FODR
PORTFOLIO CHANDAVINEL ATH 900333 CARL ARESKOUG STUDIO 4
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How to draw a croissant?
Module
Module 1 How to Draw a Croissant?
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Portfolio Chandavinel Ath
MODULE 1: HOW TO DRAW A CROISSANT? A
PHOTOGRAPHING THE CROISSANT The first part of the module involves clear photographs of a croissant from three different views: side elevation, front elevation and plan view. With the use of photo stage techniques and light set ups, theW photographs were taken and later edited through Photoshop for maximum quality.
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The first module of this course revolves around the shape and technical drawings of a croissant. The module is divided into four main steps: photographing the croissant, scanning the croissant, drawing the croissant and producing an axonometric drawing of the croissant. All dimensions of the pictures and drawings within this module are scaled to 1:1 ratio.
SCANNING THE CROISSANT The second part of the module requires scanned photocopies of the croissant in its plan view. This was done so that the scanned view could be used as a reference for accurate scaling and measurements. Afterwards, the croissant was cut up into three sections: Section A, B and C.
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Photograpghs of croissant (left: front elevation, center: scanned view, bottom: plan view, top: side elevation)
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Module 1 How to Draw a Croissant?
DRAWING THE CROISSANT Using the photographs taken from the step one, step three requires traced images of the croissant. Photographs of all the elevations were taped down on a mounting board, with A3 or A4 tracing paper overlayed. Different types of pencils were used to produce these drawings on the right. For the outline of the drawings, 2H and H Graphite pencils were used, while 2B and B Graphite pencils were used for shading. To ensure realistic shadings, different shadings techniques were used as well such as cross-hatching, smoothing, and slinking. Once the drawings were done, a 0.5 mm fineliner was used to draw in the outlines of the croissant, turning them into more defined and clearer illustrations. In addition to the elevation views, the drawings of section cuts (see below) were also achieved using the same techniques mentioned.
Drawings of croissant (left: front elevation, bottom: plan view, top: side elevation)
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Portfolio Chandavinel Ath
Module 1 How to Draw a Croissant?
Scanned images and drawings of croissant’s section cuts: (from top to bottom) Section A, B and C
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Portfolio Chandavinel Ath
Module 1 How to Draw a Croissant?
Grid lines for Section A
Grid lines for Section B
Grid lines for Section C
PRODUCING AN AXONOMETRIC DRAWING The final step of this module involves an axonometric drawing of the croissant using the section cuts. A grid was laid into each drawing of the scanned section cuts, with marked points representing the intersection between the grid lines and the section lines. By rotating the drawings to a 45° angle, the axonometric drawing commenced. The grid lines and marked points were then used to produce an axonometric drawing of the croissant.
Axonometric projection of the section cuts
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FLATNESS VS. PROJECTION
M o d u l e
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Module 2 Flatness vs. Projection
Stills of Mario Worlds provided
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Portfolio Chandavinel Ath
Module 2 Flatness vs. Projection
MODULE 2: FLATNESS VS. PROJECTION Module 2 focuses on the contrasting idea between flatness and projection by expanding more in-depth on the techniques to achieve an axonometric drawing. In order to achieve the module criteria, students were tasked to create axonometric drawings using hand-sketching techniques and software programs such as Photoshop and Adobe Illustrator. Each student was given two different stills from the classic Mario game (shown above). These stills serve as the basis for projection of the axonometric drawing (shown on the left), with one still serving as the back view of the world, and the other as the frontal view. Both axonometric views of the stills are then combined together, forming a single, customized Mario World. This module can be divided up into three main steps: handsketching, computerized-sketching and coloring the axonometric drawing. The important focus of this module is to allow students to explore and understand the different aspects of projections and how simplistic twodimensional planes can be converted into a three-dimensional, axonometric drawings.
Back view of the axonometric projection of Mario World
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Module 2 Flatness vs. Projection
HAND-SKETCHING THE AXONOMETRIC DRAWING Shown on the left, is a scanned image of a handsketched axonometric drawing produced using traditional hand materials such as pencils and tracing papers. In order to achieve this drawing, the two Mario stills given were taped to a mounting board at a 45° angle, with A3 or A4 tracing papers overlayed. Then, rulers and T-squared ruler were used to draw lines perpendicular to the mounting board, providing a 45° angle from the stills taped. Accurate measurements were made to ensure each element on the hand-sketched drawing were accurate. Once the frontal and back views were done, customized elements were added in between to create a unique Mario world to each student’s imagination. After this was done, a fine liner of 0.5 mm was used to traced the outline so that it would look more visible. Finally, the hand-sketched drawing was scanned. The image was scanned in order to use for referencing when re-tracing the axonometric drawing in Adobe Illustrator later.
Finalized hand-sketched axonometric drawing of Mario World
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Portfolio Chandavinel Ath
Module 2 Flatness vs. Projection
COMPUTERIZED-SKETCHING OF THE AXONOMETRIC DRAWING The scanned image of the drawings were then used as a background for computerized sketching in Adobe Illustrator. To achieve this, the Pen Tool was mainly used in conjunction with other supplementary tools such as Curvature Tool and Rectangular Tool. A useful tip that was learned from this module is the importance of separating your work into different layers beforehand to ensure a clean and organized workspace. COLORING THE AXONOMETRIC DRAWING Once the computerized-sketching in Adobe Illustrator was done, the shapes were then filled in with corresponding thematic color schemes from the original stills. This method was achieved by using the combination of Eyedropper Tool and Gradient Tool. In comparison to the original hand-sketched drawing, new shapes and elements were added to the computerized version such as vines and Mario-related characters such as Princess Peach and Toad. The theme for my Mario World revolves around my obsession with Princess Peach. This is represented with Princess Peach’s castle and additional character such as Toad, Princess Peach’s loyal companion and the color scheme of pink and blue.
Final Mario World drawn using Adobe Illustrator
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pat t e r n v s . s u r fa c e
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Module 3 Pattern vs. Surface
MODULE 3: PATTERN VS. SURFACE The third module of this subject deals with the idea of 3D modelling and craftsmanship. The task required students to use a 3D modelling software called Rhinoceros 5 to produce a 3D panelled surface based on an existing terrain provided. Apart from the use of a 3D software, students were also tasked with model-making process which involved cutting, folding, and gluing the printed pieces of modules in order to form a physical model. This assignment introduces students to the idea of 3D model making using both digital software and physical craftsmanship. Moreover, it also allows students to explore the differences in manipulations of basic shapes in order to achieve complex, desired patterns and surfaces that could be built upon. This module can be divided into three main steps: 3D modelling using Rhinoceros, unrolling the model and physical making process of the model. 3D MODELLING USING RHINOCEROS Shown on the left is the picture of my 3D modelling using Rhinoceros. First, we were given a specific piece of terrain that we were tasked to change into a developable surface. In order to achieve this, panelling tools were used such as panelling grids, customized panelling, 2D and 3D panelling tools. Once the desired patterns were achieved, the unrolling parts of the process can begin. For my model, the idea behind this pattern is abstraction and irregularity. My vision for this model was to counteract the obviousness, which is to show a certain pattern in shapes arrangement. In contrast to most people’s models, I wanted my model to look so abstract that no certain, regular patterns can be found upon first glance but required closer inspections. In order to achieve this particular model, Panelling 3D Custom Variables was used along with different shapes that were self-made. Moreover, manipulation of heights also played an important role in this module, as certain parts of the terrain were higher than others, and vice versa. Final 3D model using Rhinoceros
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Module 3 Pattern vs. Surface
Triangulated version of the 3D model before unrolling
UNROLLING Once the 3D modelling was finalized, the entire model was de-constructed into certain sections, and these sections were later unrolled into taps (shown on the right). An important tip in order to achieve perfect taps for your model, TriangulateMesh command should be used to ensure conversion of curved lines in your shapes into straight lines (shown above), thus making it easier to cut and roll them later in the physical model-making process. Afterwards, each tap was exported into Adobe Illustrator, where line weights were adjusted to show fold lines and cut lines once these taps were printed out. PHYSICAL MODEL-MAKING PROCESS Once the taps were printed out, the crafting process began. These taps were then glued on to ivory cards, and cut before they were folded into shapes represented in the 3D model. Another important tip learned from this module is to print out taps in sequences rather than singular shapes, as it helped lessen the gluing process while making your final physical model looking more clean.
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Unrolled taps of the basic shapes that made up the 3D model
Portfolio Chandavinel Ath
Module 3 Pattern vs. Surface
Annotate your drawing
Physical Model
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Module 3 Pattern vs. Surface
Detailed photographs of 3D physical model
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frame vs. field
Module
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Module 4 Frame vs. Field
MODULE 4: FRAME VS. FIELD The final module tasked students to interpret a given story by using all the software skills taught throughout the entire semester through the use of perspective views and notations. Each story was taken from a novel called Invisible Cities by Italo Calvino, which tells a descriptive journey throughout different cities from Marco Polo’s perspectives. In order to achieve a relatable, realistic view, students were required to model the Old Quad on University of Melbourne’s Parkville campus. Through this, students also needed to provide two perspective views of the Quad based on their interpretations and imaginations through the use of characters, textures, and objects to provide a convincing story. In addition to the perspective views, student were also tasked to provide an isometric view of the Quad and tell the story through the use of symbols and notations. This module is divided into three main parts: Old Quad modelling, Isometric view and notations, and perspective views. To the right is one of the stories taken from Italo Calvino’s Invisible Cities, titled Zemrude. Zemrude is described as a city where the atmospheres of the city change based on the passerby’s moods and emotions. The city is said to be divided into two parts, Upper Zemrude and Lower Zemrude. Although not much descriptions were given about Upper Zemrude, the Lower part of Zemrude was described as filled with waste papers, man hole covers and that one should feel as if nails were dug into their own hands while being surrounded in this environment. Calvino also mentioned how it would seem almost impossible to imagine a lively Upper Zemrude, as everyone would appear to be so fascinated and distracted by Lower Zemrude itself.
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Module 4 Frame vs. Field
Screen capture of Lower Zemrude perspective from Rhinoceros Isometric view of Old Quad
OLD QUAD MODELLING The first part of this module involves the modelling of the Old Quad (shown above). This was done in the 3D modelling software, Rhinoceros. This process required students to construct a section of the Quad and then use the Array command in Rhinoceros to mirror the construction, forming a full Quad. The other two images on this page shows a screen capture of the two perspectives, Upper Zemrude and Lower Zemrude. My concept behind this module is to show two different parts of Zemrude, Upper and Lower Zemrude by portraying the differences in class divisions. The Lower Zemrude view allows exploration of space and different characters, while the Upper Zemrude view provides a contrast to the Lower Zemrude view due to its narrow but deep perspective view. Screen capture of Upper Zemrude perspective from Rhinoceros
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Module 4 Frame vs. Field
Isometric view of Old Quad with notations, representing Marco Polo’s journey through the two parts of the city: Lower Zemrude and Upper Zemrude
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Module 4 Frame vs. Field
ISOMETRIC VIEW AND NOTATIONS 3. Although the environment portrayed appear to be negative, his moods and feelings are a contrast. He feels intrigued and fascinated by everything happening in the Lower Zemrude, despite there seems
4. Marco’s journey in the Upper Zemrude begins at the same spot. However, based on the notations, it is observed that he moves fairly quickly throughout the space despite it being the more prosperous part of the city. Despite being in a more lighter atmosphere, he does not feel engaged by anything. The characters within the space are too concerned with themselves, showcasing a lack of surrounding awareness and being self-centered. 5. Marco Polo’s journey ends here.
2. As Marco Polo makes his way through the space, he occasionally stops to view the people within the space. As he stops and glances at the people, he feels lighter and happier due to the geniality shown on their faces. At one point, he stops his movement and becomes fascinated and intrigued by a scene of a man in a predicament. He also observes that nearby passerby are not willing to help the man, thus showcasing the stereotypical negligence that people from lower socio-economic class usually receive.
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1. Marco Polo’s journey begins here. This perspective shows the start of the Lower Zemrude view.
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Module 4 Frame vs. Field
Lower Zemrude Perspective View
PERSPECTIVE VIEWS This scene portrays the Lower Zemrude, which metaphorically represents the poorer side of Zemrude. Characters added include people engaging in theft and brawls to showcase the harshness of the city. The props in the scenes such as broken pots, stray dogs, torn curtains and an old rug were added to provide a hectic and stereotypical view of poorer side of the city. The perspective views were done through the use of Photoshop and Adobe Illustrator.
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Module 4 Frame vs. Field
Upper Zemrude Perspective View
This scene portrays the higher upper class lifestyle of Zemrude, dubbed as Upper Zemrude. Characters chosen to portray the lavish lifestyle including dancing, flirting, and engaging in conversations all dressed in quality Renaissance clothing. Props used in this scene includes chandeliers, lamps, a table. a podium and a chair to further suggest the luxury of this part of the city. This scene also lacks emotions due to the characters disengagement with one another and the placement of characters apart from one another were intentionally done to provide a space between them. This space further builds on the idea of disengagement between one another.
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REFLECTION Completing this subject has taught me a lot about the design process and skills needed for a successful project. The semester did not go well for me as an entirety. Module 1 started off really rocky for me despite it being mostly about sketching and drawings. Even though drawing is one of my hobbies, I still found it hard to produce drawings of croissant because it was something so unusual for me. The one thing I learned from this particular module is the technicality behind these sketches, such as how to draw an axonometric drawing. The axonometric projection of this module was something incredibly new to me. Although I struggled to grasp the concept of this module at first, I think I did fairly well and had certainly surpassed my own expectation. Being a module that serves as an introduction to the entire course, I think it was a good starter to get us students acquainted and prepared with upcoming modules. Module 2 was quite disastrous for me as well. Following Module 1, Module 2 was more of an in-depth exploration of axonometric projection. Knowing this module requires more precision and persistence with the drawings, it was definitely a challenge. The fun aspect of this module was being introduced to other software such as Adobe Illustrator, InDesign and Photoshop. Due to poor time management, I struggled to complete my work within appropriate time frame and ended up producing a mediocre work, which I know I could have done better. From a personal point of view, I think Module 3 was the most time consuming Module out of the entire assignments. Module 3 requires a 3D construction and panelling using terrain provided and also making a physical model out of it as well. The exciting part about this module was the introduction to Rhinoceros. Having been exposed to other software such as AutoCAD and SketchUp, I think Rhinoceros was definitely a different experience. I also enjoyed exploring different commands and options on Rhinoceros before ended up with my final 3D modelling. The most exhausting part was making the physical model. Some issues I’ve encountered were unfoldable shapes, arrangement of the shapes, and gluing down the shapes. Since hand-craftsmanship is not my strongest point, it was a challenge to get everything done. Despite my lack of sleep and poor time management throughout the entire semester, this module yielded the highest mark for me and it helped boost my selfconfidence a bit towards the end of the semester. Module 4 was a great closing assignment, as it allows me to combine all the skills learned from the previous modules. Despite not doing so well with the isometric view and notations, I had better time management and found this module more enjoyable than the others due to the use of Photoshop to create the perspective views. Overall, this semester was full of ups and downs and it was an amazing experience. One of the most important lessons I’ve learned from this subject is time management. The key to a successful assignment is to plan things out a head of time and knowing what you want to do with it. Leaving modules to the last minute was a bad idea, but I’ve learned from my mistakes. Foundation of Design: Representation has certainly changed my view on the design process and it was certainly an incredible learning experience. 25