Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO David Weiss
388213 Studio 05 - Siavash Malek
MODULE 1: HOW TO MEASURE A CROISSANT?
A croissant was sourced and photographed using the pre-constructed Fablab photo stage and camera. The base of the croissant was photocopied along with the three cut sections. Different drawing mediums and techniques were explored including pencil shading and hatching with fine point pen (see fig. 2)
Photo of Elevation
Photoshop and Indesign were used for the layout of the photographs and drawings (see fig. 1 & 2). This was a time consuming process as i had limited previous experience using these programs. Photo of Elevation
Finally an axonometric drawing of half the croissant was constructed using the section images and grids.
Photocopied Plan
Photocopied Sections
Photo of Plan View
Above: Fig.1. digital plan and elevation view photographs of the croissant.
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40 mm
40 mm
Below: Fig.2. Croissant pencil drawings of elevations, sections and plan view
78 mm
70 mm
81 mm
144 mm
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144 mm B
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A
MODULE 2: FLATNESS VS PROJECTION
The design of a new Mario World.
Module 2 involved the creation of a distinct axonometric mario world using two mario world images as references. My aim was to create a new world with all elements of the pictures. I wanted the viewer to be able to identify these elements without it being obvious by playing with depth and space. My pictures contained three distinct levels; the sky, land and underground. Before commencing i planned how i would incorportate these elements and how i might use space and depth (see image. 1.). This conceptual planning was something i learned through this process. I learnt how to set up my axonometric drawing using tape, T-square and set square and translate the objects from the images, to scale, onto my new mario world (see fig. 2 - 4).
Fig. 3. New final Mario World.
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Image 1. I used the washing line to conceptually plan my new Mario World. I broke up the objects into layers and arranged them on the washing line. I experimented with order and depth. This process required alot of visualisition.
Image 2. I set up axonmetric drawing by first rotating my image 45 degrees and lining up my tracing paper. I used scale ruler, tape, set square, T-square and a 2H pencil to draw with.
Image 3. I completed half of the land section using one image and then completed the same process for the other. I also began to draw new elements where i thought it would enhance my design (e.g. the stairs above).
Above: Fig.4. Show original scanned ‘top’ and ‘bottom’ drawings of Mario World
Above: Fig. 5. Outline of Mario World completed on illustrator.
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Image 4. After completing the land and the sky, i completed the underground on a separate sheet of tracing paper. I did this to make the digital stage easier.
MODULE 3: PATTERN VS SURFACE
The making of new landscape My landscape is a symmetrical design with three custom variable shapes aswell as a custom 2D variable pattern. The topography rises towards the middle before retreating down the other side. It is highly patterned through the use of repeating 3D shapes. I used mountains as inspiration for the design of the 3D panels. The height order of the three shapes were chosen and arranged to likewise form a peak at the centre, similiar to that of a mountain. Therefore individually and collectively the shapes represent an organic object in their rise and fall from a central point. The link to an organic form connects the model conceptially and visually to the original landscape of the assignment. I have used height and space predominatley to differentiate the shapes. I used my simple 2D panel to provide space between the 3D panel shapes. This, along with the symetry, helped to define the 3D panels. Overall, construction of my model was largely successful. There were some glue and finger marks which affected the finish. Because of my densly compacted 3D objects that required alot of glueing, i lost the topography of the base (i.e it is now quite flat).
Image 5. Plan view photograph of module
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Image 6. Photograph of final model
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Lanscape: Above is the topography of a landscape from South West Tasmania used as a template for the model design.
2D Panelling was explored in Rhino. I used roughly 50% of a 2D panel design in my final model. I experimented with creating my own 2D panel designs on Rhino
3D Panelling was explored on Rhino. I explored different variations of my ‘mountain design’ concept by individually constructing the shapes.
Image 7. Perpective view of final model
Final Panel: Above is my final model design exported from Rhino and constructed (see left).
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MODULE 4: FRAME VS FIELD Cities and Desire: Despina The story of Despina depicts two contrasting interpretations of the same city, from different perpectives. There is a sense of wanting what the other has in the descriptions i.e ‘the grass is greener’ type ideology. Considering this i wanted to create two contrasting scenes that reflected the two different perspectives. Beyond the physical scene i wanted their movements and emotion to be similiar to reflect their similiar trance like states. The cameras are set at opposite ends of the Quad with their heights reflecting that of the person describing the scene in the story i.e low (boat level) and high (camel-rider level). Each enters the old quad and begins to imagine the scene from which they describe, sparked by gazing at a particular object in their scene. I used light to echo the way in which it can create illusions; in the case of the story a city which potentially wasnt the one they were approaching but one that they yearned for. As the ‘sailor’ and the ‘camel rider’ move through the Quad they become more engrossed in their own llusions, illustrated through the detailed descriptions of their worlds. I wanted to reinforce a trance like state of the travellers through their slow movement, gazing and stopping at various moments to ponder and experience the scene.
Key Boat Movement Stare Heavy Mood Camera 0
1m
Light Mood
5m Fig 6. Shows isometric drawing with notations, notation key and scale bar
Wine Table Dancers
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Perspective One: The Sailor
I used Morrocan architecture, culture and style to recreate this first perspective of ‘the sailor’. I incorporated elements from his description such as the camel, table with wine, food and smoking devices, dancing girls palms etc
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Perspective Two: The Camel Rider
I used industrial Londan as inspiration for the ‘camel riders’ perspective. I incorporated elements from his description including the boat and the bridge. I used smoke to emphasis the industrial theme aswell as cement and stone rendering on walls and floor surfaces. Here the camel rider gazes at the toy ship on the creek and imagines the distant urban city scape.
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REFLECTION
Thoughtout the semester i have learnt alot; both theoretically and techniquely. The lectures have provided me with theoretical content that i could apply to my modules. They were particularly helpful in generating ideas during the conceptualisation and planning stage of my assignments.
I believe i have gained the greatest amount of skills working digitally. This was an area that i found most challenging to begin with aswell as an area that i had the least prior knowledge and experience. I feel i have gained numerous digital skills working with a range of digital design programs and software. I used the workshop recordings aswell as my tutor to problem solve digital issues that i was having.
For example the “flatness” lecture along with the readings written by Le Corbusier allowed me to gain an understanding the concept of frontality and the way axonometric views contrasted this.
I now have the ability to use a range of adobe programs including photoshop, illustrator and indesign and can also use a 3D modelling software such as Rhino.
I found that i was having to learn whilst also having to make design decisions. It was this muti-tasking that slowed my progress and impacted on the final technical execution. Feedback regarding my final design indicated there were variabilities in my line weights and my colours and effects didnt work well together. I also lacked a creative approach to my world.
Furthermore from the lecture ‘surface’ aswell as the guest lecture on federation square i learned what sorts of surfaces could be created from paper and what could not. This meant that when i began designing my own 3D models using Rhino, i was already thinking of the issues with construction i might face with certain 3D shape designs. This resulted in me choosing a 3D shape for my model that could be constructed out of triangular panels- a shape likewise used to create the panneling surface of federation square buildings.
I considered my drawing and making skills to be strengths of mine; thus i had less difficulty completing drawings of the croissants and the axonometric mario world design. Learning how to setup and complete an axonometric drawing was a skill that was also new to me.
I have recoloured the new mario world design (see fig. 3). I was much quicker second time round; i believe the colours and line weights work better in this new design. I also added fish to an ‘underwater scene’ rather than the previous ‘underground’ interpretation.
I enjoyed constructing my landscape model since it involved dexterous skill and was nice change from the hours of digital work leading up.
I also adjusted line weights of my isometric representation for module 4 including the roof and walls after feedback during my pin-up (see fig 6).
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I found module 2 most challenging, particularly the digital component of the task. Since i had not previously worked with illustrator before the process of outlining and colouring my world was slow!