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Charlie Reinhardt | 996815 | Studio 01 | Anneke Prins

Module 1

How to draw a croissant

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HOW TO DRAW A CROISSANT The first module of the semester required the purchase of a croissant. With this croissant, a photostage was used to create a plan view, and side and front elevations.

Before the croissant was sliced into half and then into three sections, the underside was scanned. The three sections were then scanned. With these views (left), an A3 sheet was composed at a 1-to-1 scale.

This module was a great introduction into Foundations of Design: Representation and provided students with basic understanding of layout, photography, axonometric projections, sketching and format. Without this starting point, the following modules would have been difficult to understand what was required.

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SKETCHING After scanning and photographing the croissant, the images were traced using tracing paper and tape. A range of different pencil and fineliner weights were used to create different shadows. Hatching was more specifically used on the plan view, whereas shading was utilisied in the other views. These images were then scanned and compiled in a similar manner to the actual images of the croissant.

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Axonometric projection The axonometric projection required the section cuts to have a 10mm x 10mm grid to allow for accurate projection.

Once the grids were completed, the plan view was set at 45 degrees and the grids were replicated onto the plan view where the section marks were. This process allowed students to gain an understanding of how to produce an axonometric, a useful skill for the following module.

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Module 2 Flatness vs projection

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flatness

vs

projection

Module 1’s insight into axonometric projection contributed greatly to this module. The module delved deeper into axonometric projections and encouraged outside the box thinking of what was hidden behind the 2D mario worlds. The two 2D mario worlds (right) would dictate the module, as the two worlds were combined through an axonometric drawing. The space between these two images is where all the creativity was generated. The projection followed the general aspects of what was pictured in the flat mario worlds.

As the flat image does not tell viewers any depth, it is up to the students to interpret how the images read.

Finding the right way to connect the worlds was up to the students and made the module a creative challenge.

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drawing process Constructing the axonometric projection required a T-Square, set square, ruler, rubber and a 2H pencil. The two worlds are set at 45 degrees facing each other with a piece of tracing paper taped in portrait orientation over the two images. The axo was then drawn onto the trace and the gap between the worlds was created following the same rules.

COMPUTER PROCESS

Once the axonometric projection was completed, it was scanned and ready for colouring. Using Adobe Photoshop and Illustrator, the image lifted off the page.

Different shades of colour helped the image to look more realistic and 3-Dimensional.

Drawn Axonometric with 2D Mario Worlds

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final mario world

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Module 3

pattern vs surface

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pat t e r n

vs

s u r fa c e

Module 3 introduced students to a new software in Rhinocerus and also was the first time hand-modelling was used to produce the final piece. Each student getting a small surface of Tasmania in Rhino and told to re-interpret the surface using shapes produced on Rhino to develop a pattern on the surface.

The surface (right) was similar to a valley, with two high ranges on either side and an extremely low point running through the middle of the terrain. The two ranges were developed with pointy, tall triangular shapes and the valley was created with double triangular prism shapes to develop flatness.

Rhino allowed the pattern to be unrolled and was then printed out into different parts ready for the cutting, folding and glueing process. The making of the surface was by far one of the most time consuming processes and challenged students thoroughly.

Final surface shapes

Final terrain: Rhino

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final terrain: paper 13

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final terrain details

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Module 4

Frame vs field

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FRAME

VS

FIELD

CITIES AND NAMES 2: LEANDRA Module 4 brings all aspects of technology, creativity and interpretation together to form an interesting piece of work. Modelling the Old Quad from the University of Melbourne and recreating two settings out of a specific chapter of Invisible Cities by Calvino, the module aims to test the students in the final piece.

The city of Leandra is occupied by two God species in the Penates and the Lares. They co-exist with one another, but have their grudges also. They are household Gods and watch over the families that pass through their site.

Within the story, the Lares believe the Penates had ruined the land. This inspired the perspectives, with one set in the Renaissance period, where the textures of the room are rich and delicate contrastinig the grunge setting of the other perspective, set in modern day. The perspectives show the time before the Penates ruined the city and after.

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linework perspective views

isometric view of old quad

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Key Characters Mood - Light Mood - Heavy Perspective 1 Perspective 2 0

1m

2.5m

5m

Movement - Slow to Fast Stare

isometric view of old quad with notations

Completed Iso notations of the Old Quad developing time, mood and Marco Polo’s movement throughout the setting

Time Period Lares and Penates

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perspective 1

Perspective 1 develops the idea of the time before the Penates ruined the city. Set in the Renaissance period, the family is rich and live in comfort.

perspective 2

Perspective 2 develops the time after the Penates have ruined the city, modern day. The family is sad, the walls, floor and ceiling are fading away and an overall sense of depression is evident.

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portfolio charlie reinhardt

REFLECTION Foundations of Design: Representation has been a great introduction into design and I thoroughly enjoyed the ongoing challenge throughout the semester. Due to its conceptuality, no model failed to challenge my creativity. Over the course of the semester I have been able to see a vast improvement from Module 1 to Module 4.

Module 1 was the beginning of the challenge and although only worth 5%, I struggled to keep the module within a reasonable time. At the beginning of the semester, my laptop could not run any Adobe software and I resorted to Microsoft PowerPoint to layout my croissant images and sketches.

My image’s levels therefore were not adjusted and the colours were not ideal. Aside these faults, I managed to pass the first module and gained valuable skills in photography, sketching and layout, skills I later found out were essential for the course. A new computer and more motivation to succeed allowed me to manage my time smarter in Module 2. Module 2s need to create your own Mario World from 2D images challenged me for quite some time, however a final world was achieved and although simple, I believed it was successful. The introduction of illustrator and a more in-depth look into axonometric projections challenged me immensely.

Module 3 was probably the most challenging in terms of time and in the future starting earlier on such an in-depth project is needed. However, Module 3 was definitely one of my favourite modules due to its hands on nature and ability to model your own ideas into a program. The use of Rhino in this module gave students a great introduction of what is to come and this excites me due to the programs convenient nature. The last module, one of the more conceptual, challenged me creatively more than any other module. The reliance on Adobe Photoshop added to the challenge due to my inexperience in this software. However, I enjoyed finding my way around Photoshop and exploring new areas.

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