Foundations of Design: R epresentation Sem 1, 2017
P O R T F O L I O
Eunju Kim
Studio 19
914 834
Hana Nihill
MEASURED DRAWING OF A CROISSANT How to measure a Croissant?
For orthographic projection of the croissant, the top, bottom, front and side view were photographed, while the three section of the croissants were scanned. Using a tracing paper over the orthographic projection, the croissant was represented in three different techniques: - Pencil shading - Pen shading - Axonometric Projection
Axonometric projection The outline of the sections were plotted on the grid, to determine the exact location of the points which the outline runs through.
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Pencil Shading This drawing was produced with the use of HB, 2B and 4B pencils. The hard HB was used for the outline and hard lines of the croissant, while the soft 4B was used to shade and smuged to illustrate the shadows and soft texture of the croissant. The texture of the croissant was highlighted through the contrast of light soft shading to dark hard shading.
Pen Hatching 0.2 and 0.4 fineliner pen were used: the thick 0.4 pen was used for outline and hardlines, while 0.2 pen was used for hatching. Cross hatching was mainly used to represent the shadows on the croissant, while contour hatching represented the texture of the croissant. Random hatching were also used to show the flaky texture of the croissant however, it was important that these hatching technnique do not override the overall texture of the croissant, as the drawing can appear messy.
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NEW MARIO WORLD The making of new Mario world. Blue sky, white fluffy clouds and green landscape were the main features shown across my two given Mario worlds. Therefore, a childish playground theme was incorporated to the combined world to successfully merge the landsape of the two seperate Mario worlds.
The green mountain blobs occupied a large potion in the combined world. However, by incoporating windows and doors, the mountain blobs were represented as the cubby houses, which effectively blends into the lively theme. Along with the playful elements such as swings, flowers and Mario characters, the sloping landscape is suggested as the slide and climbing walls of the playground. These elements successfully collaborate to create a fun atmosphere.
The overall shape of the combined world is stable as the clouds and the stars balance the vertical shape created by the rainbow
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Making of the Mario world The axonometric projection drawing were created with the use of t-sqaure, and 450 angle set square. The adobe illustrator program was mainly used to produce the colourful new mario world.
Projecting world 1: Using a 45o set square. T-square and a pencil, a 2D Mario was projected in axonometric view.
Focus on appropriate axonometric projection: The cylinders of the tube, the arch of the mountain blobs and the lines of the floor plan follow the 45odegrees angle. Meanwhile the floor plan projection were kept in proper scale - not distorted. Projecting world 2: Second Mario world was projected, with the world image facing opposite direction to the first world.
Merging the two worlds: Using a light box, the combined world was traced with afineliner, considering the objects that will be hidden between the overlapping section of the two world.
Two worlds merging: The axonometric projection of first and second world are merged together
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Developing the world: Creative elements were added to effectively merge the landscape of the two seperate world into one.
PAPER LANDSCAPE The making of new landscape My given terrain was relatively a flat landscape overall. However, there was a gradual elevation of landscape from one corner to the other, which is represented through the effective distribution of the 3D panels; the higher section of the landscape has concentrated amount of 3D panels. The subtle textures of the terrain is also represented through the shadows which the 3D panels create over the flat 2D panels. Meanwhile, the pyramid shape of the 3D panels depict the mountain ranges of the Tasmanian landscape.
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Plotting grids on given terrain: The grid points are plotted on the terrain to apply custom panels using the paneling tool
Variable 3D panels: These five 3D panels were created; although they all have square bases, the various shapes provide dynamic to the terrain texture.
3D Panelling Tool: The customised panels were laid onto the terrain using the 3D custom variable commend in paneling tool.
Underneath the model: minimal amount of glue was used to preserve the clean and crisp white aesthetic, while all fold lines were perforated not only for the easy fold, but also to produce the subtle texture of the panel surfaces.
Distributing 3D panels emphasise the original texture of the terrain; 3D panels used to illustrate high landscape or bumpy surface, while 2D panels used for low landscape and the valley.
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INVISIBLE CITY
Hidden city 5: Berenice This chapter essentially described two cities: one that is unjust, and the other that is hidden and just. The unjust city is described to include extravagant and luxurious elements such as metopes and perfumed baths, while the hidden just city is described as the makeshift materials and systems that operate and function the city. My interpretation of the two cities were that they are a representation of the different social class of this one city named Berenice. They are divided yet cannot be separated, thus the book describes that the city is a succession of different cities, alternatively the just and unjust, and are inextricable
The symbols used for the isometric notation describes the overall theme of the story; the loop of passage of time represent the endless cycle of the present and future Berenice, which weaves past the unjust and just to describe the succession of the two cities. The movement of Marco Polo is displayed with the series of arrows; his steps becomes heavy as he transitions from the unjust city to the just and back again to the unjust. Threshold Glance Light Step Heavy Step
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1m
2.5m
5m
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Perspective 1
Unjust
Perspective 2
Just
The unjust city, is described to ascertain luxurious and very aesthetically pleasing elements of the city. However the word ‘unjust’ it self suggests that the visually rich elements of the city lack the moral within, and is in fact an untruthful representation of the city named Berenice. Therefore, Marco believes that he should not tell this city, but rather explain the Hidden Berenice, the city of just, which is shown in perspective 2.
Through the fashion shown on the human figures, this image suggests the high socio-class represented as the unjust city. The shining chandelier and marble texture of the columns also add to the luxurious and glamorous visuals of the unjust city. The choice of urban canopy in the backgroud landscape subtlely balances the rich old-fashion seen on characters, whish also emphasies the idea that the city holds its future in the present.
The unjust city, Berenice The scene chosen for perspective 1 displays the unjust city, which Marco Polo suggests that he should not tell about. This perspective will contrast and also assist in imagining the hidden Berenice, the city of the unjust. The sunlight that shines into the old quadrangle assists in illustrating of the proud, bright, and polished characteristics of the unjust city. The camera angle is positioned on the ground plane which looks up to the city, thus resulting the viewer to feel inferior to the image inside the frame. This directly alludes to a excerpt in the story where it states that “the men assigned to polishing, when they raise their chins over..... feel even more imprisoned and short of stature”
Meanwhile, some elements also foreshadow the Hidden Berenice: the lady on the far right fixes the dress of the unjust figure; she is the worker behind the rich aesthetic of the unjust city. As this figure is placed in the shadow, it suggest that function and hard-work is hidden and unseen in the unjust city. It also provides a visual division of the two social class represented in the story.
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This perspective view displays a clear contrast of mood with careful manipulation of light and shadow. The hidden city of Berenice is described as just, as the value and the function of the city is more considered. However, the city of the just is hidden beneath the shadows, and are invisible from the angle which perspective 1 represents.
As the elements of perspective view 1 remains in this perspective, the images suggests that the interpretation of the city can vary depending on the position where the viewer stands, while also relates to the idea that Berenice is the succession of the two cities.
Hidden Berenice, the city of the just Marco Polo suggests that he should tell about this city more than the aesthetic but unjust city. This city is an interesting one as Polo not only describes this hidden city, but also about the malignant seed that is hidden inside this hidden city. The choice of elements together represent the systematic function that operates the city or the population of the city. The industrial bakgroud landscape, dress making machine, cogged wheels is related to the representation of the functional system that is hidden behind the unjust city and its shadows.
The description of the city is overall dark, heavy and hidden, as it mentions the words, ‘shadowy rooms’, ‘behind’, and ‘beneath. The sunlight tool used create contrasting dark shadows behind the columns and are hidden from perspective 1. The camera angle is positioned higher than eye-level perspective to provide a detached feel and position the viewer outside the picture frame.
The plants represent the resentment of this functional system or the working class that infiltrates within. The industrial lighting placed on the left corner and the factory setting reveals that the unjust city is really a production from the just city that is hidden.
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The two perspective view of the world show great constract in exposure, angle and the elements displayed with in. However, with few elements that reference the other world, it is clear that these two perspectives are only pereptions of one world. This successfully delivers the Marco Polo’s conclusion that ‘real Berenice is a temporal succession of different cities, alternately just and unjust’
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REFLECTION
M1: HOW TO DRAW CROISSANT In the first module, I have learn how to represent a model in orthographic drawing, as well as the effect of the pencil shading and pen hatching techniques on the representational drawings. The lectures also provided understanding of the difference between engineering/ orthographic drawing and a perspective, and its history of development; the orthographic drawing were initially used for militarism and allowed for calculation of projectiles and measurement of space. M2: FLATNESS VS PROJECTION The idea of technical representational drawing was further reinforced as various methods of illustrating 3D objects into a flat plane was introduced. This includes the understanding of the difference between axonometric and isometric projections, as wells as cabinet and cavalier. Through out this module, I was able to practice in creating and representing a flat drawing into a 3D axonometric model.
M4: FRAME VS FIELD Through reading of a chapter from Calvino’s Invisible city, I have learnt to illustrate my personal interpretation of a story with the use of notions and perspective views/ frames. This module focused on the different idea of perspective, through discussion of people’s attempt in history to apply mathematical geometry to capture and colonise the way we see. One such provides remids us requirement for perspective, which are vanishing point, orthogonal and horizon line. Meanwhile the idea of frame was reinforced as limitation, or a window which the perspective is delivered to the viewer. The lecture also introduced the three types of perception which are: solid, liquid and gas. The effect of framing and position of the model are important to effectively convey as idea to the viewer.
M3: PATTERN VS SURFACE The importance of developable surface was highlighted with the example of a rectangular map representing the globe, as well as architectural structures such as the façade of Federation Square. The three elementary types of developable surface are cylinder, cones and tangent surfaces of space curves. The developing surface can be quadrilateral or triangular, and triangulated 3D and 2D panels produced on rhino to make the paper landscape of a section of Tasmanian terrain. Through the model making practice, an understanding of time management skills and the amount of precision required to produce the model was developed.
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Overall, throughout the subject, I developed my understanding of different software programs which are: Adobe Photoshop, Illustrator, InDesign and Rhino, including the paneling tool. This also includes the understanding of different files types and the importance of exporting files into appropriate forms. Through the pin-up presentation of the four modules, I was able to practice to articulate my thought process in from of my peers. Throughout the lectures, I was introduced to many different type of representation, with examples such as the museum, theatre and artworks. I was also able to understand the origins which the idea of certain representation have developed from.
For improvements for future modules, I will allow myself more time to experiment with different effects from the software programs to produce the best representation of the modules. This includes gaining knowledge and becoming familiar with using the software program such as abode illustrator and rhino.