presentation drawing

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On cream ground, design for a six-wheeled double-decker Greyhound bus in three-quarter profile view. At the front of the automotive, a large windshield, the word "CHICAGO" in silver text on a black plaque immediately below. Centered below the destination is the Greyhound logo, an elongated running white hound on copper ground. Below the logo, a large streamlined chrome grille, which wraps around the sides of the bus, accentuating the windows of the seats on the lower level. A red license plate at front reads "1946-X BUS" with small round white and yellow headlights on either side. The destination city of Chicago appears again on the side of the vehicle, with the Greyhound logo behind, in this instance with the dog on a diagonal ground of red, white, and blue stripes. Views through the windows show at least ten rows of four plushly upholstered seats on the upper level, and approximately five rows on the lower level, allowing for mechanical and luggage storage in the lower rear of the vehicle. The frontmost wheel has a shiny chrome hubcap covering the wheel disc, while the rear wheels have an exposed rim and disc. The bus casts a pale shadow on the ground, which is indicated by two parallel diagonal lines.
Away We Go!
On July 9, 1947, Look magazine ran a feature article on the fastest growing form of transportation in America: intercity buses. “Bus travel, according to the sworn word of many highway fans,” the author wrote, “is the best way to make a sightseeing holiday trip.”[1] The post-war boom in bus travel was indebted, in part,...
Branching Out
For more than a decade, Dutch designer Joris Laarman and his team at Joris Laarman Lab have been looking to nature for information and inspiration. As he writes in the newly published book Joris Laarman Lab, “our digital age makes it possible to not just use nature as a stylistic reference, but to actually use the...
Metals and Materials
This striking drawing, titled Altar Mensa for the Borghese Chapel in the Santa Maria Maggiore, is by a lesser known but influential architect, Mario Asprucci the Younger.  Using water color paint to achieve vibrant illustrations of various, colored marbles and metals, Asprucci captures the architecture’s sumptuous materials and allegorical themes. The Borghese Chapel was originally...
Mercury’s Swift Flight
Hildreth Meière (1892-1961) was a distinguished Art Deco muralist, painter, mosaicist, and decorative artist often applauded for her defiance of normative standards against the professional success of females.  In 1936 she wrote, “It drives me wild to be spoken of as ‘one of the best women artists’. I’ve worked as an equal with men, and...
Sink or be Sunk
The 1940s after World War II (1939-1945) marked a phase of industrial design that centered on the consumer. Coined by prolific industrial designer Henry Dreyfuss (1904-1972) as the “Decisive decade”, manufacturers began acquiring prestige by redesigning products that met the needs of a changing society.[1] Populations had grown extensively from incoming immigrants; housing for returning...
A Forgotten Architect with Ethereal Solutions
For her first assignment as an architecture student at the Massachusetts Institute of Technology (MIT), Mary Ann Crawford was given a sheet of paper, twelve hours, and a problem: design an entrance to an architectural school. Crawford’s submission was well-received by her professor, but he gave her a cautionary warning. “You want to be careful...
Presentation drawing for the Comte de Rambuteau: At the fountain base, at the center of the main basin, are six nude figures personifying the Atlantic, the Mediterranean, and four symbols of maritime fishing industries; these figures sit on prows of ships. Above them (and between the basin tier and the crowning cap) are four genii, between each of which is a dolphin (below) and a swan (above) sending jets of water into the basin tier. At the top of the fountain is a mushroom-shaped cap from which water spills to a basin tier, which in turn spills a profusion of water to the larger main basin at ground level. At the perifery of the fountain are nereid figures, each holding a fish which spouts a jet backwards towards the center of the fountain.
Place de la Concorde
This splendid presentation drawing was prepared for the prestigious civic commission to redesign the Place de la Concorde, one of the great public squares of Paris. When the viceroy of Egypt, Muḥammad ʿAlī, offered France an obelisk from the reign of Ramses II as a gift in 1831, the German-born designer Jakob Ignaz Hittorff was...
Egyptomania in Egypt
Throughout the 19th century, Egypt was considered to be nominally a province of the Ottoman Empire, although both France and Britain worked to assert influence and control in the country. Isma’il Pasha was a young man when succeeded his uncle as Khedive (Viceroy) of Egypt in 1863. Isma’il presided over the country as it was...