Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO Georgia Hodgkinson 914651 Studio 01 - Emmanuel Cohen
MEASURED DRAWING OF A CROISSANT
How to measure a Croissant? I took photographs of the plan, top, front and side view elevations of the criossant. I then laid these out in a formation (right) which communicates each elevation in relation to one another. After tracing my photos of the croissant, i used rendering techniques to establish depth and detail. I used hatching in pencil on the plan, front and side elevations,as well as the sections, hatching in a single direction using 2B, 4B and 6B pencils. I then attempted a cross-hatching technique using liner on the top view. I have then positioned the projections to resemble an orthographic (following page) adding projection lines and measurements to distinguish the relationship between the drawings.Â
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70MM
Orthographic Drawing. I traced the photographs of each elevation and used hatching and cross hatching methods to create depth and shadow. I used different gradings of pencil to achieve depth.
130MM
FRONT VIEW ELEVATION
75MM
SIDE VIEW ELEVATION
130MM
SECTION C
SECTION B
PLAN VIEW
SECTION A SECTIONS
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TOP VIEW
RENDERED SECTIONS
SECTIONS PLOTTED ON GRID 10X10MM
SECTIONS PLOTTED ON GRID 45°
Axonometric Drawing. I took the rendered sections and plotted them on individual 10x10mm grid. with this information, i plotted it on another grid at 45 degrees on top of the plan. after joining the sections, a 3 dimensional view of the sections was created, showing the relationship between the plan and the section cuts.
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The making of new Mario world. I have combined the two Mario Worlds - one being on the top level and the other below. The worlds are connected by a waterfall which flows from the top to the bottom level. I have used transparency in order to show all aspects in the scene. I have used textures to add depth to the scene - I have added wave texture to commincate that the world is underwater, whilst a rock texture depicts the bottom of the ocean, whilst it clearly shows the drop in ground level. I have used shading to communicate depth - the rock forms in the bottom section are darker to show they are deeper under the water whilst the top section’s rocks are lighter as they are exposed to the sunlight. Ladders are added to connect the rocks to the ground, jellyfish, additional floating rocks and seaweed are also added to fill the expty space created when I connected the 2 worlds.
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Plotting Points and Extending lines. Points are recorded on elements in the 2D images, projection lines are extended from these points
The two 2D Mario World images were placed at a 45 degree angle then projection lines extended to create the 3D axonometric version of the 2D images.
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Handrawn Mario World. The worlds are connected by a waterfall which extends from the top to the bottom section. I used this drawing as a basis for my Illustrator rendering. I added extra detail in Illustrator to fill in empty spaces.
Materials. I used the following materials to construct the axonometric drawing: T-square, 45 degree set square, drawing board, 2H pencil and 2D Mario World images.
Mapping out the main objects. After overlaying tracing paper over the 2D Mario World scenes at 45 degrees, I mapped out the significant points of each object’s perimeter. I then projected lines from these points.
Creating the axonometric objects. The t-square allowed me to easily position the set square for plotting 45 degree and 90 degree lines, this allowed for correct depiction of axonometric objects.
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PAPER LANDSCAPE
The making of new landscape The result was successful, as I finalised the construction of all shapes together on the 2D surface, the surface curved successfully to show the organic shape of the terrain. The holes cut into the 2D panel allowed for greater flexibility to allow the surface to curve. The contrast in height of the shapes is clear due to the differentiation of shapes as well as the rise and dip of the surface. The varying size of the openings creates an effecitve surface. Indentations and folds on the 2D surface allows for greater complexity of shape as well as introducing an element of negative space whilst creating a repetitive pattern.
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The folding of the shapes created a neat and successfully curved surface. The shadows created when the light hit the 3 dimensional shapes effectively communicates the rise and dip of the surface. The most successful areas of the panelised landscape were the far left and right edges, as they resulted in a dramatic rise in the terrain.
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Final panelised surface on Rhino. The result was successful and the panels were all developable. The surface resulted in a curved terrain which dips very low in the center and rises at the left and right sides. I was satisfied with the clear contrast in height upon the surface.
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Contouring the surface. Using my terrain file, I used a bounding box, created a mesh then contoured the mesh, which resulted in a series of lines. I then rebuilt the points on the contoured surface to simplify it, then from this I build my 2d and 3d panelised surfaces.
Panelling. The terrain + points was used to construct 2d and 3d panelling. I used the commands custom variable commands in order to create my own shapes for panelling.
The curves on the surface create effective shadows. The 2D section replicates tiles and the space around one shape creates a new shape. The 3 dimensional folded shapes resulted neatly and the where the folds come together on each shape is consistent throughout, which maintains a neat and orderley model.
Unrolling. I constructed the panels on top of the 2d surface then deleted 50%. I used the UnrollSrf command to unroll each shape. I decided to unroll them individually as I attempted with 3 at once and discovered they were difficult to fold and construct.
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Cities and the Sky: Eudoxia ‘Two objects so dissimilar as the carpet and the city.’ I interpreted my story as being seperated into two seperate realms: one being the city and one the carpet. The city, being a space in which Marco Polo finds himself lost ‘amid clouds of dust, fire, screams in the darkness.’ The city is ominous, gothic and decaying - yet it holds an answer, which is the carpet. The oracle, who I have interpeted as an angel, directs Marco Polo to a carpeted threshhold, which in the city, appears as a floating cube. A Marco Polo enters, he finds himself within the carpeted realm. It is within this space that Marco Polo experiences a sense of calm and peace after being lost and confused. The story seems to be communicating a notion that the carpet contains an answer, or a conclusion to Marco Polo’s travel within this city. Thus I have communicated, through a pathway leading outside the quad, an exit from the city.
I intend to communicate, through the isometric drawing on the right, Marco Polo’s travel within the city of Eudoxia. He enters at a slow pace, quickening in areas in which he feels frightened. He is lost in the space. His movement is majorly around the perimeter of the quad as I want to show a sense of his frightened state, he wishes to remain safe at the edges if the need for a quick escape arises. His mood is heavy throughout most of his journey. At the bottom right corner, Marco Polo notices the carpet, before entering the realm and thus, he acheives an answer and a sense of peace. He then exits the realm and the city altogether.
Key t Slow Movemen
Fast Movement Stare Glance Light Feeling
0
1m
2.5m
5m
g Heavy Feelin Light/Dark Lost Peace
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Perspective 1: The City This scene is mysterious, ominous and gothic. I interpeted the scene to be emply to add a sense of mystery and unease. I have used decaying concrete texture, stains, fish and a rat to insinuate the dirty and fish smelling nature of the city. The story mentions the city lies amongst ‘clouds of dust, fires’ therefore I have displayed this through dust/smoke clouds within the quad. The clouds in the city’s background alludes to the idea of ‘Cities and the Sky’ and allows for the notion of Marco Polo’s inability to escape the city as nothing lays beyond. ‘One of the two objects has the form the Gods gave the starry sky, the other is an approximate reflection.’ Thus I have made the roof of this view the starry sky and the roof of my second view a reflection of its surroundings (the carpet). I interpreted the carpet in this scene as a seperate threshold which floats in space, and in which Marco Polo enters into the second perspective. The oracle is an angel, who awaits Marco Polo to communicate to him the existance of the carpet.
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Perspective 2: The Carpet This perspective is Marco Polo’s view from within the carpeted threshold. Once he enters the carpeted space, the city around him becomes entirely carpeted - ‘an approximate reflection’ of itself. This scene is brighter to insinuate a sense of the divine and harmony as Marco Polo escapes the frightfull first scene. Eudoxia’s carpet I have interpreted as a final conclusion to Marco Polo’s adventure through this city - ‘Concealed among the arabesques, an answer.’ Marco Polo has reached his final destination in the city, therefore is able to escape through the pathway which appears within the carpeted threshold. This pathway also alludes to the winding alleyways within the story. The oracle farewells Marco Polo, who leisurely exists the quad. He is at ease now, and has reached a sense of peace.
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REFLECTION MODULE 1: Within this project I gained skills in the areas of hand sketching and orthographic placement of drawings. I developed skills in which to create depth and shadow through the use of hatching and different gradings of pencil. I learnt how to distinguish plan, top and side view elevations and where these are placed upon an orthographic layout in order to reference their measurements in relation to eachother. I learnt for the first time how to create basic axonometric drawings by hand. Amendments: I went back and re-sketch some of my drawings as they did not experiment far enough with different pencil gradings to create depth.
MODULE 2: This module allowed me to understand the difference between flatness and projection, and how to create a 3 dimensional drawing from a 2 dimensional basis. I learnt that projection is a way in which information is conveyed in a 3 dimensional format, and I gained skills as to how to project forms through the Mario world excersise. I gained skills in creating an axonometric by hand and further skills for rendering the image in illustrator. Amendments: My Mario World which I pinned-up in class wasnt greatly successful, as I realised in comparison to my classmates, I had not experimented with texture and depth as much as I should have, therefore my drawing was flat and did not communicate the link between world 1 and 2 clearly enough. I went and changed my world, I added in textures of water and rock to add depth, added shadow and changed the colouring. I used the texture of rock on the ground surface in order to insinuate the drop from the top to the bottom level, as this was originally unclear. I also added in more linework to accentuate the seperate sections.
MODULE 3: I found this module the most challenging as I had not constructed a model before, and I found Rhino very difficult. However, I gained a lot of skills in using the software, as well as neatly constucting a successful model. I learnt from lectures and precedents that folding is a common and effective arichitectural technique, and thus I took on inspiration from these precedents in my model. I discovered the relationship between 2d and 3d form and pattern, and which shapes are developable and those which arent. Ammendments: I had a lot of trouble creating developable shapes. Thus I resulted in using only 2 variations of cubes although I would have liked to experiment much further with different forms. I went back and photographed my original model to show greater level of shadow.
MODULE 4: Through this project I learnt the importance of perspectival space and the positioning of objects correctly in order to communicate their relationship to eachother and to the space surrounding them. I found this module most enjoyable as I was able to explore concepts and ideas within the story using my own interpretation. It was a challenging task to arrange Marco Polo’s movement within the isometric view of the quad, as this had to match up to the story told in the perspectives. Ammendments: I adjusted the lineweights of the isometric I pinned-up as the symbols were fighting for attention amongst the heavy lines of the quad. I also fixed the pixellation that occurred on my original. I changed one of my own created symbols from ‘confusion’ to ‘lost’ as this communicates my interpretation of the story better. I intend for Marco Polo to feel lost throughout his movement around the quad, but to feel peace when he discovers the carpet. My original perspectives did not include a human figure, therefore the perspective of other objects werent clearly conveyed. I went back and added in Marco Polo and the oracle (an angel) which then allows the viewer to relate the perspective of the space with the height of a human. This addition added greatly to the effectiveness of my perpective views.
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