Another English book heavily influenced the designers of the day. Robert Adam is credited with creating the style known as Hepplewhite during the 1760s and leading the form. When a piece of furniture is made in England, or styled after an English example, it may be known as Hepplewhite. Expect to find a little more comfort in chairs and sofas, but not very thick cushions or seats. They are the sideboard and the worktable. Two new furniture forms were created in this period.

The foot might be a simple extension of the leg, or bulbous or spade shaped. Legs of this period tend to be straight or tapered to the foot. Inlaid bands and lines were also popular and often used in combination with other inlay. The motifs used for inlay included bellflowers, urns, festoons, acanthus leaves and pilasters, to name but a few. Reflecting the architectural ornamentation of the period, inlays were popular, as was carving and even painted highlights. Woods used during this period were mahogany and mahogany veneer, but other native woods, such as maple, birch or satinwood, were used. One of the most popular forms of this period was a card table that sported five legs instead of the four of Queen Anne designs. Pennsylvania cabinetmakers used Marlborough feet, while other regions favored ogee bracket feet. Claw and ball feet become even larger and more decorative. Legs become straight and regional differences still existed in design elements, such as feet. The most popular wood used in this period was mahogany, with walnut, maple and cherry also present.

Look for Gothic arches, Chinese fretwork, columns, capitals, C-scrolls, S-scrolls, ribbons, flowers, leaves, scallop shells, gadrooning and acanthus leaves. Chippendale was influenced by ancient cultures, such as the Romans, and Gothic influences. This book gave cabinetmakers real direction and they soon eagerly copied the styles presented.

This period is named for the famous English cabinetmaker, Thomas Chippendale, who wrote a book of furniture designs, Gentlemen and Cabinet-Maker’s Director, published in 1754, 17. Image courtesy of Krause Publications Chippendale, 1755-1790 Notice the pronounced claw-and-ball feet of the Chippendale chair. One type of decoration that begins in the William and Mary period and extends through to Queen Anne and Chippendale styles is known as “japanning,” referring to a lacquering process that combines ashes and varnish. Woods tend to be maple, walnut, white pine or southern yellow pine. One exception to this is known as the Spanish foot, which flares to a scroll. Feet found in this period generally are round or oval. Turnings are baluster-shaped and the use of C-scrolls was quite common. Moldings and turnings are exaggerated in size. Lines of this furniture style tend to be crisp, while facades might be decorated with bold grains of walnut or maple veneers, framed by inlaid bands. Their furniture was practical and sturdy.

New colonists in America brought their English furniture traditions with them and tried to translate these styles using native woods. The style is named for the English King William of Orange and his consort, Mary. To help understand what defines each period, here are some of the major design elements for each period. We find in user studies that the learned compatibility metric is useful for novel interactive tools that: 1) retrieve stylistically compatible models for a query, 2) suggest a piece of furniture for an existing scene, and 3) help guide an interactive 3D modeler towards scenes with compatible furniture.Furniture styles can be determined by careful study and remembering what design elements each one embraces. During experiments with these methods, we find that they are effective at predicting style compatibility agreed upon by people. Motivated by the need to compute style compatibility between different object classes, we introduce a method to learn object class-specific mappings from geometric features to a shared feature space. Motivated by the geometric subtleties of style, we introduce part-aware geometric feature vectors that characterize the shapes of different parts of an object separately. We then compute geometric features for each 3D model and learn a mapping of them into a space where Euclidean distances represent style incompatibility. This paper presents a method for learning to predict the stylistic compatibility between 3D furniture models from different object classes: e.g., how well does this chair go with that table? To do this, we collect relative assessments of style compatibility using crowdsourcing.