Module 2 Journal

Foundations of Design : REPRESENTATION, SEM1, 2017 M2 JOURNAL - FLATNESS vs PROJECTION Grace Creati

(913143) Junhan Foong Studio:11

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WEEK 3 READING:

Question 1: What is Pictorial Space according to Le Corbusier?

According to Le Corbusier Pictorial Space is an area that can’t be immediately physically trangible of reachable but one that can be viewed from vantage points. It is beyond touchable an therefore only being viewed front a singular, subjective perspective the space becomes frontal further reducing its appeared volume. One’s inability to enter Pictorial Space makes it a particular point of interest within a design which Le Corbusier explores within his own visual explorations.

Question 2: The Flatness of Le Corbusier’s painting’s are attributable to two properties. What are they?

And what are these pitted against?

The Flatness of Le Corbusier’s paintings are attributable to the objects contained within the plane of the painting and the constellation of the objects or the “Mariage de contour”. These two properties are pitted against colour and texture which draw attention not to the objects themselves but the space between them which is a greater representation of implied depth.

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MARIO’S WORLD

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1ST MARIO’S WORLD

This was my original design having projected the Mario worlds from either side

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COMBINED MARIO’S WORLD

Once I had rethought my design and come up with an idea for narrative this is the final design I came to

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WEEK 4 READING: NEW GEOMETRIES AND OLD

Question 1: Explain the difference between Pictoral (in this case perspectival) space and Projection?

Perspective is representational of an individual view that is relevant to a single point of determination which allows for the location of vanishing points. Whereas projection demonstrated the correlation between objects within a space and their mathematical, true dimensions. It is adjustable as it does not rely on a unique point of reference allowing for greater movement and freedom of transformation which perspective just does not allow.

Question 2: Where did Axonometric projection first arise, and why?

Axonometric projection originated in the twentieth century when traditional practices could no longer sustain the boundaries of design which were increasingly expanding. It allowed for the abstract to be measurable and scientific which previously had been creatively limited by construction techniques. It allowed for the expansion of the mind from “real’ to “unreal” design. It allowed for accurate design due to its measurability and was applied to the design of machinery and other objects. It ability to be rotated, exploded and dismantled made it useful for many elements of design that had previously not be represented in a mathematically correct format.

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ILLUSTRATED MARIO’S NEW WORLD The concept behind my design comes from the name of the subject in which this project was set, Foundations of Design: Representation. Within my Mario world I have represented the foundation of design as building blocks. The solid forms of the blocks demonstrate the foundations to be the greatest structural support on which the remainder of the designed world can rest. The colour scheme, with the exception of the pink top plane, is kept to the three primary colours: red, blue and yellow. This is also another means of visually portraying the concept of the core foundations of design. With a limited colour palette it allowed for a large amount of manipulation in reordering and redefining shapes. This in turn allowed for the construction of multiple optical illusions creating individual points of interest while not detracting from the overall aesthetic of the constructed world. The addition of Mario to the world was in keeping with the rudimentary colour scheme and allowed some of the optical illusions to be further enhanced.

These little vignettes also help to build an overall feel of habitation and atmosphere of excitement as the characters explore the world titled “Foundations of Design”.

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APPENDIX

For the very beginning of the process I gridded my tracing paper to make it easier to translate the Mario world into an axonometric projection.

The next step I moved to help with the dimensions of the blocks was to create a plan. This meant that everything was pre-allocated before I began drawing reducing mistakes and also making the process more efficient.

Once I started to apply fine liner it was easy to distinguish between each of the individual building lines.

I began fine lining the front buildings moving backwards as this meant I didn’t make mistakes with which ones were in front or behind.

When I began drawing out the Mario world and my own added detail it became quite difficult to see where the lines went due to the grid.

I had not before used Illustrator but I found that I picked up the processes quite quickly as I have had previous experience with the Adobe programs. This image shows the construction of the blocks at the right bottom corner of the world.

Reducing the colour scheme to three colours meant it was quite easy to regulate and keep track of.

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