of creating layouts by hand were fast disappearing. As a result, layouts took on a more polished, clean appearance.

While design may have cleaned up its act, its influences were altogether much rougher around the edges. Grunge was a significant influence across pop culture, fashion and design over the early part of the decade, and in many ways this clashed with the clean, tech-forward focus of designers who were embracing digital design wholeheartedly.

You can't mention Nineties graphic design without paying homage to American art director David Carson, who founded alternative music magazine in 1992. A world away from the measured minimalism of digital design, he 'broke the grid', experimenting with collage-style type and edgy photography. It remains the most evocative design example of the grunge era.

Towards the middle and later part of the decade, minimalism became the order of the day, which felt completely refreshing after the scruffy grunge years. Calvin Klein pioneered minimal graphic design in his adverts featuring a waif-like Kate Moss posing next to an ultra-simple, watermarked logo design. It marked a new era for advertising design in which less became more, setting the benchmark for the pared-back fashion advertising we see in print today.

Design in the 2000s

While the 90s marked the first venture into digital design for many designers, it was inescapable during the 2000s. No longer was computer-aided design simply an option, it became a necessity, with designers needing to craft layouts that would work just as well on computer screens as they would on handheld devices like mobile phones.

Logos had been around for decades, but the 2000s were the boom years for branding, with some of the most iconic tech brands like Google, Twitter and Facebook creating and honing their brand identities during this decade. Logo design became a consuming area of focus for many graphic designers during this decade, with many judging the future success or failure of a business from the quality of their brand design.

The 2000s were a decade of great political and social change across the world stage, and design followed was often employed to raise awareness of causes such as environmental change and the impact of events like the financial crisis of 2007.

One of the most memorable examples of design as a political tool was Shepard Fairey's "Hope" poster for the 2008 US presidential campaign. Stylistically, it referenced older street art styles, a hallmark of 2000s design, but the strong sans serif type and ultra-realistic portrait of Barack Obama made it feel fresh and relevant, and ultimately was a significant contributing factor to the success of Obama's campaign.

Design in the 2010s

Sure, we're only seven years into the decade, but the 2010s have already seen plenty of incredible work and look to be an exciting decade for graphic design and illustration. While it can be difficult to assess the dominant trends of the decade without hindsight (and still with three promising years to go!), we can already look back on a few styles that have proved to be almost universally popular in the early and middle part of the decade.

Vintage mania hit the graphic design world at the start of the decade and still remains very dominant in design. With the internet becoming an all-encompassing influence in people's lives, vintage, folk and 'hipster' styles can be seen as reactions to a technology-mad world, even if antique-style textures and vintage logos are used to brand tech products!

Illustration has also experienced a welcome revival this decade, with flat design revisiting some of the modernist traits of mid-century design and vectorized and digital illustration evolving as an art form. We're starting to see more explicitly tech-inspired design gradually creep back into illustration now too, with low-poly and line art taking their cues from the ever-evolving world of web and app design.

Conclusion

A lot can change in a century! Design and illustration offer amazing insights into the social and cultural trends and changes that defined decades, and I hope you've found this trip back in time interesting and perhaps inspiring for your own creative work.

No designer can truly work in a vacuum, so it's fantastic to be able to see what visual culture would have been a constant presence in the lives of your parents, grandparents, great grandparents and beyond.

Do you have a favorite decade for design? Let us know which eras get your creative juices flowing in the comments below.

Head over to GraphicRiver and Envato Elements to find vintage-inspired design elements to take a trip back in time in your own creative work.

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In celebration of Envato Tuts+'s ten-year anniversary, we're going to look back even further in time to explore the era-defining trends and styles in graphic design and illustration over the past ten decades.