ポ
ー
ト
フ
ォ
リ
オ
Foundations of Design: Representation|Francis Burne Thompson|757 758 | Anneke Prins, Studio 6
1
モ ジ ュ ー ル 一
HOW TO DRAW A CROISSANT 2
PHOTOGRAPHY
MODULE 1
3
MEASURED DRAWINGS
MODULE 1
4
AXONOMETRIC
MODULE 1
This
module
explored
the
translation
of
a
complicated 3D object (a croissant) into a series of 2D images that accurately describe the original object. The first step of this process was to take photographs of the croissant in plan and elevation (both short and long sides). The bottom of the croissant was also scanned in order to produce a 1:1 digital image to base subsequent work on. This initial stage introduced skills for photography including setting up back and fill lights and choosing an appropriate non-invasive background. Basic
Photoshop
knowledge
was
introduced
as the photos were edited to colour correct and physically arrange the individual photos into
a
After
this
three 1/4
complete stage
times, and
composition,
the
croissant
producing
1/8
the
section
length
of
as was cuts the
shown. bisected at
1/2,
croissant.
Actually drawing the croissant began by tracing the photographs in pencil before proceeding to add depth and shadow to the line work with pencil shading and hatching with a fine liner. The section scans were drawn by first tracing the section cuts with a bold 0.3mm fine liner before the internal volumes of each croissant cell were shaded. This
module
introduced
very
basic
drawing
skills and Photoshop skills that will develop in future but the most important skill this module introduced
was
notation
convention
by
dem-
onstrating the breakdown of a geometrically complex object into a series of measured drawings. The final stage of Module 1 was the construction of a basic axonometric projection. By skewing the sections along a 45 degree grid a 3D representation of one half of the croissant was generated. This translation from 2D to 3D laid the ground work for the following module while introducing the concept of an axonometric projection as a measurable representation of three dimensional space.
5
モ ジ ュ ー
FLATNESS VS
ル
PROJECTION
二 6
INITIAL IMAGES
MODULE 2
This module was an exploration of projected depictions of 3D space while also introducing the concepts and skills required to grasp vector illustrations. This was also the first module to offer a large degree of artistic choice and freedom. Two images were supplied to act as book ends to a floating world, informing the location of major elements while the interstitial space was left to our own imaginations. The images supplied showed a world floating on white, with large pillars piercing the horizon. I chose to interpret these elements as the tops of clouds and tall, stylised trees respectively. My world therefore focuses on the forest beneath the clouds, made dark and forboding by the clouds as the move through the tree tops. This sense of forboding was enhanced by the spectral figures that watch the path that marks Mario’s movement through the space. My chosen colour palette was based on a combination of the initial images and desired sense of unease that I wanted to invoke. Simultaneously I used hard edged shadows along the faces of objects rather than soft gradients to emulate the cartoonish nature of the Mario series of video games. Throughout this module I expanded my skills of measured drawing and with the use of illustrator software, especially as I included elements such as curved patterns across surfaces.
7
A NEW MARIO WORLD
MODULE 2
8
PROCESS
MODULE 2
Populating The Ground Plane Bounding boxes for each major object were placed along the ground plane using the width of the object and assuming an equal width and height.
Annotation Of Object Heights The height of each object was measured from the base of the image and noted down.
Extrusion Of Objects The base of each object was then extruded to form cuboid pillars before corners were rounded to form rod like shapes.
Finalised Hand Drawing Drawing With Completed Extrusions
The only major element removed from this drawing are the two sectioned trees on bottom left of the image.
9
The final drawing before details such as characters and blocks were added.
ITERATIONS
MODULE 2
A comparison of the Mario world before and after feed back was implemented following presentation. The thickness of the ground plane was increased to balance the overall weight of the image. The smaller trees where given a second colour to break up the large section through the middle of the image while also adding depth and finally the snow and cloud colours were changed to better fit the overall colour palette and mood.
10
モ
PATTERN VS SURFACE
ジ ュ ー ル 三 11
THE MAKING OF A NEW LANDSCAPE
MODULE 3 This module was an exploration of the creation of a 3D model that was an abstraction of real world topographical data, taken from a Tasmanian mountain range. The 1km2 area flowed downwards across opposite diagonals which I found to be reminiscent of the distortion of a body of water immediately prior to a wave cresting. Inspired by Hokusai’s The Great Wave off Kanagawa (1832), my model is intended to emulate the range of surfaces that exist in turbulent water, from noisy to smooth, open to closed. The three modules that make up my model are arranged in two sets of bands that radiate from opposite corners of the model. Moving from corner to centre, the first module is tall, pointed and highly skewed. The second module acts as in intermediate, the point has been truncated and each half has begun to shear, creating a single opening. The final module is therefore an extension of the trends the first two begin to establish. Two truncated triangular pyramids make up each module, creating a smooth surface across the centre of model while the chasms within each of these modules align to create a sense of impending movement and direction.
12
The central flattened area contrasts with the rising points seen the background 13
PROCESS
MODULE 3
Initial Site Condition The raw site file which serves as the base of the final model both physically and inspirationally.
First Test Of 3D Panelling An exploration of the effect of skewed pyramids receding across the surface of the landscape to create movement and differentiation.
Individual Modules And Their Reflections Individual modules were developed with a transition between each module to create a flow from one module to the next.
Detail showing the peaked forms of the corner modules that brace each side of the model
Visualisation Of Nets Each coloured area represents a contiguous net in the physical model, with 55 discrete nets making up the final model.
14
UNROLLED NETS
MODULE 3
A Selection Of Nets Nets right ed
from each of the three modules. From left to showing the pointed pyramid, sheared truncatpyramid and double truncated pyramid forms.
15
モ ジ
FRAME
ュ
VS FIELD
ー ル 四 16
INVISIBLE CITIES
MODULE 4
17
ISOMETRIC
MODULE 4
Cities & the sky 1: Diomira This module was an exploration in perspectives and the human eye. Marco Polo’s description of Diomira focuses on the city itself, rather than its denizens. Diomira is a city of amazing architecture with glass and lead adorning its streets, yet none of this is seen to be of note or remarkable. Instead what sets this city apart is its nightlife, where the city comes alive. This module consisted of three discrete yet intertwined parts with an isometric notarised map of Marco Polo’s journey through the space and two perspectives showing the view of Marco Polo at a single point in time. The isometric view shows a relatively empty city during the day, shown in the lower section of the quad while the upper section of the quad shows a curved transition into night time as the curves invoke a sense of expansion as they take over the city. Beyond the threshold of the curve, the map becomes a much denser space with crowds of people appearing and areas of light and dark cast by the columns that punctuate the space. The figures I have chosen to fill the perspectives are sourced from mid 20th century retrofuturistic science fiction images. I chose this theme to reflect the optimistic feeling of exploration that is reflected in Marco Polo’s descriptions. Additionally certain elements of the story align with tropes of science fiction - The “sixty silver domes” correspond to the fish bowl style space helmets. Cites of lead and crystal correspond to the metal and glass structures of the envisioned future.
Key Perspective View Points Marco Polo’s Path Dark/Light Open/ Closed space Passing of Time
0
1m
2.5m
Use the eyedropper tool to copy colours and line Use the eyedropper tool to copy colours and line across drawing. into your isometric drawing. 5m weights across weights into your isometric
Crowds and People Stares and Glances
Use the eyedropper tool to copy colours and line ne d lidrawing. aneyedropper s r weights across into pyour isometric u lo o Use the tool to copy colours and line c co y o t 18 l o . o t g r in draw across into your isometric drawing. yedroppe ur isometricweights Use the e to yo ts across in
PERSPECTIVE ONE
MODULE 4 The first perspective shows the arrival of Marco Polo, The relatively open space centres on an opening at the edge of the quad, framing the arrival of a space ship as a figure watches on. This is juxtaposed with the relatively disinterested worker in the foreground, who is an embodiment of Marco Polo’s comments about the lack of interesting features in Diomira. The transitory space craft that occupies the central opening is the “golden cock”, heralding the start of the day as told by Marco Polo.
Perspective 1 with figures, background and textures inserted
Perspective 1 capture without figures
19
PERSPECTIVE TWO
MODULE 4 The second perspective shows a scene of Diomira at night. In contrast to the first perspective, this second perspective has Marco Polo peering around the edge of a column to convey a sense of unease via claustrophobia in the decidedly more alien environment of Diomira at night. The lower left corner shows why Marco Polo is uneasy. A figure hidden by the harsh shadow of the column is working on a robotic women, who is herself a reflection of the hidden workings that lie under the surface of the city.
Perspective 2 with figures, background and textures inserted
Perspective 2 capture without figures
20
REFLECTION リ
フ
レ
ク
シ
ョ
ン
This course has, over the course of the semester, introduced me to a variety of design skills both physical, digital and theoretical. At the beginning of this subject I was equipped with only cursory knowledge of the adobe suite of software, no knowledge of rhino and some drawing skill but only what I had developed naturally. Considered together, the four modules that make up this subject have given me a strong understanding of the interaction between two and three-dimensional representation as well as translating between the two modes of depiction. The lectures introduced forms of 2D representation such as plan, elevation and section drawings that were then created in module 1 while later lectures introduced concepts of axonometric, isometrics and perspectival projections as a means of representing 3D objects within a created space or field. These ideas were explored and expanded upon in modules 1 and 2 and module 4 respectively. Module 3 was unique because it was the only module that shared the same dimensionality as the beginning information albeit with an intermediary 2D stage that allowed the exploration of developable surfaces. Module 1 introduced a basic level of Photoshop while allowing me to focus on developing my drawing skills, specifically shading and hatching to communicate depth and shadow. Module 2 allowed me to develop my skills in vector illustration as well as workflow skills associated with generating a digital image from a physical drawing. Although I have self-taught experience with google sketch up, Module 3 presented an entirely new piece of software which, coupled with my decision to laser cut my nets, required me to learn the largest array for skills for a single module. Module 4 was in many ways a culmination of all the skills generated in previous modules. Module 4 tied all the modules together and allowed me to progress my skills while also exploring new tools and commands in the software used by utilising 4 programs in a single module.
Of the four modules I produced I feel module 1 was my weakest. In retrospect I should have put more time into the hatching and shading to generate more depth and a greater overall tonal range. In contrast I feel that module 3 was the strongest module I produced, due to a combination of previous model building experience and pushing my self to utilise the services of the fabrication lab to laser cut my modules.
21