Foundations of Design : REPRESENTATION, SEM1, 2018 M2 JOURNAL - FLATNESS vs PROJECTION Hayley Cottrell
995093 Liang Hu, Studio 20
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WEEK 3 READING: KRAUSS, ROSALIND, 1972.: LEGER, LE CORBUSIER AND PURISM. ARTFORM. Question 1: What is Pictorial Space according to Le Corbusier? “Frontality” is the word that best describes what pictorial space is to Le Corbusier. His work includes the frontality of objects, which means that they appear as flat, definitive shapes, and remain parallel to the pictorial frame. This creates the base of Le Corbusier’s pictorial space within his work, where he then uses figure-ground to create optical illusions that change one’s perception of space and depth within the composition.
Question 2: The Flatness of Le Corbusier’s painting’s are attributable to two properties. What are they? And what are these pitted against? Two of the most important and prominent properties apparent in Le Corbusier’s paintings are shape and texture, which come together to create flatness with the composition. Shapes are the objects which he depicts with flat surface, with clear, sharp edges which are a part of the frontally of the paintings. Texture is what emphasises the illusion of depth Le Corbusier aims to create, which in turn leads to what both texture and shape is pitted against: distance. This is only given by the space between the objects, or shapes that is dependent on the viewer’s perception of depth, or texture.
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MARIO’S WORLD
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1ST MARIO’S WORLD
Separate scanned drawings for Mario’s world. The lines are both fine liner (0.2 and 0.5) and grey which was done to show what were the permant shapes and also to act as a guideline when the images were combined in Photoshop. In the middle drawing, the foundations of the tall pipe that comes down from the top of the axonometric are there, which was then finished in the drawing on the right. There are some faint pencil flowers draw on a 45 degree angle, which were there to maybe add some colour and texture to the finished Illustrator file.
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COMBINED MARIO’S WORLD
Scanned drawing of Mario’s World, with all 3 drawings combined into one on Photoshop. The drawing has been cleaned to leave only the key lines need for transferring the image into Illustrator to create the line and colour work.
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WEEK 4 READING: STAN ALLEN, 2000.: AXONOMETRIC PROJECTION: NEW GEOMETRIES AND OLD ORIGINS FROM PRACTICE: ARCHITECTURE, TECHNIQUE AND REPRESENTATION. PSYCHOLOGY PRESS Question 1: Explain the difference between Pictoral (in this case perspectival) space and Projection?
The most notable difference between an axonometric and a perspective drawing is that an axonometric does not have a vanishing point. Because of this, an axonometric drawing is to scale, making it an exact, measurable drawing with no perception of depth between projected objects. A perspective drawing on the other hand, has no scale and perceptive depth due to the presence of one or more vanishing points that extend to infinity.
Question 2: Where did Axonometric projection first arise, and why? The axonometric projection and be traced back to the ancient drawing techniques and practices, but the practice wasn’t taught in universities until the 18th and 19th century. Since then it has had a prominent effect on architecture in a variety of ways. It had been developed as a way to give any viewer of the mechanical drawing more information that what could be found in a singular, linear drawing. It allows the measurement of projected objects, and more and different details to be displayed within a single composition.
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ILLUSTRATED MARIO’S NEW WORLD
Some inspiration was taken from the first reading, Leger, Le Corbusier and Purism (1972), when it came to creating the clouds. Since they are an expressive element, they were drawn flat on a 45 degree angle, then I added the “feather” effect in illustrator to make them textured, therefore creating the illusion of depth. Since these cacti have been cut due to the confines of the world, I decided to use a lighter colour on the section view that contrasts with the colours of the gradient to show that it is no part of the roundness of the object but rather the inside of it
Gradient have been used to express a sense of form and three dimensionality of objects that have a curve. Due to the light hitting objects such as pipes at a diffterent angle, it creates shadows and highlights that further emphasis the three dimensional effect that is created in an axonometric projection.
Some of the vines, which I added for a little more texture with the compostion have been placed behind the solid, floating grounds. This creates a sense of depth beneath the landscape.
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APPENDIX
GENERATION OF IDEAS In order to brainstorm any ideas I had for the design of my projection, I often did some rough sketches. In these particular images, I was exploring different ways of representing flat shapes in a three-dimensional way, and designing the more expressive elements of my axonometric world.
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DEVELOPMENT The projection of the two images initially started with a 200mm x 200mm square rotated 45 degrees, where I wove the objects present in the elevations amoung each other and projected them upwards to create the axonometric drawing.
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