Foundations of Design: Representation, Sem1, 2018
FODR Y U E
H U A N G
C A M I L O
YUE HUANG. 991484
C R U Z .
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S T U D I O
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TABLE OF
CONTEXT M O D U L E
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H O W
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D R A W
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C R O I S S A N T ? 01
M O D U L E
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F L A R N E S S
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P R O J E C T I O N 07
M O D U L E
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P A T T E R N
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S U R F A C E 13
M O D U L E
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F R A M E
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F I E L D 19
R E F L E C T I O N
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MODULE 01 –
HOW TO DRAW A CROISSANT?
HOW TO DRAW A CROISSANT?
ABOUT
THE FIRST MODULE OF SEMESTER WERE LEARNING TO MEASURE A CROISSANT AND CONSTRUCT ORTHOGRAPHIC PROJECTION DRAWINGS BY HAND. EXPLORING
REPRESENTATION
THROUGH
ORTHOGRAPHIC
AND
AXONOMETRIC
DRAWINGS AND CONSIDERING THE DEPTH, TEXTURE AND LINE WEIGHT IN SHADING AND LINE-USING WORKS. YOU WILL LEARN TO USE DRAWING EQUIPMENT APPROPRIATELY AND EXPLORE TECHNIQUES OF HATCHING AND SHADING. THE PHOTOGRAPH AND SCANNING TAKEN IN ELEVATION, PLAN, BOTTOM AND CUT SECTION. DIMENSIONS WERE MEASURED, AND THE PHOTOS WERE COMPOSED ON AN A3 SHEET WITH A RATIO OF 1:1 TO REPRESENT THE ACTUAL CROISSANT AS ACCURATE AS POSSIBLE.
P A G E 0 2
HOW TO DRAW A CROISSANT?
PHOTO OF ELEVATION
A
B
C
PHOTO OF ELEVATION
1
THE FIRST STAGE WAS USING CAMERA, BACKDROPS AND LIGHTS TO SET UP A PHOTO STAGE. PHOTOS SECTION C
TAKEN FROM THE UNDERSIDE
OF
PLAN VIEWS OF THE TOP AND THE
CROISSANT
WERE
TAKEN,
FOLLOWED BY THE FRONT AND SIDE ELEVATIONS. AFTER THAT, CUTTING THE CROISSANT INTO FOUR PIECES. USING A SCANNER TO OBTAIN A FLAT IMAGE
PHOTOCOPIED PLAN
OF THREE SECTIONS OF THE CROISSANT. SECTION B
THE NEXT STAGE IS USING PHOTOSHOP TO FIXED UP THE EVERYTHING ELSE. THE MORE TIME TAKE GETTING A
GREAT
PHOTO
EQUALS
THE
LESS
TIME
IN
PHOTOSHOP AND VICE VERSA.
SECTION A
SCANED SECTIONS
PHOTO OF PLAN VIEW
PHOTOSTAGE AND SCANNING
P A G E 0 3
HOW TO DRAW A CROISSANT?
50mm
SKETCH OF ELEVATION
PHOTO OF ELEVATION
2
COMMENCE DRAWING, PLACE THE PHOTO STAGE ON THE TABLE WITH A TRACING PAPER PLACE OVER IT.
WHEN TRACING IT. LINE HIERARCHY WAS CRUCIAL FOR
79mm
USING TAP TO FIX THEM ENSURE IT WILL NOT MOVE CROSS SECTION A
ORTHOGRAPHIC PROJECTION AND IT WAS REALIZED VIA VARIATION IN THE EQUIPMENT. FIRST, USE FINE LINER TO CREATE A CLEAR AND BOLD BOUNDARY. SECOND, A 6B PENCIL OR A 0.4MM FINE LINER WAS USED TO DRAW THE
SKETCH OF PLAN VIEW
200mm
DARK SHADOWS AND SECTION CUTS FOR THE PURPOSE OF ILLUSTRATING DEPTH TO FORM THE COMPARISON.
CROSS SECTION B
SKETCH OF CUT SECTION
P A G E 0 4
CROSS SECTION C
A
B
C
PENCIL AND FINE LINER DRAWINGS
HOW TO DRAW A CROISSANT?
50 40 30 20 10
70
60
50
40
30
20
10
SECTION
C 3
60 50 40
THE
NEXT
STAGE
OF
THIS
MODULE
INVOLVED
PRODUCING AXONOMETRIC PROJECTIONS OF EACH 30
C
CROISSANT, WHICH WAS A NEW DRAWING CONCEPT.
20
USING GIRD TO SET THE POINT ON THE EDGE OF EACH
10
SECTION DRAWING. PUT HORIZONTAL AND VERTICAL AXIS TO HELP MARK THE POINT OF INTERSECTION
80
70
60
50
40
30
20
10
SECTION B
B
BETWEEN THE SECTION LINES AND THE GIRD LINES . THESE MARKINGS WOULD PROVIDE A GUIDE FOR THE
A
60
SUCCEEDING
50
CROISSANT SECTIONS. FINALLY USE TINY SYMBOLS TO
40
AXONOMETRIC
DRAWINGS
OF
THE
DISTINGUISH THE SECTIONS.
30 20 10
90
80
70
60
50
40
30
20
10
SECTION A
P A G E 0 5
20
0m
m
HOW TO DRAW A CROISSANT?
AXONOMETRIC PROJECTION m
PL AN
79 m
P A G E 0 6
FLARNESS VS. PROJECTION
ABOUT
THIS MODULE WILL BEGIN TO DETERMINE DIFFERENCES BETWEEN ‘SUBJECTIVE’ AND ‘OBJECTIVE’ POINTS OF VIEW, THE THOUGHT THAT BEGINS TO DEFINE TWO DIMENSIONAL AND THREE DIMENSIONAL SPATIAL CONSTRUCTIONS, AND THEIR IMPACT ON PERCEPTION. THE AIM OF THIS MODULE IS TO EXPANDED UPON THE CONCEPT OF AXONOMETRIC PROJECTION USING BOTH TRADITIONAL HAND UTENSILS AND DIGITAL SOFTWARE PROGRAM. STUDENT NEED TO DEVELOP THE TRANSFORMATION BETWEEN THE PICTURE IN TWO DIMENSIONAL VIEWS TO THE DRAWING IN TREE DIMENSIONAL VIEW. COMBINE FRONT AND BACK MARIO WORLD TO CREATING A SQUARE THREE DIMENSIONAL WORLD. THE SPACE BETWEEN FRONT AND BACK PROJECTED WORLDS REQUIRED TO ADD IN DESIGN IDEAS BASED ON THE STORY AS WELL AS ANY ALTERATIONS THEY DESIRED. THIS ASPECT IS WHERE THE MOST SIGNIFICANT LEARNING VALUE CAME OF THE MODULE AROSE FORM. AFTER THAT, USING SOFTWARE PROGRAM, ILLUSTRATOR TO TRACING THE HAND DRAWING LINE WORK AND COLOR THEM. FINALLY NEED TO CONSIDER THE RELATIONSHIPS OF THE SUN AND SHADOW TO ENSURE THIS MARIO’S WORLD CLOSE TO REALITY.
P A G E 0 8
FLARNESS VS. PROJECTION
DRAWING
USING A T- SQUARE, SET SQUARE, RULER AND PENCIL TO BEGIN WITH. PRINT THE IMAGE AND TAP TO THE TABLE UPSIDE DOWN ON A 45 DEGREE ANGLE. AN A3 TRACING PAPER WAS ALSO ANGLED AND OVERLAYED. DRAWING THE INITIAL AXONOMETRIC OF TWO PROJECTION AND ADDING THE DESIGN OF THE VOID SPACE TO ENRICH THE WORLD.
P A G E 0 9
FLARNESS VS. PROJECTION
+
=
COMBINING
COMBINE THREE PARTS OF DRAWING AND ADD A DESIGN OF ISLAND TO FINALLY REPRESENT THE LINE WORK OF THE MARIO’S WORLD. P A G E 1 0
FLARNESS VS. PROJECTION
COLOURING
IMPROVEMENT IN ILLUSTRATOR P A G E 1 1
FLARNESS VS. PROJECTION
FLOATING ISLAND
THIS WORLD BEEN DEFINED AS A ’FLOATING ISLAND’ WHICH IS ON THE SEA (ACCORDING TO THE GAME RILE: WHEN MARIO FALL INTO A PIT, HE WILL LOSE HIS LIFE). THE WORLD I GOT IS A LANDSCAPE WITH GREEN MOUNTAINS, FLAT GRASSLAND AND TREES, AT DAY TIME. THE PHOTO I GOT HAD A LOT INFORMATION SO THAT THERE IS NO MUCH THINGS I CAN CREATE. I IMAGE THE WORLD IS A FLOATING ISLAND. I CHANGED THE SHAPE OF FLAT GRASSLAND TO MAKE IT MORE ACTIVE. THE PLACE WHERE MARIO LIVE IS A ‘DREAM CASTLE’. IT REFER TO THE FAMOUS GAME ‘MONUMENT VALLEY’. A RIVER FLOWS IN VISUAL WHICH CAN’T ACHIEVE PHYSICALLY.
P A G E 1 2
MODULE 03
––PATTERN VS. SURFACE
ABOUT THIS MODULE WILL MANIPULATE TOPOGRAPHY AS SURFACE USING 3D MODELLING SOFTWARE AND FABRICATION. THE TASK INVOLVED USING RHINOCEROS 5 TO MODEL A 3D PANELLED SURFACE THAT COULD BE BUILT, USING AN EXISTING TERRAIN MODEL THAT WAS ASSIGNED TO THEM.
AND ALSO WILL LEARN TO USE DIGITAL TOOLS TO MANIPULATE
FORM TO CREATE EFFECTS AND PRODUCE A PHYSICAL MODEL.
P A G E 1 4
PATTERN VS. SURFACE
Base
2D PANELLING
Pattern: Diamond
Pattern: Triangular
Pattern: Wave
3D PANELLING
A TASMANIA LANDSCAPE BEEN SELECTED AS AN SEGMENT FIRST. AND THEN BROUGHT OVER THE 3D MODEL INTO RHINO AND BEGIN USING THE PANELLING TOOLS TO CREATE 2D AND 3D PATTERNS. AFTER TRAILING DIFFERENT TYPES OF 2D AND 3D PANELLING, A DESIGN FOR THE PANELS WAS FINALISED. P A G E Five test modules were used to present better final module
1 5
PATTERN VS. SURFACE
TEST MODEL FROM STUDIO
P A G E 1 6
UNROLLING ONCE THE MODEL WAS FINALISED, IT WAS DISSECT INTO SEPARATE SECTIONS. EACH SECTIONS WERE UNROLLED INTO NETS. IMPORTING EACH NET INTO ADOBE ILLUSTRATOR TO ALTERED LINES TO SIGNIFY CUT AND FOLD LINES.
PATTERN VS. SURFACE
CUT
STICK
LINK
P A G E 1 7
PATTERN VS. SURFACE
P A G E 1 8
MODULE 04
––FRAME VS. FIELD
FRAME VS. FIELD
ABOUT THIS MODULE WILL INTRODUCE TO PERSPECTIVE, A TECHNIQUE OF REPRESENTATION FIRST THEORISED IN RENAISSANCE ITALY AND FURTHER DEVELOPED AS A TOOL IN CINEMA. WE WILL SEE HOW THIS DIFFERS FROM A LESS ‘SUBJECTIVE’ AND MORE ‘OPEN’ MAPPING OF MOVEMENTS AND FIGURES VIA NOTATION. IT REQUIRED TO HARNESS THE SOFTWARE SKILLS THEY LEARNT FROM PREVIOUS MODULES TO PERFORM A STORY WHICH GET RANDOMLY THROUGH PERSPECTIVE AND NOTATIONS. THE SHORT STORY CAMS FROM THE NOVEL INVISIBLE CITIES BY ITALO CALVINO, WHICH VIVID TALES OF MARCO POLO. THE UNIVERSITY OF MELBOURNE OLD QUAD BEEN USED AS REAL WORLD BASE FOR THE NOTATIONS. BY USING RHINO, ILLUSTRATOR AND PHOTOSHOP TO BUILT THE MODEL AND TEXTURES AND SO ON TO PRESENT THE WORLD REALITY. FINALLY USING SYMBOLS IN THE ISOMETRIC VIEW TO REPRESENT MARCO POLO’S JOURNEY IN THE CITY FROM THEIR SUPPLIED PASSAGE.
P A G E 2 0
FRAME VS. FIELD
Hiden Cities 3: Marozia Yue Huang, 991484
SOME OF REFERENCE IMAGES
P A G E 2 1
FRAME VS. FIELD
Old QUAD ISOMETRIC
THE SYMBOLS OF CONTENT BEEN USED IN CLEARLY SHOWS THE STORY IN THIS WORLD. ISOMETRIC DRAWING USED DIFFERENT LINE WEIGHTS TO DISTINGUISH THE IMPORTANCE OF ELEMENTS. IN MY DESIGN, THE SYMBOLS HAVE BEEN KEPT SIMPLE IN ORDER TO RECOGNIZABLE TO THE GREY
READER.
DIFFERENT
COLOUR
KINDS
DISTINGUISH
THE
OF RAT,
PEOPLE AND DEBATABLE CROWD. THE MOVEMENT SYMBOLS SHOW THE WAY MARCO POLO VISIT. FROM THE HIGHER
LEVEL
TO
THE
LOWER
ONE,
HIS
MOOD HAS CHANGED WITH THE ENVIRONMENT CHANGE. THE STORY STATED THAT THERE ARE TWO WORLDS WHICH THE SWALLOW ONE IS LIKE A DREAM WORLD THAN THE RAT ONE, BUT IT APPEARS ONLY SOMETIMES. SO THE DESIGN OF THE SWALLOW’S WORLD LOOKS LIKE A “FAKE
WORLD”.
IT
HAS
MUCH
LIGHTER COLOUR COMPARED TO THE RAT ONE. THERE IS LIKE A WORLD WHICH COMBINES THE PARADISE AND HELL. P A G E 2 2
FRAME VS. FIELD
INITIAL MODELLING BASE IN RHINO
FINAL REPRESENT IMAGE
PERSPECTIVE 01
(MARCO’S PERSPECTIVE)
THE CHOOSENVIEW FROM THIS ANGLE ACCORDING TO IT HAS HIGHEST ROOF AND BRIGHTEST SPACE WHICH CAN BE EASILY LINKED TO MY “PARADISE WORLD”. The people in this city are not able to see the world of the other one THE PEOPLE ON THE FRONT IN DEEPER COLOURS ARE FROM THE "RAT'S WORLD". THEY SEEM LIKE GUIDE THE WAY TO SHOW MARCO POLO THEIR ‘FAKE CITY'. THE PEOPLE IN THIS CITY ARE NOBLE AND KINGLY WHICH HAS A BIG CONTRAST TO THE DARKER PEOPLE. INITIAL LINE WORKS IN ILLUSTRATOR
P A G E 2 3
FRAME VS. FIELD
INITIAL MODELLING BASE IN RHINO
FINAL REPRESENT IMAGE
PERSPECTIVE 02 (POLO’S PERSPECTIVE)
SPACE HERE IS THE LOWEST ONE. IT HAS SEVERAL STAIRS TO THE HIGHER LEVEL. SO I IMAGINE THAT THE PEOPLE CONTROL THEIR BEHAVIOUR AS THEY STEP UP. IT IS LIKE A PROCESS TO PURIFY THEIR HEARTS. P A G E 2 4
THIS WORLD IS MESSY, DIRTY WITH LOTS LOOT AND FIGHTING. I USE A DARK COLOUR TO PRESENT THE FEELING OF VISUAL EFFECT. ALSO, THE MUD AND RATS ON THE GROUND PRESENT THE FEELING AS WELL.
INITIAL LINE WORKS IN ILLUSTRATOR
REFLECTION THE FOUNDATION OF DESIGN SHOWS A RANGE OF NEW SKILLS THAT I WILL FACING WHEN REPRESENT A WORK. LECTURES WERE USEFUL TO SHOW THE OVERALL PRINCIPLES OF EACH MODULE WANTS TO COMMUNICATE. THERE ARE MANY ASPECTS SUCH AS FORMATTING, FONTS AND LAYOUT IN REPRESENT A PROJECT. THE READINGS ARE VERY FAVOURABLE FOR PROBLEM SOLVING. THE MOST USEFUL AND IMPORTANT PARTS ARE THE ASSIGNMENTS OF MODULES. THE SEMESTER STARTS WITH MODULE 1 WHICH IS “HOW TO DRAW A CROISSANT”. IT USED A QUITE INTERESTING WAY TO INTRODUCE THE AXONOMETRIC PROJECTION AND THE ORTHOGRAPHIC PROJECTIONS. YOU CAN SEE A LOT STUDENT HOLDING A CROISSANT AROUND THE UNIVERSITY. I'M SURE IT HAS BOOSTED THE SALES OF CROISSANT WITHIN FIVE KILOMETRES OF UNIVERSITY. THROUGH MODULE 1 I KNEW HOW TO SET UP A PHOTO STAGE AND USING SCANNER TO REPRESENT THE DRAWING ON RIGHT SCALE. ALSO, I IMPROVED MY DRAWING SKILLS SUCH AS DOING THE RIGHT HATCHING AND SHADING BY CREATING DIFFERENT LINE WEIGHT THROUGH DIFFERENT DEGREES OF PENCIL SHADES. FURTHERMORE, I START TO BUILD MY OWN WEBSITE SO THAT I CAN COLLECT MY WORK AND REPRESENT IT ON LINE. THE OVERALL PROJECT LOOKS GREAT (I THINK ACTUALLY) AND MAKE ME CONFIDENT TO GET THROUGH WHAT THE COURSE WANTS US TO DO DURING THIS SEMESTER. MODULE 2 WAS MORE DEMANDING, IT USES THE SKILLS FROM M1 TO MAKE A FLAT IMAGE FROM MARIO’S WORLD BECOMING THREE DIMENSIONS. THE VOID BETWEEN ALLOWED US TO ADD IN OUR OWN DESIGN IDEAS RELATED TO THE STORY BACKGROUND. WORKSHOPS HELP US TO LEARN ABOUT ILLUSTRATOR WHICH IS A REWARDING EXPERIENCE AS IT FURTHERED SKILLS IN THE SOFTWARE. THIS MODULE ALSO HIGHLIGHTS THE MANAGEMENT OF TIME DURING THE UNIVERSITY STUDIES, ESPECIALLY BEEN SHOWED IN MODULE 3. MODULE 3 TAUGHT ME TO SIMPLIFY THE CONTOUR OF A LANDSCAPE AREA AND USE RHINO TO ENROLL THE MODEL I CREATE IN COMPUTER TO IVORY CARD THAT CAN BE FOLDED IN REAL. I SPEND MOST TIME IN THIS MODULE AS I NOT ONLY WORK IN COMPUTER BUT ALSO WORK ON THE “TABLE”. I AM PROUD OF THE LEVEL OF PHOTOSHOP SKILLS I DELIVERED IN MODULE 4. IT. SHOWED I HAD UNDERSTOOD LAYER MASKS IN PHOTOSHOP AND OTHER NONDESTRUCTIVE EDITING APPROACHES, AND THESE PERSPECTIVES WERE SIGNIFICANT IN HELPING ME DEVELOP A WELL COMPOSED, HIGHLY DETAILED AND COMPLEX COMPOSITION. OVER ALL, FOUNDATION OF DESIGN THAT ME KNEW THAT PRESENTING A WORK NEED A LOT OF TIME TO PUT IN EVEN I DID A GOOD TIME MANAGEMENT. I SHOULD SAY IT WAS WORTH TO LOSE FEW HOURS’ SLEEP TO GAIN A SUCCESS IN A WORK. THE TIME I SPEND IN IS MUCH MORE THAN IT SUPPOSED TO, BUT IT ALSO SHOWS WHAT I LOVE TO DO IN THE FUTURE. P A G E 2 5
THANKS FOR APPRECIATION.
P A G E 2 5