“FODR” P O R T F O L I O DAVID IMANUEL CHANDRA 948854 | TALIA STOCH | STUDIO 9
| CONTENT MODULE 01 - HOW TO DRAW A CROISSANT 4 MODULE 02 - FLATNESS VS PROJECTION
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MODULE 03 - PATTERN VS SURFACE
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MODULE 04 - FRAME VS FIELD
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REFLECTION
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“TASK”: create ortographic and axonometric hand drawings of a croissant using a 1:1 scale
M | “ONE” ORTOGRAPHIC PROJECTION AND AXONOMETRIC DRAWING OF CROISSANT 3
M1 - How to Draw a Croissant
“SCANNED PHOTOGRAPHS�:
T
he first objective was to create a scan of the bottom part of the croissant to create a basis in measurement, as the aim was to create e
1:1 image of the real croissant. The scan was then used to measure the photographs of the plan view and 2 elevation and scale them to the correct size. Other than the photocopied plan of the croissant, there were also the photocopied sections of the croissant cuts, which will be used later on to create an axonometric drawing of the croissant. The photos of the croissant was taken at an alignment to a flat surface in order to create a consistent measurement of the croissant. Lightings was also provided at an angle to illuminate small details and create a good photographs of the croissant with all of its details exposed.
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M1 - How to Draw a Croissant
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“ORTOGRAPHIC PROJECTION�:
A
fter taking photographs the next step would be to create a detailed drawings of the plan view and the 2 elevetaion using various type
of pencils and various sizes of fineliners. The usage of such tools would emphasize the details on the sketch in order to create an effect of depth and also emphasize texture up to a certain level. Measurements were then made and annotated on the drawings to indicate the size of the croissant. There were also symbols with letters of A,B and C to indicate where the croissant was cut and from which side was the cross section being viewed. As it can be seen, the size and thickness of the croissant being seen from a different angle would still be the same, in which it indicate that the drawing is proportional to the real croissant, in other word, 1:1.
M1 - How to Draw a Croissant
“AXONOMETRIC DRAWINGS”:
C
reating an axononometric drawing based on the cross sections of the croissant was aimed to explain the inside of the croissant itself, in
which it can be seen from the axonometric drawing on the right, we can imagine that the cross section was in the inside of the croissant plan view sketch, and we would actually imagine volume inside the plan view that is just a 2 dimensional drawings. The axonometric drawing was made on a 45° angle, and 20x20 grids were made on top of that angle for each cross sections. Points were being laid on each corner of a section cut that intersect with the gridlines, and then it would be transfered to the 45°gridlines to create the axonometric drawings.
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“TASK”:
combine 2 different screenshots of mario world and create a 3d axonometric projection out of those 2 elevations of mario world.
M | “TW0” PROJECTION OF FLAT 2D MARIO WORLD INTO A NEW 3D MARIO WORLD
M2 - Flatness vs. Projection
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The first Elevation. It can be seen that there are coins, the iconic mario world’s pipe, and the leave power up from the mario world. The mountains behind the scene are huge and green colored with yellow dots. There is also a quicksand on the bottom left corner of the elevation.
“ANALYZING THE ELEVATIONS”:
The second Elevation. There is not much different between this elevation and the first one, therefore most of the things are just a continuation of the first elevation. However, the projections can of course be made as if there’s two duplicates of the same things
toward this task was to analyze the things on the 2 elevation that were given. Analyzing the objects and Thealsofirstthestep landscape that were present. Therefore, we could plan out the projection that we are going to make, which elevation will go at the back part and which elevation will go in the front part. This would trigger our mind in which we must imagine that the flat mario world from the elevation would be brough to a new 3 dimensional realm.
M2 - Flatness vs. Projection
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“B” The Second Projection. Drawing the second elevation on another axonometric angle as the bottom half of the new mario world.
The First Projection. Drawing the first elevation on an axonometric angle as the upper half of the new mario world.
The Combined Projection of the 1st and 2nd elevation. The two projection were placed on top of one another and combined.
“A”
“C”
“PROJECTING P ELEVATIONS”:
Final Upper Part.The exploration of what lies beyond the projection or within the hidden space of the projections.
rojecting a 2 dimensional plane to a 3 dimensional realm was quite a challenge. Projected the 1st elevation on the ront and the 2nd one on the back was the decision made because of the quicksand being present at the 1st elevation. The
elevations were projected individually, which are combined into the drawing named as the Final upper part.
M2 - Flatness vs. Projection
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“ILLUSTRATING PROJECTIONS”: part was made after the upper Thepartbottom was finished. Despite being designed as a sketch on the left, the final illustrated result was a bit different as there was achange in mind. As it can be seen that after all of the sketch were done, the newly designed mario world was then illustrated in the illustrator. The illustrator helped by enabling the creation of lineworks and also colors in vector format, in which the lines that exist in the design would not be pixelated if it was resized into a bigger image. Furthermore, the illustrator also helped with the creation of color gradient to further express volume and also shadows. This Final Upper and Lower Part of the Combined projections. The lower part of the projections was a concept that was created prior to creating the lineworks and color inside the Illustrator.
“D”
Illustrated Mario World was made with many objects being added to the original projections, and also shadows to incirease the intricacy of the world. There were also bite marks,on the green mountain, which came from the concept that there were giant animals living in this world and they were eating the mountain as if its edible. The bottom part were also made to emphasize the concept that this world is a floating world, with quicksands dripping off from the world to void.
The Final Illustrated Mario World
“TASK”: rendering surfaces and pattern out of a tasmanian topography on rhino and unroll the surfaces into handcraftable 3d model
M | “THREE” CREATING RENDERED AND HANDCRAFTED PATTERN AND SURFACES OUT OF A TOPOGRAPHY 11
M3 - Pattern vs. Surface
“A”
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“B”
“PANELLING VARIABLE TO THE LANDSCAPE”: the landscape of Tasmanian Terrain as a topograGiven phy, the challenge was to express something out of the
The Tasmanian Topography. Having a unique topography from the tasmanian terrain, we have to imagine on what part of a landscape is this topography supposed to be, and therefore create our own surfaces to express our concept.
Custom Variable. Having the concept that a terrain would not have the same objects lying all over its landscape would trigger me to create several ifferent objects to fill the landscape.
“C”
landscape. Henceforth, there are several variable created to express the feeling of being in the landscape, with all the jagged rocks around you. The story was that the character would be trapped in the middle of the landscape, surrounded by jagged rocks all around him, trying to find a way out. The character that exist in this landscape would be located in the plane where there are less height, those that are almost flat. However, at the same time the character was trying to find a way out, there was a spark of amusement upon seeing how unique the landscape is, with the rocks that split into two and even split into four. creation of this topography and panels was done using TheRhinoceros 6, in which most of the panels are rendered using panelling tools. The features were used to an extent to alter the heights, the angle the rocks are facing, and even the complexity in which some rocks were leaning onto another panels. All of those were done with the features in panel-
Final Surface Panelling. Using the 3Dcustomvariable command, the final surface panelling was done with the custom variable being made before. This surface was made using point attractor and also curve attractor to alter the heights of each panel and also the degree in which a panel slant or face.
ling tools such as the point attractor, the curve attractor, the bounding boxes, and individual edit on each points. This topography has 100 unique panels, that not even one has the same unrolled faces.
M3 - Pattern vs. Surface
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“MODELMAKING THE PANELS�: making process of this module was done Thewithinmodel the duration of 30 hour. The material being used was a 290GSM white paper called the ivory card. The adhesive beins used to stick the panels was a PVA glue that was smered onto the tabs of the panels using a fine brush. The usage of the brush was to increase the neatness of the final result, limiting the usage of the glue to an extent so that the glue does not go to areas other than the designated part. The panel that has 4 different part was made using 4 different unrolled faces that were made individually and then stuck onto each other. Throughout the model making process, bullnose clips were heaviliy used as a temporary in order to keep the panels together so that the glue would completely stick the panels altogether perfectly without gaps.
Modelmaking Prototype. Trying out a prototype for the most complex panel over all the other panels would be useful to give insight about making the other panels.
Sticking Panels. Using bullnose clips to temporarily press the panels onto each other so that glue can completely stick one panel onto another.
M3 - Pattern vs. Surface
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“TAKING PHOTOGRAPHS”: topography succesfully emphasize the gradient of This heights and also express intricacy in the model making of several complex panels. Photographs were taken to express the traits at an angle and further emphasize the message. The plan view of the final model was taken to provide a total view of all of the panels present in the topography. Therefore, the layout in which every panels are located would be visible from this view. The firsh photograph was taken from an angle that would emphasize the terrain, in which the topography is creating a U-shaped like landscape, with all of its irregularly variative panels. The first photograph was taken with a much more cooler tone of lighting, in which the only lighting being used is a white LED being placed on a 60° angle to the landscape. While the second photograph, as can be seen is a warmer toned photograph, that was created through two lighting, the warm colored room lighting and also the white LED from a 30° angle.The first photograph is taken from a further distance while the second photograph was taken from a closer distance to emphasize more detail onto each panels.
Final Model. Consisted of 100 seperate panels, with uniqueness across every of the panels.
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M3 - Pattern vs. Surface
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Photograph 1
M3 - Pattern vs. Surface
Photograph 2
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“TASK”: create a new rendered world out of the old quad, create characters out of a given story of marco polo’s adventure, and create 2 perspective views inside the field of the landscape
M | “FOUR” EXPRESSION OF PERSPECTIVE VIEWS TAKEN IN A FIELD WITHIN A STORY
M4 - Frame vs. Field
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THIN CITIES 1: ISAURA David Imanuel Chandra - 948854
“MODELLING THE LANDSCAPE”: of this project was Thedone3Dinmodelling Rhino, given the guidelines to create a render of the Melbourne University’s Old Quad, a further exploration was made and the creation of additional aspect of the landscape was made in accordance to the story being told. The modelling to the landscape was done to describe the two religion that exist within the city called Isaura, the city of thousand wells. The first religion lies within the lower level of the city, in which they believe that their Gods lies within the black lake of the city. On the other hand, the other
Key Heavy Mood
religion lies deep within the landscape, Change from Light to Dark (Gap symbolize Light coming through)
on the higher ground of the quad, a religion that believe that their Gods lies
Lighter Mood Slower Moderate
Time Consumed at the particular location.
within their source of abundance, the
Faster Characters
well that allows them to get water. 0
1m
Final Isometric
2.5m
5m
Spatial progression, change of threshold.
Stare Glance
M4 - Frame vs. Field
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“CREATING PERSPECTIVES”: the angle of the perspectives was a challenge, Choosing cause it must be able to emphasize the story happening and explain that story. These 2 perspectives were chosen to represent the two religion. The angle in which the perspectives were taken emphasized the lighting, the activity and also a symbolic meaning. The first perspective, being in the left bottom edge of the landscape, was not hit by the sun as well as the second perspective, and Perspective 1
this is also to emphasize the black lake that lies beneath the characters, the black lake beneath the shade of the landscape. On the other hand, the second perspective was struck directly by the sun, especially the lady and the well that that reflect most of the sun light, emphasize a symbolic meaning. The symbolic meaning behind the light was that the light emphasize the blessing of the Gods. They are doing a ritual beside the well, therefore there’s a really strong religious atmosphere there. Compared to the first perspective, the second is more heavy because most of the characters are conducting a religious activitiy. These perspectives were then illustrated in the illustrator for further details and character inputation.
Perspective 2 19
M4 - Frame vs. Field
Final Perspective 1
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M4 - Frame vs. Field
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Final Perspective 2 21
“REFLECTION�: throughout the subject, there are a lot of things to learn, from the manual modelmaking to the digital render in the rhinoceros.
I have gained a lot of skills in addition to my
little amount of skills that i possesed. the modules were
very useful in gaining skills, as well as exploring our own
creativity within a certain range of rules. they have given me the chance to explore the program being used and create a work of intricacy and creativity. furthermore, the most important thing is the philosophy being told behind the creation of a representation, upon how artist interact with their audience. the philosophical knowledge from the lecture aided me in understanding a standard of a high quality work and a low quality one. it also makes me
understand that an artwork is not only about it looks, but about what it represent.
i really enjoyed the work in this module and appreciate the help of my tutor, talia who was really helpful and kind to me during the tutorial time. she gave an outstanding suggestion upon how can i improve my work in a way i never thought before. the only module i felt less confident with is the first module because i am not really good with hand drawn sketches.