F o u n d a t i o n s o f D e s i g n :
R E P R E S E N T A T I O N
P O R T F O L I O CELINE.JYANTI|1000565|STUDIO.17|MITCHELL.RANSOME
CONTENTS Module 1 - H O W T O D R A W A C R O I S S A N T ?
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Module 2 - F L A T N E S S V S P R O J E C T I O N
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Module 3 - P A T T E R N V S S U R F A C E
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Module 4 - F R A M E V S F I E L D
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.1 E L U D O M
HOW TO DRAW A
CROISSANT ?
Starting off the semester, this module introduces the basic terms of plan, elevation, and section through a practice of orthographic projection. Also, I was made familiar with three-dimensional space through the use axonometric projection. More skills developed in this module include photography, hand drawing, and accurate meassuring skills as the drawings were done to scale. This was also an introduction to the basic use of Adobe Photoshop which will be developed further in the following modules.
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PHOTOS AND SCANS The first part of the module was to take photographs and scans of the croissant. The three photos I had to take were the plan view, front elevation, and side elevation. After also scanning the bottom plan of the croissant, I cut it to get three sections. The three sections were then also scanned - in black and white to see the textures more clearly. Importing the photos to Photoshop, I learned basic photo editing skills to produce more refined and clear photos.
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61 mm Elevation B
129 mm
95 mm
The last part of the module is an axonometric projection of the croissant. Using the three cut sections, the process started by projecting the outlines to a grid on a 45 degrees angle. After all three sections were projected, they were combined to create the axonometric of the croissant. After a little shading and placing the projection on the plan drawing, I became more aware and had more understanding of the shape and three-dimesional space of the croissant.
Elevation A
MEASURED DRAWINGS
Plan View
C
Section A
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Section B
B
A
Section C
AXONOMETRIC PROJECTION The last part of the module is an axonometric projection of the croissant. Using the three cut sections, the process started by projecting the outlines to a grid on a 45 degrees angle. After all three sections were projected, they were combined to create the axonometric of the croissant. After a little shading and placing the projection on the plan drawing, I became more aware and had more understanding of the shape and three-dimesional space of the croissant.
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.2 E L U D O M
FLATNESS VS PROJECTION This module introduces the idea of spatial depth derived from a flat projection. The challenge was to create space beyond what was given or seen. The process involve both hand drawing and digital skills. Other learned elements from this module include the use of color, texture, and shadows. Although my final product was not on my best, this module was a good introduction and practice to using Adobe Photoshop and Illustrator. The process also further helped in my understanding of axonometric projections.
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Mario World images given as reference. The front (left) and back (right) were to be combined into one defined space
Combined drawings of the New Mario World. All elements were drawn in an axonometric projection.
Final look of the New Mario World: “Tranquility�. Shadows were added and considered to further create the three-dimensional space.
The drawings were then scanned to be used in Adobe Illustrator.
Colors were chosen from the original images but with softer tones and gradations.
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.3 E L U D O M
PATTERN VS S U R F A C E This module underlines the relationship between a design and construct process. The main takeaway from this exercise is the idea of developable surfaces and how they allow designs to be geometrically understood which makes them possible to be physically built. Also, I learned the relation of decisions made in the design and the building process, how each are equally important. Learning to create a piece using both digital tools and the physical model made this module my favorite experience in terms of the working process.
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DESIGN PROCESS
2D Panelling. To understand the given terrain, 2D panelling was used explain
The design process was done using Rhino and focused on developing the given terrain. My designs in Rhino all revolve around the use of 3D panelling. The modules used include both open and closed shapes to add variety in texture and relationship with light. Height differences were used to communicate the original terrain, mimicing a natural lanscape. Developing the pattern aspect, the order of the modules were chosen strategically to form my idea of an X shape formed by the closed pyramids.
the idea of a developable surface.
3D Panelling. Using available patterns and custom variables in 3D panelling to explore the potential of the surface.
Custom modules. The custom modules used in the final design.
Unrolled panels. Unrolled individual, joined two, and joined four panels, flipped to make sure the lines are on the inside. Also added were the tabs, which was used to assist the building process.
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Plan view of the final design.
Plan view photograph of the model.
The model was done through a series of tracing, cutting, scoring, and gluing processes. The model building was successful in terms of translating the digital design. Here the X patterning idea can be seen in both the digital design and the physical model. The ordering of the modules can also be seen, spreading evenly and in a pattern from each corner. However, the height difference could have been more exaggerated to further accentuate the given terrain.
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Photo of the built model, showing crafting details and relationship with light.
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.4 E L U D O M
F R A M E VS FIELD This module touches on the practice of design beyond drawings. A design has aspects that are relation based, whether it be with the landscape, people, activities, or social values. Hence, there is the need for a way to communicate these aspects. In this exercise, I explored the use of perspective views and notations in space to communicate a story. With Melbourne University’s own Old Quad building as the space and one short story of Marco Polo’s journey from Italo Calvino’s Invisible Cites, I was given the creative freedom to interpret and communicate two scenes and a notated isometric plan.
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The story of Euphemia from Italo Calvino’s book, Invisible Cities.
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NOTATION AND NARRATION This is an exercise on the term Allographic where an art, in this case a piece of text, is interpreted with no direct relation with the original creator. A story involves elements of movement, mood, time, action and other intangibles which can be delivered by the use of notations. Hence, the notations here represent the story of Marco Polo’s journey in the CIty of Euphemia. Marco Polo’s journey starts during the day where he experiences the begining of a crowded market scene. Instead of going through, Marco Polo goes around the crowd because it is stated in the story that the market is not why people come to Euphemia. The highlight of Euphemia is during the end of the day where people are gathering and sharing stories around a fire. This is what the visitors do before continuing their journey, hence Marco Polo does just that, entering the scene at the end of his journey in the city.
Key: Characters Stare Slow Steps Time Jump
0
1m
2.5m
5m
Fire Light
Isometric view of the Old Quad with notstions.
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Fast Steps Mood - Light
Fire
Mood - Heavy Perspective 1
Animals
Perspective 2
“TRADING WARES” The day scene where Marco Polo encounters a normal market scene in Euphemia. Characters in the scene are in the middle of a trading activity with the products clearly shown. Also shown are elements of market such as barrels, sacks and baskets of food. Relating to the background, an image of a crowded area with stalls and a hint of a port at the back is used. This is to describe the market produce delivery activity told in the story and also a relationship between indoor and outdoor spaces as seen in a number of markets.
Perspective 1: “Trading Wares”
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“TRADING MEMORIES” The night scene where Marco Polo experiences the essense of Euphemia which is the event of sharing stories. Characters in the scene are in casual postures, sitting on piles of carpets and the floor. Lighting in this scene is provided from the fireplace and smaller fires around the quad. Also added are the camel and starry background to touch on the aspect of travel, indicating that the people are visitors who will continue their journey after this experience.
Perspective 2: “Trading Memories”
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REFLECTION
Completing this subject was a challenge in both my academic and personal competence. Through doing all the modules, I gained knowledge on and practiced my skills in using Photoshop, Illustrator, InDesign and Rhino to create and present my designs. Furthermore, I was taught on the use of axonometric projection and perspective to strengthen my technical design skills. Supporting my technical skills, I also had the chance to work on my presentation skills at the end of each module during the pin-up sessions. One valuable lesson I learned through the readings and my working process is how design is not to be isolated as a stand-alone piece. From module 3, I learned how design relates to the process of building. Decisions made in the design will affect the building stage, hence the need to consider the constuctability aspect such as learning developable surfaces. From module 4, I was challenged to make a set of designs to communicate one coherent story. This required me to consider intangible aspects such as movement, character or object placements, and an overal journey. Personally, this subject made me realize my weaknesses which are my indecisive and timid natures in developing my ideas. The point of realizing them was when doing Module 2, the Mario World. My indecisiveness caused me to take up too much time in the drawing part of the module and left me not enough time to explore the drawings digitally. This was made worse by my lack of bravery in exploring potential ideas which kept my decisions in a closed box. Learning to slowly overcome these deficiencies throughout modules 3 and 4 had been a personally rewarding experience and is still an ongoing quest for my own selfgrowth. Note: Minor changes were made to Modules 1 and 4 after the submissions to enhance the readability of the pieces.
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