PORTFOLIO ARIKA BRANDON 915362 FOUNDATIONS OF DESIGN: REPRESENTATION SEMESTER 1: 2017 STUDIO 15: CARL ARESKOUG
2 MARIO WORLD
1 HOW TO DRAW A CROISSANT
CONTENTS
5 REFLECTION
4 INVISIBLE CITIES
3 PAPER MODEL
HOW TO DRAW A CROISSANT
In this module, the main focal point was not to learn how to draw or measure a croissant, but learn about the concepts of projections and section cuts and the basics of technical drawing. Both digital and traditional drawing skills were practise throughout this module. The traditional skills employed were hatching and shading while the digital skills were based around adobe programs such as Photoshop and Indesign. By photocopying, photographing, cutting and sketching the croissant, a basic understanding of how side elevations, sectional views and plans was established. This was all then recorded and annotated into great depth in a journal which documented the entire process and techniques used to achieve the end goal. In learning how to measure a croissant, I have gained basic skills in Adobe programs and traditional drawing techniques as well as deepen my understanding of exploring ways to present objects in different views.
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MARIO WORLD
The main objective of this module was to come up with new and crative ways of exploring hidden space. To achieve this, first I gained a deeper understanding about axonometric space and what you achieve by using it. Secondly, a concept was required to create paramaters as to what you could and could not construct in the hidden space. The theme that is implored in my mario world is ‘floating in the desert’. To both explore the hidden space and expand futher on this theme, sections were cut out of the hidden space to create depth and interest. While the hidden space was not specified in our given scope, it was important not to stray far from the theme of ‘floating in the desert’ and incorporate this theme while exploring the hidden space. Again, this was achieved by splitting the world into several smaller sections to make it appear as if the island is ‘floating’ in a cluster together. By the end of this module, I had further developed skills in technical drawing and using Adobe programs. I have also learnt about how axonometrics are constructed/work and how to explore hidden space creatively without diverting away from scope or concept.
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The first picture used as a reference for the mario world. This picture shows the front of the mario world.
The first draft copy of my mario world, this did not make the final cut as it did not explore the ‘hidden’ detail and creativity as well as the final mario world did. Juxtaposing this image alongside the final scan, you can see how my design evolved.
The second picture used as a reference for the mario world. This picture shows the back of the mario world.
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PAPER LANDSCAPE
While this module proved to be a challenge to me, I still gained valuable skills and concepts throughout the duration of this module. This module introduced me to 3D modelling programs such as Rhino and how to use panelling tools. By using panelling tools on Rhino I was able to create differentiation through surface and pattern to express a topography in Tasmania with both 2D and 3D panels. The 3D panels are successful in demonstrating the varying height differences in the topography by not only changing the height of the panels themselves, but changing the shape of the panel too. Where the topography landscape dipped down is represented by the panels with openings at the top. The most level surface was in the middle so instead of using 3D panels there I used 2D panels. Rather than showing the height of the topography, the 2D panels show the flow and contours of the topography. Each 2d panel has different fold lines to the last whether they be folded in 2, 4 or 8. The model effectively shows the height differences in the topography as well as the land contours.
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3D and 2D panelling as seen from the bottom right of the model
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3D panelling from the top right hand of the model
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3D panelling. The thrid type of 3D panelling, this type has the biggest open at the top of the pyramid with a fold line on the side.
Top view of the third type of 3D panelling. These panels are situated at the top left of the model
Pictured above: 3D panelling and 2D panelling. All 3 types of the 3D panelling is pictured above, the full pyramid, slightly cut off pyramid and cut off pyra-
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3D panelling. The second type of 3D panelling on the model, the top of the pyramid is cut off.
This module focused on learning how to incorporate symbols and images to tell a story rather than using words. Additionally the concepts of subjectvitiy and objectivity were explored as well. The perspectives and the isometric view both portray the story of Marco Polo exploring the city of Tamara. I interpreted the story as Marco Polo, after having explored the city of Tamara, leaving very confused and overwhelmed due to the amount of signs in the city. The signs he sees in the city aren’t exactly straightforward and aren’t your everyday directions, Marco Polo interprets sings as ‘images that mean other things’. I have explored this in my two perspectives by having perspective 1 as a dramatic and confusing view to give the viewer the same reaction Marco Polo had when he came to the city of Tamara. Perspective 1 is also the view which shows the ‘signs’. However, Perspective 2 is a more realistic view at eye level as it shows the ‘hidden’ meaning behind these signs. However there are still elements of confusion as Marco Polo is still confused about these signs. The perspectives are connected to the iso by being set in a city with a multitude of people in the iso. The signs depicted in the iso all have a heavy feeling directed towards them and the signs point in two directions, which signifies how unhelpful these signs were not only in the story but in the perspectives too.
Cities & signs 1: tamara
Key People Stare Mood direction Signs Path travelled
INVISIBLE CITY
Perspective 1 Perspective 2 0
1m
2.5m
5m
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Pictured below: Perspective 2. This perspective depicts a more ‘realisitc’ version of the signs that Marco Polo sees in the story. The stick figures that were seen in perspective 1 are now ‘real’ characters as they are the hidden images behind the stick figures. The tavern, grocers stall and the goddess Dementer are all direct references to the story as Marco Polo said that the ‘images mean other things’. The tankard in perspective 1 is the sign for the tavern, the set of scales the sign for the grocers stall and the coruncopia correlates to Dementer as she is the goddess of harvest. However, although this perspective may seem like a more ‘realistic’ version of Perspective 1, Marco Polo still left the city feeling confused and overwhelmed so this is expressed with the little textures that can be seen throughout the perspective
As seen above: Perspective 1. This perspective portrays Marco Polo’s feelings and emotions as he wanders through the city of Tamara. This is achieved by the multitude of contrasting textures and colours seen in the perspective. The vaults have a static texture to further emphasize Marco Polo’s confusion as wherever he looks there are signs. Instead of ‘real characters’ there are stick figures to portray the city citizens. The scales, tankard and corucopia all represent the grocer’s stall, tavern and goddess Dementer respectively.
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Throughout the course of this subject I have learnt basic skills in technical drawing and design skills, both traditional drawing and digital drawing. I have been introduced to basic design programs such as Adobe Illustrator, Indesign and Illustrator as well as the 3D modelling program Rhinoceros. The traditional drawing methods I have learnt include hatching, shading and stippling. Additionally, I have learned basic standards such as the use of line weights, dimensioning and applying all the knowledge and work into a journal. I have learnt how to draw and work in various views such as axonometric, isometric, orthogonal and perspective both digitally and traditionally. When I started this subject, I had no previous experience with any of these programs and very little experience with traditional drawing. These views have been put into practise regarding the lectures. The lectures also served as a source of inspiration for some of the concepts throughout the 4 modules and often the lecturers would allude to what they wanted and expected in each module. The lectures also allowed me to gain a better insight into the field of design and grasp the basics of how everything works. The most challenging module for me personally was module 3 because making physical models is more challenging than modelling digitally. The model could be improved vastly by just ensuring that all the panels, 2D and 3D are printed at the same scale so that way there are no gaps in the model. Another way the model could be improved is to enforce consistency in the 2D panels. My main goal with the 2D panels was to achieve the contours of the topography in the model, while it did
REFLECTION
partially work it looked convoluted and confusing for the most part.
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All drawings, pictures and models are the work of Arika Brandon 15
ARIKA MAI BRANDON
ARIKA MAI BRANDON 16