FOD:R PORTFOLIO E m m a K e l l y 950391 S t u d i o 11 A n n e k e P r i n s
CONTENT
Module1 Module2 Module3 Module4
MODULE 1 How to draw a croissant?
The task of the first module in the semester was to measure a croissant and produce technical drawings in a scale of 1:1. After having taken photos of the object on a photo stage with a key light and a fill light, the images were composed on an A3 sheet in Photoshop. The bottom side of the croissant was scanned in order to be able to display an all-around view. Afterwards it was cut in 4 pieces, and the resulting 3 sections were scanned as well. Ensuring that the croissant was depicted in a scale of 1:1, the drawing commenced. The outlines were drawn with a 0.4 fine liner, the section cut lines with 0.8 to show the difference between a line dividing space from an object and an object being cut. The hatching of the plan view was done with a 0.1 fine liner. The shading on the elevations and sections was applied with a 2B pencil. In order to add depth to the drawing the heavier shades were applied with 4B and 6B pencil, working the way from the lightest areas to the darkest areas of the croissant. 3
FROM DRAWING
. . .
Measurements, pencil shading on elevations and sections, fine liner hatching on plan view 4
. . .
TO AXONOMETRIC PROJECTION
Overlaying the sectioncuts with a grid and marking the intersections, the points could be transferred to a second grid. This layed in a 45 degrees angle to the section lines indicated on the plan view of the croissant. Tracing the newfound intersection points, the axonometric projection of the cuts was produced. 5
MODULE 2
Flatness vs Projection The capability to develop axonometric drawings was further explored and investigated in module 2 where the task was to create a 3-D Mario World from two 2-D elevations. Projecting these 2 images in a 45 degrees angle onto a picture plane and combining them to produce a 3-D world was created through hand drawings. Added characters and a thought through storyline to fill the created space was crucial in order to fulfil the task of combining technical skills while also focusing on the creative aspect of adding meaning and purpose to the drawings. After scanning the outlines and clearing these up in Photoshop, the task was to create a vector drawing in Adobe Illustrator, in order to colourize the image. 6
BACKGROUND
FOREGROUND
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FROM
P R O J E C T I ON
pencil drawing
. . .
fineliner outlines
outlines draft
outlines with characters final
The pencil drawings of the two combined Mario elevations were transferred onto a new piece of tracing paper. The outlines were copied with fineliner, producing a neat and crisp piece of work. The characters were added, resulting in the finished base for the colourization process in Illustrator. fineliner outlines continued 8
. . .
TO STORY
Additional to the task of creating a coherent and precise drawing with the created space between the 2 projected elevations being filled with objects and characters, the whole of the piece was meant to have a meaning; so to say, tell a story. The Mario World on the left abstractly addresses marriage equality and the socio-political issues surrounding the topic. Luigi leaps towards Mario, standing on the other side. He is happily on his way, while forgetting about his task of saving Princess Peach or collecting coins and ignoring the green gateway-tubes to different dimensions. He takes the easiest and fastest route over the rocky path towards his loved one, while the rest of the characters look the other way and don’t seem to notice. The little green characters gaze into the distance to represent the long ignorance on the political level regarding same sex marriage.
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MODULE 3
Pattern vs Surface The task in the third module of the semester was to create a digital and a non-digital model based on a surface terrain from Tasmania. The haptic model had to be made from ivory card to ensure a stable and rigid construction. For it to be buildable, the shapes created had to be developable; made from not-stretchable materials and not including any curves. In order to implement the shapes onto the digital model, a panelling grid had to be applied to the surface in Rhino. Offsetting these points using attractor curves, a net was created to build the foundations of the digital model. Applying the custom-made panels, the model was ready to be unfolded to start building it in reality. After the individual panels were printed and the ivory card cut out, every panel was folded and glued together carefully, resulting in a model of 594x594 mm.
detail 1 10
detail 2
detail 3 11
FROM
DIGITAL
. . .
After having added the surface to the terrain, the panelling grid could be applied. With setting off the points of the grid the ability to cater for the 3 dimensional custom-made panels was granted 12
. . .
TO
Once digitally modelled the individual panels had to be unfolded and printed to transfer them to the ivory card. After being copied and cut out, the paper panels were glued together and joined in rows of 10. Repeating the process resulted in the finished model. 13
PHYSICAL
physical model 1 14
physical model 2 15
CITIES & MEMORY 2 I
MODULE 4 Frame vs Field .
The last task of the semester was to represent Marco Polo’s movement through an allocated city with 2 scenes. The story line was to be interpreted and visually represented in a digital model of the Old Quad which is located in the University of Melbourne. After the modelling in Rhino, different Characters had to be implemented into the 2 perspectives. The sourced images were translated to silhouettes via Illustrator and made into a surface in rhino, in order to be able to be rendered. When rendered the file was exported into Photoshop for the lighting, characters and background to be compiled into a final image. Furthermore, the movement, mood and lighting had to be mapped out and notated in an axonometric image of the Old Quad.
S
I
D
O
R
A
When a man rides a long time through wild regions he feels the desire for a city. Finally he comes to Isidora, a city where the buildings have spiral staircases encrusted with spiral seashells, where prefect telescopes and violins are made, where the foreigner hesitating between two women always encounters a third, where cockfights degenerate into bloody brawls among the bettors. He was thinking of all these things when he desired a city. Isidora, therefore, is the city of his dreams: with one difference. The dreamed-of city contained him as a young man; he arrives at Isidora in his old age. In the square there is the wall where the old men sit and watch the young go by; he is seated in a row with them. Desires are already memories. 16
The city of Isidora incorporates two main emotions: desire and brutality. Here the longing for physical and abstract interaction in and with the surroundings play a crucial part. The regular consistency of time has no meaning and characers age in no correspondance to the time passing in reality.
Legend Perspective 1 Perspective 2 Characters Light Mood Heavy Mood Stare Glance Fast Pace Slow Pace 0
1m
2.5m
5m
Threshold Time Desire
Perspective 1 represents the impression when Marco Polo first enters the city of Isidora. The lengthy view cuts right across the whole of the corridor which emphasises the movement through the space as he proceeds to enter and wander through the city. The second perspective shows the view when Marco Polo is amidst the city. Here the perspective is shorter and emphasises the action in space. The columns intersect the space and differentiate various strings of action from one another. 17
FROM
STATIC
. . .
As Marco Polo enters the city the feeling of desire and movement is predominant. The passage of time continuously proceeds, as he makes his way through the space. This is represented by the clock positioned in the centre of the composition, by the shadows, leading towards the left arches as well as the skull that is emphasised by said shadows. The positioning of the characters with none of them directly looking at the spectator of the scene, but facing each other in different angles, highlights the uprising of desire and a tension. Focusing on the inconsistency of time and space mentioned in the story, the scene is put in a surreal setting. 18
. . .
TO
MOTION
Perspective 2 resolves the anticipation of perspective 1. Here the actions implied by the dynamics between the figures in perspective 1 is depicted. Man and woman have found each other, a group of men fighting and a cockfight in the midst of it, all of this representing the two main notions suggested by the story, brutality and affection/attraction. Embodying the furthering of the passage of time, the sitting man has aged and sunk down in his posture. Also the end of one’s lifetime, death, is symbolically displayed. The figure in the front shows the decay of a body, as well as the insides of a human eating through the outer skin. 19
REFELCTION The first semester of university was exciting and overwhelming at the same time. In the context of the lectures and tutorials in Foundations of Design: Representation I learnt that there is much more to the field of architecture than I have first anticipated. The philosophical qualities that lay within the designing process are highly interesting, for example the journey until the façade of the Federation Square came to life or the approaches that Le Corbusier and other influential architects had to their designs. This is not only statically and constructional interesting but also artistically challenging and open to interpretation what space is exactly how we mould it, not inly thoruh the existence but also through the nonexistence of things and object. Changing the approach to architecture that I thought I was going to have, the challenge was now to actually incorporate those approaches into my own journey of designing the 4 modules. Over the course of this semester I encountered computer programs I have never worked with and hence challenged me to not only think of a design but also to transfer these onto a screen in a satisfactory way. Module 1, 2 and 3 enabled me to further develop my handicraft skills and enhance my ability of free handed and also technical drawings. Additionally, I have furthered my understanding of proportions and harmonic representation of my work and learnt how to organise myself and my workflow through the suggestion of the survival guide. In my opinion my least successful module is Module 4 as I couldn’t make the perspectives express the things that I wanted them to. My intention was to create a surreal looking setting but the problem of the background having to be in correspondence with the projection of the Old Quad made it hard for me to decide how to bring the image across. Choosing a complete abstract background was for me the easiest but did not address or resolve the problem. Changes: M2 - touchup of handdrwing, erasure of “sun” to centralise drawing M3 - more photos M4 - adjustemnt of figure of couple in perspective 2, grey cutsurfaces added in isometric
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