FoDR M1 S2 2018

FoD:R

FOUNDATIONS OF DESIGN: REPRESENTATION ARCH10001, SEM 02 - 2018 SURVIVAL GUIDE

M1 HOW TO DRAW A CROISSANT

HOW TO DRAW A CROISSANT?

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M1 - CONTENTS

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WEEKLY TASKS

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M1 RUBRIC

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APPENDIX

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HOW TO SET UP A PHOTOSTAGE

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BASIC PHOTOSHOP ADJUSTMENT

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WEEK 1

TUESDAY

LECTURE 1: WHY DO DESIGNERS DRAW? The role of representation in design? What the subject teaches? Origin of line - notion of plan and section. What material and equipment (inc computer spec) to purchase? LMS and online learning Resources. House-keeping & rules. Assessment etc. Introduction to M1 task.

INTRODUCTION: In this module, you will learn to measure a Croissant and construct orthographic projection drawings by hand. You will learn to use drawing equipment appropriately and explore techniques of hatching and shading.

NO STUDIO 1

TASKS BEFORE FRIDAYS STUDIO

CHECKLIST

1. Purchase drawing equipment and a croissant [1h] 2. Set up your online portfolio website using WIX. Refer to the tutorial on the LMS under Module 01. [0.5h] 3. On your website create 6 pages. Name them: Profile, M1, M2, M3, M4 & M5.

On your profile page write a short introduction. [100 words] about yourself. Things to include are: Degree, Major & Interests. Additionally you may wish to add a head-shot image of yourself. [0.5h] Your website will be your online portfolio that you develop throughout semester and may be added to in future subjects. Treat this as a professional document that you can show to potential employers. You are assessed on your online portfolio with each module so make sure you curate your work.

LAYOUT EXAMPLE PAGE 1 - SCANNED IMAGES

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WEEK 1 FRIDAY

Tutorial content: Tutorial introduction, Drawing seminar during studio & instruction for Week 2. Tutor to discuss portfolio, Wix interface and go through basic photoshop on how to clean up drawings from Scan, move image to alignment - see task below.

STUDIO 2

TASKS BEFORE TUESDAYS STUDIO

CHECKLIST

1. Set up a photostage at home and take photos of your croissant.

Take one photo of plan view and two elevation (long and short side) views of your object. Ensure camera is at the same level as your object [1.5h]. Refer to the M1 Appendix for Photo-stage Set-Up. 2. Use a scanner and scan (in colour) the bottom plan view of your croissant.

Save it as a Jpeg or Jpg. See LMS for how to use scanner in MSD. Please do not use the library or print room scanners. There will be a dedicated scanner for FoD:R students to use.

3. Cut your croissant in equal halves along the short length (it is easier to leave your croissant out for 24h before cutting it). Take half of it and cut a parallel section - repeat until you have 3 cuts.

It is important that the cuts are parallel to each other. (If your croissant is curved DO NOT angle the cuts to follow the curve).

4. Use a scanner or a photocopier, make a scan and copy of your sections, one section per A4 page. Make sure each scanned section is facing the same direction [1h] 5. Watch Online Tutorial: How to Fix Scanned Drawings in Photoshop, you can watch via LMS, under Module 1 or you can follow instruction in the M1 Appendix. Using the scanned bottom view as the base, align the photos of plan view and elevations (from step 3) next to the base. [2.5h] 6. Print the composed sheets on an A3 paper (unless you have a giant Croissant, it should fit on the page) and bring it to the next class (Note: do not scale to fit page). Bring the following equipment to Week 2 studio class: Your cut croissant A3 Tracing pad or a roll of greaseproof (butter) paper Pencil, 4H, 2H, 2B, 4B + pencil sharpener Eraser A ruler, set square and T-Square Masking tape 7. Read Miralles, Enric,1983.: How to layout a croissant? to discuss in Studio 1 Week 02.

Do not throw your other half of the croissant away, every croissant is unique so you will need to keep it, freeze it and take it to your M1 presentation.

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WEEK 2

TUESDAY

LECTURE 1: THINKING IN ORTHOGRAPHIC SPACE

Reading: Miralles, Enric,1983.: How to layout a croissant?

Tutorial content: Discuss seminar reading [15min].

Tutor to show how to set up drawing equipment in class and draw plan and elevation on tracing paper over scanned images [1.5h].

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Complete 1 x top view, 2 x elevation and section drawings of your Croissant; use the reading to assist you in understanding the drawing techniques. Think about how you are going to arrange your drawings on the page. Ensure you include: Section Cut Lines with Annotation, Drawing Titles, Dimensions and a Scale Bar. Refer to the layout examples.[1.5h] 2. Overlay tracing paper over your top view and apply hatching to show depth, use 0.15 fineline pen to make hatches. [0.5h] 3. Overlay tracing paper over the two elevations and apply shading using 2B and 4B pencil to show depth, apply fixative when complete. [0.5h] 4. Overlay tracing paper over the three sections and use 0.15 fineline pen to trace the section profile. Use 4B and 6B pencil to apply depth by shading. Use 0.4 fineline to outline the cut line. [0.5h] 5. Bring the composed drawings to the next studio class on A3 trace.

6. Read Zell, 2008. Chapter from The Architectural Drawing Course to discuss in Studio 2 Week 2.

LAYOUT EXAMPLE PAGE 2 - DRAWINGS

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WEEK 2 FRIDAY

Tutorial content: Discuss seminar reading [15min]. Tutor to show how to construct axonometric projection in class using information from plan and section + how to reduce image resolution for Wix page[1.5h].

Recap on submission requirements for M1 [15min].

Reading: Zell, 2008. Chapter from The Architectural Drawing Course.

STUDIO 2

WEEKLY TASKS

CHECKLIST

Attempt to set up an axonometric of your object using information from the sections, complete this within a timeframe of 3 hours. Note: we want you to understand the principal of setting up the axonometric.

1. Overlay tracing paper over your section drawings and draw a grid that is 10 x 10mm. Identify the intersection points of the section line with the grid. [0.5] 2. Photocopy your plan and set it up as the base for your drawing; rotate the plan 45 degree. Along the section line, project a set of 10mm spaced lines vertically. You can then transfer the intersection point identified in item 1 onto the plan base to construct your axonometric drawing. Refer to LMS for further instruction [2.5h].

3. When you are done, scan the drawings. Make sure that all your annotation, composition, titles, dimensions etc are completed by hand before scanning.

There is to be NO digital work/text/annotation/lines. (Make sure you are scanning at 300dpi); use photoshop to adjust levels so the background is white. You may want to adjust contrast to make your lines more visible. [1.5h] 4. Print on 3 x A3 Paper and bring to Week 3, Studio 1 for pin-up. Keep your drawings flat.

5. Upload your 3 sheets onto your online portfolio on your M1 page. Write a reflection on the same web page. Comment on the themes of the module and readings as well as why we use orthographic drawing.

[Approx 150 Words]. You may wish to add extra progress images and notes.

6. Upload your 3 Pages to Turn It In, located in the Module 1 folder on the LMS. Submission Checklist • 3 x A3 Sheets, Printed Landscape to Pin Up:

Page 01: Cleaned croissant scans & photography.

Page 02: 1 x Top view hatched in pen.

1 x Short elevation shaded in pencil.

1 x Long elevation shaded in pencil.

3 x Sections shaded in pencil.

Page 03: 1 x Axonometric line work.

1 x Axonometric shaded in pencil or hatched in pen.

• Upload your 3 Sheets to your online portfolio on your M1 page as jpeg image files and write a 150 word reflection on Module 01.

• Upload your 3 Pages to Turn It In, located in the Module 1 folder on the LMS. 7

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MODULE 01

What is a pin-up? At the end of each module, we will ask you to pin-up your work in studio. You will prepare a 2min verbal presentation of your work.

In this module, use the following as a checklist for your presentation: Is your drawing accurate and how you can improve on this?

Discuss how you use graphic elements, such as shadow or hatching to create a sense of depth in your drawings.

LAYOUT EXAMPLE PAGE 3 - AXONOMETRIC

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M1 RUBRIC WHAT IS A COMPLETE SUBMISSION FOR M1?

A complete submission for Module 01 consists of: - 3 x A3 Sheets of Printed Drawings Presented In Studio 1 Week 3 - 3 x A3 Sheets & 150 Word Reflection Uploaded to Portfolio Website.

- 1 x Compiled A3 Sheets Uploaded to Turn It In.

Drawing Skill & Presentation

Drawing Convention

Online Portfolio

40%

30%

30%

H1

As H, plus student has exercised dexterity over drawings skill and techniques. Excellent verbal presentation.

As H, plus annotative elements add further complexity and refinement to the overall composition. Skillful application of technical drawings convention.

As H, plus drawings are composed and presented clearly on website with annotation. Reflection shows higher thinking of the Module concepts. Website is exceptionally well composed and curated.

H

As P, plus drawings presented are precise in execution and demonstrate a range of skill in hatching and shading. Axonometric drawing is well crafted. Drawings are clean and well composed. Good verbal presentation.

As P, plus drawings are precisely annotated following technical drawing conventions.

Section cut lines, fonts and scalebars are all present and composed with dexterity.

As P, plus drawings are cleaned up using photoshop and levels adjusted. Reflection is in depth and critical. Website is composed neatly and personalised.

P

Student presented the required set of drawings as outlined in Survival Guide. Weak verbal presentation.

Student has followed technical drawing convention.

Drawings are to scale with required annotation.

Student has scanned and uploaded drawings to website as instructed but not completely clean. Reflection covers basic themes of the Module. Work is uploaded to turn it in.

N

Set of drawings is incomplete or poorly executed with untidy layout.

Drawing fails to demonstrate an understanding of orthographic projection and has major flaws in its execution. No verbal presentation.

Student has not followed drawing convention in the construction of the images.

Drawings are not to scale.

Student fails to upload required content to website and upload work to Turn It In.

Proportion of Total Mark: 5% Individual Mark

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M1 APPENDIX

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HOW TO SET UP A PHOTOSTAGE

This easy setup is intended to remove distracting background detail and enhance your ability to control the kind of lighting that falls on the model.

LIST OF EQUIPMENT • Camera (can be compact or SLR) • Backdrops - a large sheet (A0 size) of clean uncreased white drawing paper. Different colored paper may also work (black or grey) something that will contrast the model remaining neutral + something to attach it to a wall/vertical surface. Place the backdrop so it curves between a vertical and horizontal surface.

• Lights - Use a directional desk or standing lamp. Two light sources is ideal. If you only have one you can also use a reflector (piece of white foam core approx. 50x50cm). You can also take photos using daylight coming through the windows or set up outside on an overcast day

© Alison Fairley

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HOW TO SET UP A PHOTOSTAGE

MODEL PHOTOGRAPHY Lighting Setup Note: A key light is the main light source in a photo, it should be the one that casts the shadow. A fill light fills in the dark side of a subject, it’s the secondary light source, if you only have one light, this can be a reflector close to the subject.

Standard lighting setup

MODEL PHOTOGRAPHY Lighting Setup Note: A key light is the main light source in a photo, it should be the one that casts the shadow. A fill light fills in the dark side of a subject, it’s the secondary light source, if you only have one light, this can be a reflector close to the subject.

Standard lighting setup

Standard lighting shots

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MODEL PHOTOGRAPHY

HOW TO SET UP A PHOTOSTAGE

Composition

The composition of the image is the second most important element of great model photography. Here are a few beginner rules to follow (and perhaps think of ways to break when you’re more experienced) •

Get down to the models level. No “God Views” unless the whole focus of your design was to be viewed from above.

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Try to get into the space of the model, either by placing the camera inside, zooming into the space or using focus to pull the view into the space. (remember if you can’t focus the camera while close to the model move back until you can and then crop the image in photoshop to zoom in further)

MODEL PHOTOGRAPHY •

The eye will always look at the area in focus first. Focus the image on a section of the model that is most interesting and the most important to the design.

Composition

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Use light and focus to highlight details, texture and form. Move them around to see what gives the best The composition of the image is the second most important element of great model photography. Here are a results.. few beginner rules to follow (and perhaps think of ways to break when you’re more experienced)

•

Remember the rule of thirds. Objects placed anywhere on a third line in the image have more punch than • either centre or randomly placed areas. The intersection of the third lines are important points to consider.

Get down to the models level. No “God Views” unless the whole focus of your design was to be viewed from above.

•

Try to get into the space of the model, either by placing the camera inside, zooming into the space or using focus to pull the view into the space. (remember if you can’t focus the camera while close to the model move back until you can and then crop the image in photoshop to zoom in further)

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The eye will always look at the area in focus first. Focus the image on a section of the model that is most interesting and the most important to the design.

•

Use light and focus to highlight details, texture and form. Move them around to see what gives the best results..

•

Remember the rule of thirds. Objects placed anywhere on a third line in the image have more punch than either centre or randomly placed areas. The intersection of the third lines are important points to consider.

Rule of thirds

Rule of thirds

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MODEL PHOTOGRAPHY

BASIC PHOTOSHOP ADJUSTMENT

Photoshop As long as photos are in focus and well composed then almost anything else can be fixed up in photoshop.

The more time you take getting a great photo = the less time in photoshop and vice versa.

A few easy steps to fix common model photograph problems are as follows.

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Open your file in photoshop

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Right click on the background layer in the layers pallet

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Make a duplicate layer (this is the layer we will work on, the background layer maintains a copy of the original photograph incase something goes wrong)

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Add a levels adjustment layer by hitting the black and white cookie button at the bottom of the layers pallet and choosing “levels”

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Move the little triangle sliders under the graph so the outer ones are located under the beginning of the graph (assuming there is white and black in your photograph, otherwise move them until the image looks good with enough contrast). Move the middle triangle slider until the image looks bright enough.

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Once your levels are correct, go back to the black and white cookie and choose “photo filter”. Most images taken with home lighting solutions are very warm (yellow / orange / red). To combat that try adding one of the cooling filters and change the density until the white areas of your scene look white. You may need to add two photo filters, a cooling one to remove the yellow and a green one to remove the red tones.

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If your image still has an incorrect colour wash over it you can always put a black and white adjustment layer on.

It’s also located under the black and white cookie.

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Finally use the crop tool (fourth tool down in the tool pallet on the left hand side of the screen) to fix any composition issues (not close enough, getting sections onto the third lines) once you’ve drawn a crop box you can rotate it if the image isn’t quite horisontal to straighten it out.

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Make sure you save your images as a photoshop file (.psd) to retain all the layers and adjustments you have done. To place into indesign / email or place the image on the web you should make a second .jpeg save of your file.

Finally the best way to take a great model photograph is to take a lot. Just keep shooting and trying different ideas, angles, lighting and focus points. It doesn’t cost anything and you’ll be sure to get at least one killer image for your folio or presentation.

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