Foundations of Design : REPRESENTATION, SEM1, 2017 M2 JOURNAL - FLATNESS vs PROJECTION Elias Hanna
(915203) Ben Waters + 06
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WEEK 3 READING: LEGER, LE CORBUSIER, AND PURISM
Question 1: What is Pictorial Space according to Le Corbusier? According to Le Corbusier (as stated by Leger) Pictorial Space is that which is ‘resigned to frontality’ by its very nature as it cannot be ‘entered or circulated through’ and must ‘be viewed from a distance.’ In contrast to lived perspectives which employ prospect attributed to our rotating through them, our experience of pictorial space, ideation of a reality, is less of a lived perspective and more-so reliant on a conceptual distance through the use of varying ‘terms’ and artistic techniques.
Question 2: The Flatness of Le Corbusier’s painting’s are attributable to two properties. What are they? And what are these pitted against? Depthless shapes (flat, crisp obects) and the way in which these objects sharply come together (their arrangment) contributes to the Flatness of Le Corbusier’s paintings. These two properties are pitted against the cesura between objects, which alludes to a sense of depth. Object’s portrayed are defined by their frontality and shapes, denying any chance of allusion to depth through implied shadow but rather in themselves through their stark representation and melding together.
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MARIO’S WORLD
First Mario World - Rear
Second Mario World - Front
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1ST MARIO’S WORLD
First Technical Pencil drawing of Mario World One projected down. A challenging process initially but I grew more comfortable with the drawing technique and it’s associated instruments as I progressed. I feel my drafting technique and linework needs attention and patience.
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COMBINED MARIO’S WORLD
Final Inked Layer of Trace over both Axonometric projections of Mario World’s 1 & 2. Projecting the smaller scale and more nuanced objects of the world’s was tedious as they were difficult to represent accurately in axonometric at such a scale. In the end I drew some objects (the arrow and leaf) at a large scale on a seperate piece of trace and scaled them down digitally.
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WEEK 4 READING: AXONOMETRIC PROJECTION: NEW GEOMETRIES AND OLD ORIGINS Question 1: Explain the difference between Pictoral (in this case perspectival) space and Axonometric Projection? Pictoral (Perspectival) Space is that which is defined by known vanishing points to which everything recedes, also maintaining a fixed point of view at the horizon line, these drawings cannot be used to measure from or accurately obtain information. Axonometric Projection on the other hand technically does not utilise known vanishing points (they are infinite) in space but rather like orthographic projection (plans/sections) parallel projection, and they can be utilised to obtain accurate dimensions and information.
Question 2: Where did Axonometric projection first arise, and why? Axonometric Projection seems to have first arisen in a military context, where the technical drawing style was employed with it’s measurable, predictable and verifiable qualities to chart the trajectories (in 3 Dimensions) of artillery projectiles (canons for instance) thus enabling more accurate planning of future attacks against enemies.
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ILLUSTRATED MARIO’S NEW WORLD
Final Axonometric Mario World (at half scale) rendered and including character’s. I find the gradation of differing colour’s to be effective in creating a sense of depth through the implied shadow it create’s. The clouds at the rear act as a strong background to the two connected floating Mario Worlds in the foreground and middleground.
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APPENDIX
Completing the Pencil projection of the Second World and it’s subsequent interaction (collision) with the First World. Eraser Shield proved invaluable when rubbing out overlapping elements in the worlds. French curve assisted in accurately creating the top arc’s of the ice mounds and snow capped mountains. Beginning pencil projection of first Mario World. Boxing out each curve to create an accurate arc at 45 degrees proved time consuming and the aid of a French Curve was soon sought out. On reflection I could have more creatively considered the varying depths of objects and their interaction.
Tracing over lead drawings with Fineliner proved difficult with artificial lighting from overhead due to shadows, I also need to invest in larger trace paper as joining multiple pieces proved messy.
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