Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO Georgina Barnes
914642 Studio 26 - Emmanuel Cohen
Georgina Barnes
MEASURED DRAWING OF A CROISSANT
How to measure a Croissant? My croissant drawings were completed by overlaying tracing paper over the to scale images of my croissant. I utilised techniques such as crosshatching and both dark and light shading o depict the croissant. To create the axonometric drawing, I plotted the major points, redrew them in an axonometric angle and drew from there. Through this task I learnt about different drawing techniques and processes and how they can alter the perception of an object.
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Scale 1:1
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Scale 1:1
NEW MARIO WORLD
The making of new Mario world. Due to the underwater nature of my given Mario world, I chose to create my drawing in the form of a fish tank. The use of colour, shading and texture successfully separates objects in the drawing from one another and better conveys my fish tank inspired design. I chose to omit certain details present in the original Mario worlds including patterns and the dark water colour. Doing so allowed for visual clarity and a greater emphasis on form.
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Design process
Original Mario worlds I chose to place the lower image in the foreground of my final drawing as otherwise the details would be hidden due to the axonometric nature of the drawing style.
My first axonometric drawing of my original Mario world.
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Fist axonometric This image shows the set up I utilised to create my axonometric. Shown here is the proccess of drawing my background image.
Modified axonometric in proccess After completing my two axonometric drawings, I overlayed a sheet of tracing paper and began to create my modified design.
Finalised modified axonometric The final step in my physical drawings involved tracing over my modified design in fine liner on another sheet of tracing paper. This allowed me to then scan and edit the drawing digitally.
Modified axonometric. I chose to modify my drawing by adding a rectangular shape and Mario-style fish to make the design better resemble a fish tank.
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PAPER LANDSCAPE
The making of new landscape My model was based off a Tasmanian Waratah flower due to the landscape it was based upon being Tasmanian. The stages of the flowers life cycle are depicted in a geometric manner through pattern. Surface and pattern are integrated together through the removal of patterned panels in low points, where water would naturally flow in the landscape. Through my model I attempted to link back to the origin of the landscape. I am successful in doing so through the form of my pattern and consideration for natural aspects that affect a landscape such as water flow.
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Design precendents
Tasmanian Waratah Unknown Artist https://au.pinterest.com/debthorne1961/tasmanian-waratah/
Bruges House Lisa Iwamoto https://au.pinterest.com/pin/304907837255865470/
When generating my pattern design, I decided that I wanted to base the design off of the Tasmanian landscape over which it was to be placed. After some research, I concluded that the Tasmanian Waratah flower could be a good basis for my design. The three variations of my final three-dimesional pattern shown in my final model were based upon the blooming of the flower. In planning how I would make the organic for of the flower geometrical, I drew inspiration from the shown precedents that feature abstract, flower-like pattern
Contrast Concrete Eliza Mikus https://au.pinterest.com/pin/376402481338467288/
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Design process
Rhino modelling This screen shot shows the grid, points and curve attractors I utilised to create my panels onto my landscape within Rhino.
Unrolled pattern pieces This screen shot shows the Rhino document after I had finished unrolling all of the segments of my design.
My original pattern design is shown on the right. This design proved to be too complex. Because of this and also because it did not join at the base, the object would not fully unroll as the outer triangles were not joined to the pattern piece. Therefore it was an unviable design. The second set of images show my final more simplified designs that unrolled correctly and therefore could be used.
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Model construction My model construction process is depicted here. I pritned my pattern pieces onto A3 card, cut them out using a stanley knife and ruler and then gllued the pieces together using Supertak and clips to hold the card together whilst it was drying.
INVISIBLE CITY
Cities & The Sky 2: Beersheba The story of Beersheba is based upon contrasting its resident’s beliefs (illusion) to reality. The people believe there are three worlds, the celestial, their world, and the infernal. They value anything that reminds them of the celestial. However, their narrow views prevent them from seeing that they are in fact living in the infernal world through their obsession with the illusory celestial world. I have focused upon the idea of the narrow beliefs of the people in their version of the world limiting their ability to see the truth. I have utilised the framed nature of perspective to show this.
Key
Perspective 1 (Perception) Perspective 2 (Reality) Narrator Staring gaze
Light mood Heavy mood 0
1m
2.5m
5m
Spacial transition
Illusion
Isometric
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Illusion The perceived celestial world is shown in the foreground. The motif of a chest is used to show that this is believed to be a place of great wealth. Curtains obscure the outside world and show how confined Beersheba’s people are in their beliefs. The second module is that of reality. The chest here shows how people collect and worship anything that reminds them of the celestial city. The infernal world is shown in the background. It is depicted as a vile place and again the motif of a container is used here to show that this place is believed to be full of rubbish.
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Reality The real celestial city is again shown in the foreground. It “shines with all the cities riches”, these being rubbish old tram tickets and broken umbrellas. I have filled the motif of the chest with the rubbish to enhance the view of the celestial city as an undesirable place. The second module is the real world of Beersheba. It is described as a “grim mania” and the true hellish place. The chained chest shows how the greed and jealousy of the people of Beersheba has lead to a barren wasteland of a city. I have included the beggar holding a diamond to show the obsession with wealth. The final module is the infernal world. I have shown it to be a rich place through gold within the rubbish bin and incorporating aspects from the previous view’s celestial world. Also visible, yet faded, is the illusory celestial world. This shows how my widening their views, the people could see reality.
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Design process
Illusion
Reality
One of the perceived fundamental issues with perspective is that it utilises a highly framed, static view. However, I chose to use this to my advantage, as symbolically, it would help me to show the way in which the people of Beersheba are unwilling to shift from their narrow beliefs.
This perspective represents the reality of Beersheba in relation to the three planes of existence. I chose to use the wider side of the quad here as it emphasises the idea presented by narrator Marco Polo, that by widening their perceptions, the people of Beersheba could see the reality of the world they live in.
I chose to use the narrower side of the quad for my first Perspective, representing illusion, as it would again enhance the idea of the narrow, unwavering perceptions the people of Beersheba are described as having about the celestial, infernal and real worlds.
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REFLECTION
These projects allowed me to learn valuable design skills in terms of programs and techniques, yet also a broader understanding of how to create effective designs. Throughout the semester, I built upon my knowledge of the Adobe suite and learnt how to utilise Rhino for three-dimensional modelling. These skills will be useful to me throughout my design career, yet gaining practical experience in working to criteria, creating designs and pitching them and receiving valuable critiques will no doubt be just as impactful. Lectures provided a deeper look into particular topics that directly affected the outcome of my work. A prime example of this is the lecture on framing and perspective that greatly inspired me and formed the basis of my Invisible city design. I was inspired by the explanation of perspective as a fixed, unchanging viewpoint and utilised this to enhance the main theme of my design. Through feedback I learnt of changes that could be made to enhance my designs. My module two Mario design was devoid of the texture present in both a real fish tank and within the Mario world. Therefore, I amended this by the addition of water and sediment textures. The design also originally featured a black border to the tank that overpowered and detracted from the rest of my design. Module four was admittedly not a strong project for me. My collage images lacked detail and figures, and the perspective views were critiqued as being too similar. Therefore these are things I amended. My isometric drawing also had faults that I corrected as a better use of symbols was required.
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