FODR s1 2017
837010, Anneke Prins (studio 10)
task: produce a set of hand drawn orthographic and axonometric drawings of a croissant.
m|one
2
M1: How to draw a croissant
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From this task, I gained an understanding of how the way in which a line is drawn can affect its meaning.
A B C
C
A series of photographs of the original croissant were used as the basis for producing the final set of drawings. By scanning the underside of the croissant all photographs could be scaled to the correct proportions, as photographs distort an object’s true size. The orthographic projections are composed of two layers with dimensions taken from the initial photographs. Layer one was completed using technical pens, varying thicknesses for dimension lines, and graphite pencil for the croissant and section outlines; the lighter the pencil line the further away the object. Depth was shown in the second layer through hatching (plan) and shading (short and long elevations). Using the orthographic croissant plans and sections an axonometric drawing was produced. Section heights ensured the final drawing, outlined with technical pens, was one-to-one in scale.
GEORGIA GRIFFITHS
B
A
HOW TO DRAW A CROISSANT
SECTION PLAN
PHOTO
PAGE 1 OF 4
Orthographic projections
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LONG ELEVATION
SECTION A
SECTION B
PLAN
SHORT EVELATION SECTION C
GEORGIA GRIFFITHS
HOW TO DRAW A CROISSANT
ORTHOGRAPHIC DRAWINGS
1:1
GEORGIA GRIFFITHS
SECTIONS
1:1
axonometric Drawing
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GEORGIA GRIFFITHS
AXONOMETRIC
1:1
task: Create a digital axonometric Mario world through the exploration of 2D and 3D spatial constructs.
m|two
M2: Flatness vs. projection
Module two was completed using a combination of technical drawing skills and Adobe Illustrator. The new Mario world created for this project aims to seamlessly join the two supplied images of the 1990s game into one coherent 3D axonometric representation. As the original game is viewed as predominantly flat, with little implied depth, an important element of the task was to imagine and create the ‘hidden’ space; the space revealed when depth is introduced to the two original images after being projected onto the picture plane. I produced the new landscape from the perspective of Mario, to make it a functioning space that could essentially be ‘playable’. Common elements of characters, stairs and ramps were introduced throughout the final piece to further tie the two original worlds together. The use of colour gradation across each object conveys a greater sense of depth, with particular directional placement on each waterfall to illustrate that the world continues further than what is shown.
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M2 Process
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Figure 1: The following shows the equipment and materials required to complete the task. Each Mario world was projected onto the picture plane at a 45 degree angle.
Figure 2: Each section of the Mario world was projected onto a single layer of trace paper, to ensure neatness and accuracy. From here the two world halves could be overlaid to best understand how to link them.
Figure 3: The first draft of the combined Mario world’s was produced using graphite pencil. Clouds were drawn separately to allow for visibility of construction details during later development.
Figure 4: To complete the final design further refinement of the first draft was required to fix inaccuracies and add additional details. The combined Mario world (right) was produced using technical pens.
task: Manipulate a section of terrain as a buildable surface using Rhino 3d panelling tools.
m|three
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M3: Pattern vs. surface
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The model I created reflects the terrain, with the arrangement of both 2D and 3D panels mirrors the shape of the landscape.
Digital models were produced using Rhino Panelling Tools with the line work of resulting nets being edited for printing on Adobe Illustrator. The final model was built using 160gsm matte paper though a thicker stock would have produced a far more rigid structure. Areas of elevation within the model have been composed of taller panels while lower spaces have a greater number of flat patterned panels. The 3D shapes themselves appear to ‘open’ up as they become taller and close where the terrain flattens. I wanted to achieve a seamless transition between 2D and 3D by mixing both elements, not having a divisive line separating the two. One important aspect of the task was to ensure that all shapes were buildable. Testing of nets prior to the completion of the final digital model was undertaken to make sure of this.
Figure 1: Above is an image of the original unedited terrain. The surface is currently not buildable, the use of Rhino panelling tools will allow a physical model to be produced.
Figure 2: A series of 3D models were produced for later application to the original terrain. These in combination with the patterned 2D panels would be used to produce the final concept design.
Figure 3: The final digital model is composed of five shapes ranging from 2D to 3D. An attractor curve was used to spread the varying shapes away from the centre.
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“The 3D shapes themselves appear to ‘open’ up as they become taller.”
task: visually represent an individual’s movement and experiences through the city of baucis.
m|four
M4: frame vs. field
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A connection to the world below was key in the design of my reimagined city.
Cities & eyes 3: BauCis
The concept of constant observation and intrigue of the earth by the inhabitants of Baucis, despite a certain amount of hatred towards it, was an aspect of the story provided, as part of the task, that I wanted to portray in my final piece. As my city rises above the world, sitting, almost floating in the sky, I applied reflective textures in addition to transparent surfaces to create a sense of weightlessness. Strategic, directional lighting aids in achieving the desired look. The incorporation of a transparent floor furthers the idea of the inhabitant’s desire to observe the earth from above. Constant observation, by way of glancing and staring by Marco Polo in the notated isometric drawing again demonstrates this concept. All modelling was completed using Rhino, correction with Adobe Illustrator used to correct line weights of 2D drawings. Texture was applied to the two perspectives using Adobe Photoshop.
Key
0
1m
2.5m
5m
Slow lingering step
Person
Regular step
Crowd of people
Tentative step
Climbing upwards
Glance
Opening up of space
Long stare
Perspective 1
Earth/ Baucis
Perspective 2
Passage of time
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Perspective one: Arrival
Perspective two: the observatory
Within the first scene, Arrival, Marco Polo arrives at Baucis, looking up to find a city rising above the trees, almost floating amongst the clouds. No inhabitants can be seen as it is their preference to avoid all contact with those below.
The scene, The observatory, depicts a number of the city’s inhabitants viewing the earth below. With telescopes and spyglasses they watch all that moves and grows beyond the confines of the Baucis.
Reflection
Throughout the course of this semester I have gained new skills, built upon and consolidated those that I already had, and been introduced to new ways of approaching and thinking about design problems. The combination of lectures, tutorials and set design challenges aided in achieving this. Technically, modules one through to four provided me with the opportunity to further develop my skills in Rhinoceros and the Adobe creative suite. Having already had experience working with these programs, a basic understanding, allowed me to develop my skill even further and explore what else they offered. The task of producing the initial hand-drawn Mario world challenged my technical drawing skills as precision and accuracy was key in the early stages, due to the complex nature and multiple layers used within the design; inaccuracies are more difficult to fix further down the line. Apart from the knowledge developed during the semester, the most important skill and ideas I learnt was to try not to control the program that you are using, but rather explore its possibilities as a way to facilitate bringing to life existing as well as to inspire new ideas.
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This was most relevant during module three when using Rhino to create the panellised landscape. A lack of understanding of how this particular aspect of the program operated meant that I was unaware of what could be produced. While I am very pleased with the final result of module three, upon reflection, the knowledge I now have of Rhino Panelling tools, would have allowed me to push the design further. Of the four modules, my least successful piece was the final module, Frame vs. field. I experienced difficulties with the selection and arrangement of certain objects within the scene, most evident in the first perspective. Some objects, most notably the multiple ladders and poles, do not fit into the scene as seamlessly as they could. Further refinement in Photoshop or the selection of different images may have provided a solution to the problem. I have enjoyed working through the tasks presented over the course of the subject, gaining a range of new skills and broadening my knowledge of drawing techniques, understanding how individuals view and perceive images, and working through a design challenge.
“rather than only trying to control the program, explore its possibilities as a way to inspire new ideas.”