Portfolio by fdidulo

fodr: sEMESTER 1, 2018

PORTfolio

FELICIA DIDULO I 994833 I STUDIO 29 I KATIE PETROS

contents

1 2 3 4

MODULE 1

MODULE 2

MODULE 3

MODULE 4

HOW TO DRAW A CROISSANT

FLATNESS VS PRO JECTION

PATTERN VS SURFACE

FRAME VS FIELD

module 1 HOW TO DRAW A CROISSANT

photographs/ scanned images

The purchased croissant was sliced into piece and each cross section was scanned. The croissant was then photographed from various angles using artifical lighting. The scanned and photographed images were then adjusted using Adobe Photoshop.

illustrations

The photographed and scanned images were then outlined using a3 tracing paper. Orthographic illustrations of the croissant from multiple perspectives were completed. Graphite pencil was initially used to create soft shadows and roughly indicate where shadows and highlights formed. Techniques including stippling and hatching were implemented with fineliner of different thicknesses. This module explored the importance of the use of different media, as well as the technique used when applying such media. Illustrating an object as detailed as a croissant required replication of various textures, and demonstrated the importance of layering applications of the media until the illustration was as authentic to the real-life object as possible. 5

axonometric

Using the appropriate convetionsand steps, an axonometric drawing of the croissant was copleted. This was completed using tracing paper, pencil and fineliner, and was refined Using Adobe Illustrator, This projection of the croissant shows the interior of the object three-dimensionally through the rotation of the croissant outline at a 45 degree angle from the horizontal plane.

module 2 flatness vs projection

assigned worlds

appendix

A sheet of A3 white paper was laid down underneath a sheet of A3 tracing paper. Masking tape, a 60cm T-square, a 45 degree set square and a circle template were also prepared and used.

FRONT ELEVATION

BACK ELEVATION

The world was drawn with 2H and HB graphite pencil according to the elevations. Additional features were added, including a second level below.

A 200mm by 200mm square was drawn at a 45 degree angle from the horizontal lower edge of the tracing paper. The front and back elevations were alligned to opposing sides of the square.

The finished outline was traced in fineliner and an additional sheet of tracing paper was added in order to provide enough space for the entire outline, which was then scanned into Adobe Illustrator.

axonometric

Uncombined axonometric of front elevation (see top elevation on previous page) with water features added. Completed in 2H and HB graphite pencil and scanned into Adobe Illustrtor. Levels of scanned image have been adjusted to whiten background without comprimising the opacity of the linework.

Completed Axonometric of combined worlds, including addition of second level. Additional water features inserted, showing brief connection to lower level. Other features, including steps and hills, added to create visual interest within the composition, whilst adhering to the original elevations. Finalised analogue drawing in graphite pencil outlined in 0.1 and 0.3 fineliner and scanned into Adobe Illustator where levels are adjusted accordingly. 9

new mario world

Mario world

The new mario world aims to demonstrate effective use of colour, shape and line to create three dimensional form . The world was created witht he intent to explore different features possible within the environment, whislt adhering to the restraints set by the assigned elevations. The new mario world exhibits insertion of hidden level underneath the given elevation, and depicts the addition of vribrant colout, elvated surfaces and water features.

Completed mario world after original submission

Revised mario world following feedback from tutor 10

module 3 pattern vs suface

panelled landscape

Module 3 explored the concept of developabale surfaces and 3D modelling software. Using Rhino and the assigned terrain, a three dimensional model which explored alternating height, angle and shape was constructed. After a period of experimentation with the configuration of the deisgned panels, the final model demonstrated pyramids of alternating shapes, and exposed tops. This contributed to a visually dyTnamic three dimensional model, which exhibited thourough exploration of panelling and pattern.

Photograph of panelled landscape (top view) 12

panelled landscape

Close up photograph of 3D panelled surface

panelled landscape

Close up photograph of 3D panelled surface

appendix

Four different shaped panels created using the Rhino software, bounding boxes are utilised to alter height

Panels are cut using angled blade and scored using a curved blade. Panels are folded and assembled using PVA glue and bullnose clips

Final panelised landscape (digital) is generated using Rhino software

Panels are divided into sections appropriately and unrolled

All panels are cut and assembled. Each panel is laid out according to row and column number

Panels are arranged and glued together

module 4

Hidden Cities 2: Raissa Felicia Didulo, 994833- Studio 29

frame vs field

isometric & perspective scenes

On a grand scheme, Raissa is a city of sadness and hopelessness. Within its walls, the people are known to be miserable, living lives which can be merely viewed as unfulfilling and miserable. However, hidden within, in a secret reality unknown to the outsideone where there is laughter and happiness. Through this interpretation, the perspectives attempt to demonstrate both spectrums of the city. However also demonstrate, that although happiness and sadness alternate the human inhabitants, the animals of Raissa live dominantly and without fear.

Hidden Cities 2: Raissa Felicia Didulo, 994833- Studio 29

Key Perspective 1

Slow Movement

Perspective 2

Fast Movement

Person

Stare

Animal

Glance

Heavy Mood

Light/ Dark

Light Mood

2.5m

Perspective 1

Perspective 2

isometric Hidden Cities 2: Raissa Felicia Didulo, 994833- Studio 29

Key Perspective 1

Slow Movement

Perspective 2

Fast Movement

Person

Stare

Animal

Glance

Heavy Mood

Light/ Dark

Light Mood

2.5m

The isometric drawing has been constructed according to the stories depicted in each perspective scene. Using an Isometric view of the old quad generated using Rhino software, various symbols have been utilised to demonstrate the interpreted narrative. Variation of colour and line weight has been applied to create an appropriate hierarchy, whilst ensuring the symbols are able to be easily identified and show accuracy according to the depicted scenes. The Isometric drawing shows movement, action and position and indicates the journey of Marco Polo within the assigned hidden city of Raissa. 18

perspective scene 1

The sadness and turmoil experienced within the city of Raissa is captured. Multiple characters are depicted, most displaying facial expressions of boredom and dissatisfaction. Though misery serves as the central atmosphere, the animals stand tall and alert- epitomising the natural domination of the city. In addition the naivety of children within the world, who prove oblivious to the adultsâ&#x20AC;&#x2122; despair, is represented through the joyful child waving in the background. This is further accentuated through the darkness of exaggerated shadows (humans remain in the shadows).

perspective scene 2

Exposing the hidden happiness within the city, the demeanor of most of the adult characters depicted within this scene contrast heavily against that of the preceding scene. Nevertheless, the animals maintain their superiority over the humans, and the children remain joyous. The lighting reflects the change of emotions experienced by the inhabitants, and the capitals and lanterns are lit. However, the sadness within Raissa is not fully abandoned or forgotten, as an old begger, who appeared in the preceding scene, serves as a representation of the inescapable despair of Raissa.

reflection Foundations of Design: Representation required continuous creativity and forced me to question pre-conceived notions I had acquired throughout my design journey. Through abstractly designed modules, my previous knowledge of design was challenged, and each module demanded that I view its focus differently. The lectures detailed the purpose of each module and required me to approach the completion of each one based on its fundamental intention. Prior to this subject I was unfamiliar with software like Adobe Indesign and Rhino. Additionally, I was inexperienced with conventional drawingwith architecturally based design being completely foreign to me. For these reasons, I was forced to learn quickly and work effectively. With restrictive time given to complete each module, my time management, and subsequently my problem-solving skills, were tested. Upon feedback, I made changes to each of my modules- assigning most of my attention to modules 2 and 3. For both modules, I compromised creativity and refinement in order to meet each deadline. Consequently, I was left with pieces that demonstrated compositions which exposed the absence of thorough thought and creative design thinking. Whilst redoing these pieces, I broadened the limits of experimentation whilst exploring colour, texture and form. I paid close attention to what could be added to elevate the overall composition, and committed time and creativity to improving each design. I believe each module forced me to pay closer attention to detail, and to think beyond what was required or expected. As a result of completing each module, I now understand the importance of cohesion and consistency. I am aware that something that can seem to be a minuscule flaw in a final design, can actually have a magnified impact on the overall piece, and its reaction. This subject has confronted my way of design thinking, and has instead unveiled an adventurous approach to design with the intent to challenge my creativity and capabilities.