STUDIO 2 Brooke Gibson
Semester 1 2017
Foundations of Design Representation
P O R T F O L I O
914452
AMBER YOUNG
01 MODULE
02 MODULE
HOW TO DRAW A CROISSANT?
FLATNESS VS PROJECTION
03
04
Croissant
MODULE
PATTERN VS SURFACE 3D Panelling Landscape
Mario World
MODULE
FRAME VS FIELD Invisible Cities
C O N T E N T S
01
MODULE
HOW TO DRAW A CROISSANT?
How to measure a croissant? The croissant was photocopied and scanned, they were then edited and arranged in Photoshop to create an orthographic layout, as well as the 3 cross-sections of the cut croissant. This was then used to complete the cross-hatch sketches and axonometric drawings. First being done with 6H pencil working up to HB then 0.2 and 0.4 fineliner, the cross-hatch technique was used in order to add depth to the croissant drawing without using traditional ‘shading’ techniques. The sketches were tehn used to create an axonometric view, showing the section cuts.
Pin-Up Template of Croissant Sketches: Drawn with fineliner and graphite pencil showing section cuts
3
S K E TCH E S
Orthographic Photographs and Scans of Croissant
Axonometric Drawing of Croissant: Showing sections A, B and C
4
Orthographic Sketches of Croissant: Fineliner and Graphite Pencil
5
02 MODULE
FLATNESS VS. PROJECTION
The Making of a New Mario World. This new Mario world is an exploration of a more simple design however small details are included to add interest, such as shadows, coins and other characters. Hidden space is explored through the cut-outs below the ground level which additionally explores variations in height as well as lightness and shadow. Two worlds were given and the space in-between was used to create hidden space, blending the 2D images together. This is done using the water section as well as extra ‘plants’.
6
#1
#3
Set-up of Drawing Equipment: Elevation placed on a 45-degree angle to create the axonometric projection
Second layer of Mario World: Details of the second elevation as well as the creation of hidden space between the two elevations is being drawn
Original Mario World Elevations: Both were merged together in order to create the new world
7
#2
#4
Drawing the second layer of the new Mario World with 2H pencil using the 45 degree set square
Inking: The outline of the completed new Mario
World sketch is being drawn using the 0.5 fineliner for section cuts and 0.25 for other lines.
P R O GR E S S
Ink Drawing of Final Mario World
Final New Mario World
8
MODULE
03 PATTERN VS. SURFACE
The Making of a New Landscape The way in which the landscape undulates is reflected through the variation in height of the 3D panels, as well as the differentiation in surface patterns in the 2D panels, thus creating differentiation between 2D and 3D. This also creates variation in light and shadows, creating interest and depth into the landscape. From this, I am trying to achieve these effects in order to create a landscape that is more interesting than the original flatter surface, with the heights of the 3D panels gradually getting taller as they reach the highest point of the model.
9
D E T A I L I NG
10
The variations in light and dark as well as the shadows created with the variations in 2D and 3D panels as well as heights are shown in this image.
P R O G R E S S
2D Panelling: 3 different custom 2D panels for the landscape to create variation and interest
3D Panelling: Custom 3D shapes with mesh, mesh to NURB and triangulated mesh for the landscape
Top: Showing contour of landscape Bottom: Detailed photograph showing light and shadow
11
Final 2D and 3D Model: Before rolling nets and printing to create the physical model
04 MODULE
FRAME VS. FIELD
Cities & Names 1: Aglaura Aglaura is a city which is abmornal, in that each of the objects and people found in the city by Marco Polo are recognisable in everyday life however they each have abnormal and unique qualities. The threshold between ‘normal’ and ‘abnormal’ space can be seen with the inclusion of an optical illusion in the back part of the quad. Marco Polo frequently varies his speed around the city, slowing down to observe the ‘abnormal objects’ and speeding up to see something he spots, shown by the thick and thin arrows and their spacings. The dashed arrow pointing up indicates him observing the back part of the city and the oddities present.
Key Slow Walking Fast Walking Group Look Up Stare Glance Light Mood 12
Threshold
M A K E 2 D The following are the ‘Make 2D’ results of the perspectives in the old quad taken from Rhino. These were then placed into Photoshop and textures and characters were added, as well as shadows and light.
13
P S C V
E R P E T I E
#1
Threshold
This view represents the point in the story where Marco Polo describes his realisation that Aglaura is abmormal. The soldiers guarding the gate show this threshold as well as the path leading towards it. This perspective shows Marco Polo’s progression from the normal to abnormal space of the city. Additioanlly, the ‘punctilious regard for rules’ mentioned in the story is shown through the guards and gate. The ‘enduring assortment of qualities’ is also present through the slight visibility of the characters through this threshold.
14
#2
Optical Illusion
This scene again shows the abnormailties present in Aglaura, in that each of the objects are recognisable from everyday life (for example, the tree, mushrooms, lamp, people) however they each have unique qualities. This perspective was chosen as it displays the entire back part of the ‘quad’ in the shot, as well as the optical illusion aspect as this perspective can be turned upside down to make the roof appear as a warped floor, thus creating an optical illusion. It is also located at the ‘stare’ viewpoint of Marco Polo shown in the isometric mapping, highlighting the perspective the additional symbol creates and the ‘oddities that become normalities’ as mentioned in the story.
15
RE F L E C T I O N From these modules, I have learnt a wide variety of new skills and concepts. These include the ideas of ‘Flatness and Projection’, with cabinet, cavelier and isometric projections as seen in Module 2, as well as the elements of perspective drawings, such as the horizon lines and the vanishing point as present in Module 4.
16
The idea of cross-hatching to add and create depth in the Module 1 drawings was another concept I learnt throughout this course. In terms of Module 3, the 3D and 2D panelling in Rhino was definitely a significant learning experience, as well as the accuracy required to make the model. Seeing real life examples such as Federation Square and Emily Kame’s artworks as seen in the lecture, showed me how the concept could be applied in real life situations and therefore allowed me to visualise the concept more effectively.
Although I already had experience in using the Adobe suite prior to beginning this subject, I still learnt new techniques such as removing the background of photos and using specific tools such as the ‘magic wand’. In the case of Rhino, I have learnt a great deal in terms of plug-ins, panelling and creating complex shapes and buildings from 2D line drawings, such as the old quad.
had to be lightened in order to reveal the full texture of the surfaces and characters. I would have liked to have explored more complex 3D and 2D shapes in the creation of my panellised landscape in Module 3, however due to time constraints I wouldn’t have completed the model on time if I was to do this. In addition, I would have also liked to have created a more complex and detailed Mario World in Module 2 .
Although it was time consuming, I did enjoy the hand-drawing portions of Module 1 and 2, however as the semester went on, I learnt to like Rhino and become less frustrated and more proficient in it.
From this, I have learnt to, in future, push myself to explore the concept further and become more creative in the way in which I approach the requirements of the tasks.
Overall, I didn’t particularly find one module to be unsuccessful altogether, however there were sections of particular modules I would have improved on. The only Module I modified slightly was the perspectives in Module 4, as they