FOUNDATIONS PORTFOLIO Divya Mahadevan
FOUNDATIONS PORTFOLIO Divya Mahadevan G00054708
College of Architecture, Art & Design American University of Sharjah
DESIGN DES 131 8
Principles of Design
9
Visual Composition
10
Object Text Form
14
Kit of Parts
DES 132 18
Skin and Bones
20
Bar -
28
20/20-10/10
TABLE OF CONTENTS DRAWING DES 111 38
Observational Drawing
39
Line Weight
40
Shading
41
Watercolours
DES 112 44
Perspective Study
46
Casting Shadows
47
Cross-section
48
Orthographic Projection
50
Axonometric Projection - Exploded View
51
Oblique
DESIGN
Professor W. Eirik Heintz
Session: Fall 2013 - Spring 2014
DES 131 Fall semester course which covers the principles and skills of design. Critical thinking and techniques to communicate information are introduced. Development of conceptual skills to convey one’s observations are also covered in this course.
PRINCIPLES OF DESIGN
Design principles govern the relationships of the elements used and organize the composition. This assignment shows the arrangement of visual elements - black paper squares (2.5x2.5cm) on white Bristol paper (20x20cm) according to design principles such as asymmetry, dynamic, sparsity, stability, discontinuity and density.
8
VISUAL COMPOSITION Plan or placement of visual elements within a frame showing relationships of the elements with the boundary as well as with each other. Done on Adobe Photoshop with the assigned elements and personalized textures to enhance the relationships.
9
OBJECT TEXT FORM
This assignment begins with the exploration of qualities and characteristics of a kitchen object by photographing and creating a collage that portrays its prominent features.
10
The exploration of physical and virtual layers is done by modifying and tracing multiple times in ink, together with the use of line weights. This allows the exploration of movement and transition of the object within a single frame.
11
Final iteration includes rendering the area that most expresses layering. Addition of text enhances the transformation in the composition.
12
Done with coloured pencils and graphite pencils.
13
KIT OF PARTS
An assignment that allows three dimensional composition to explore different principles of the systems of organization. A combination of chipboard, museum board and graphic elements are used to build these models.
14
A further exploration of three dimensional composition is made. A found object is incorporated and a composition is created such that the structure compliments the object.
15
DES 132 Spring semester course that continues with the principles of design and includes aesthetic and perceptual thinking. Two and three dimensional assignments help tackle basic problems concerning design principles.
SKIN AND BONES
This project deals with the creation of space with two crucial elements - the skin and the bones. The objective of this project was to modify a Bristol paper in a way that it encloses some space and hold it up using basswood sticks. The process evolved from trying out different ways in which space can be enclosed and integrating the ones that work the best into the final.
18
19
BAR -
A project that further explores systems of organization and space making that critically deals with creating a balance between negative space and solid content. In addition craft and material quality is also explored.
20
To proceed with the project, a strong relationship is adapted from the preliminary model and is further developed to establish a more complex set of relationships. Done in chipboard and red spraypainted chipboard.
21
In this next part, the systems of penetration and void within a void is created by the previously established relationships. Most of the planning and layout is drafted on SketchUp and then constructed into the model.
22
Exploration of new materials is achieved by making a mould to pour concrete and create a more textured version of the same model. Orthographic drawings give an overview of the exterior surface of the bar.
23
Penetration and the balance created by the addition of voids is shown in close up. The concrete model further ensures that this relationship is stable by the use of heavy materials.
24
20/20-10/10
This two dimensional project revolves around the integration of space and time. A hand tool such as this hair brush is chosen and photographed. A few sets of drawings such as the contour line drawing and tracings are made and used in the compositions.
28
A narrative of ten frames is created that depicts movement, transformation and a combination of both. This narrative shows the movement of the hair brush from top to bottom.
29
This set of narratives show the transformation from a dense and dynamic composition to a less dense and ordered composition. The idea is influenced by the detangling function of the hair brush.
30
Experimenting with the previous iteration by applying negative effects.
31
The final iteration is the combination of the movement and transformation with the integration of text and colour.
32
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DRAWING
Professor Philip Sheil
Session: Fall 2013 - Spring 2014
DES 111 Fall semester course in which fundamental principles of observational drawing were introduced. Various skills needed to represent and communicate visually were developed through a series of assignments.
OBSERVATIONAL DRAWING
A complex still life arrangement of three dimensional objects with basic shapes in perspective along with a creased piece of cloth. This is arranged in a way that reflects light in high contrast. Observed, measured and drawn from a distance. Intuitive sketch done in pencil, corrected and hatched in ink.
38
LINE WEIGHT
A three dimensional arrangement of objects and a complex cloth pattern. Observed and drawn in pencil. Then traced in ink to add line weight. Line weight identifies the distance of the object from the viewer.
39
SHADING
Adapting the previous assignment by tracing it in pencil and choosing a complex area to render from darkest to the lightest.
40
WATERCOLOURS
Using the same area as the previous assignment and tracing it onto a watercolour pad. Then adding a mixture of primary and secondary colours to attain black which is used for rendering the selected area.
41
DES 112 Spring semester course that explores techniques and methods of analytical drawing. Includes a variety of principles in order to develop the skills to convey the visual information.
PERSPECTIVE STUDY
Two point perspective drawing of a chocolate bar in pencil. A series of process drawings were created before the final outcome that explored the detailed study of the bite, the lettering and the structure of the bar.
44
The final output of the bar is an integrated rendering of the bite and the lettering which fades away into the perspective construction of the chocolate bar.
45
CASTING SHADOWS
Assignment that experiments with the placing of light source and the shadow casts from different directions. The shadows are rendered in pencil.
46
CROSS-SECTION
A cut open view of an adaptor rendered in ink. The solid part through which it is cut is hatched in ink to distinguish it from the hollow space inside.
47
ORTHOGRAPHIC PROJECTION
An object is depicted using parallel lines to project its outline on to a plane. Here, the adaptor plug is shown in the front elevation, side elevation and the plan view in pencil drawing. The measurements are labelled and the line weights were used to help understand the exterior of the object.
48
A complex object such as this swivel chair is represented in a orthographic projection showing three views. Measurements and the difference in line weights help understand the exterior of the object as it is.
49
AXONOMETRIC PROJECTION EXPLODED VIEW
An exploded version of the interior of the adaptor plug is drawn in ink. Line weights clearly make a distinction between construction lines, drawn lines and the hidden lines that are dashed.
50
OBLIQUE
The inside of a part of the adaptor plug is drawn in the oblique view which is a flat drawing of the surface with an angled depth.
51
College of Architecture, Art & Design American University of Sharjah, UAE