HAYLEY OLSEN FALL SEMESTER 2014
Process Book 2D Design // 3D Design // Drawing 1
CONTENTS texture
2D Design Leslie Blade Section 014
03-04
achromatic // chromatic
05
saturation studies
06
simultaneous contrast
07
optical mixes
08
interval systems
09-10
combined systems
11-12
leaf studies
13-14
2D DESIGN fa l l s e me s te r 2 0 1 4
01
TEXTURE
The common thread between the textures in my set of four is the variation and transformation of line. I entitled this set blurred lines because the lines transition from bold and graphic to hazy and barely recognizable. The lines also evolve from straight to curved from texture to texture.
2 D DESIGN f a l l s e me s te r 2 0 1 4
(PROCESS) textures The objective of this project was to create a variety of textures using black and white paint and unconventional and found materials, such as bottle caps, leaves, etc. Some of the most unique materials I utilized were sushi grass, hairbands, popcorn and my housemates cat’s tail. I found the same object could make many different types of marks depending on the speed and intention of the mark.
2 D DESIGN f a l l s e me s te r 2 0 1 4
02
ACHROMATIC // CHROMATIC
Though it was a challenge, this project was one of my favorite from the semester. The technique of getting the paint smooth took a lot of time and perfecting and cutting the paint chips was a skill in and of itself but the biggest takeaway I got from this project was noticing the different nuances between colors. It took a lot of time to attune my eyes to recognize the saturation similarities between colors but it became easier and easier as this project went on. My greatest difficulty in this project was getting the yellow smooth and even and not streaky.
2 D DESIGN f a l l s e me s te r 2 0 1 4
03
SATURATION STUDIES
Much like the chromatic/achromatic project, evenly mixing the paint and painting in small steps was a huge technical challenge in this project. But these saturation studies had an added challenge in that you didn’t only need to paint in small steps but also needed to find the exact neutral, which is harder than it seems.
2 D DESIGN f a l l s e me s te r 2 0 1 4
04
SIMULTANEOUS CONTRAST
Simultaneous contrast is the manner in which the colors of two different objects affect each other. Before this project, I never realized how versatile color is and how much it is affected by the shades and colors surrounding it.The objective of this project was to change the figure color using the background based on four criteria: temperature, value, saturation and making the foreground figures appear the same using only background color.
2 D DESIGN f a l l s e me s te r 2 0 1 4
05
OPTICAL COLOR MIXING
Optical color mixing occurs when you create the illusion of a new color using other colors side by side rather than directly mixed together. The goal of this project was to create as many unique colors as possible using only a set of five original colors. The more the new color diverged from the originals, the more successful the mix was.
2 D DESIGN f a l l s e me s te r 2 0 1 4
06
INTERVAL SYSTEMS
Interval systems are patterns that create unity and organize information. The objective of this project was to create five unique systems based on the specific guidelines seen below. 1. Regular Sequence: proportion of intervals of both colors remains constant 2.Alternating Sequence: proportion of the individual black intervals remains constant, the individual white intervals remain constant, the black and white sequences differ in proportion.
2 D DESIGN f a l l s e me s te r 2 0 1 4
06
INTERVAL SYSTEMS
3. Increasing and Constant Sequence: black interval sequences increase with each step; the white interval sequence will remain constant. 4. Increasing Same Direction: both black and white interval sequences increase with each step; they increase in the same direction at different rates 5. Increasing Opposite Directions: both black and white interval sequences increase with each step; they increase in opposite directions at different rates
2 D DESIGN f a l l s e me s te r 2 0 1 4
07
COMBINED SYSTEMS
The combined systems project expanded on the interval systems from the previous project and used them to organize concepts and create unique but ordered compositions. The project began with combining two systems, then added a third, then added a curved shape, then a texture, then further refined the composition and finally, added color. The color palate I finally decided upon was inspired by long days at the beach in the summer time. The way the bold lines draw the viewers attention toward the left bottom corner is reminiscent of the gravitational pull of waves to the ocean.
2 D DESIGN f a l l s e me s te r 2 0 1 4
(PROCESS) combined systems For me, the greatest struggle of this project was going beyond the grid and breaking out from the lines and intervals to create new shapes and patterns.
2 D DESIGN f a l l s e me s te r 2 0 1 4
08
LEAF STUDIES
The leaf project acted as a final test of both our knowledge of composition and color learned throughout two dimensional design class. First, we created a collage using leafs and found images and colors then scanned those in and altered them according to the guidelines on the syllabus.
2 D DESIGN f a l l s e me s te r 2 0 1 4
(PROCESS) leaf studies 1. exact digital replication of original leaf collage 2. proportional distribution of the top five or six colors seen in the original collage 3. hues within the same family 4. similar color value 5. colors within a similar chroma family 6. conventional color harmony
CONTENTS platonic solids
3D DESIGN Brian Schumacher Section 014
16
unique polyhedron
17-18
shape studies
19-20
body mantel
21-22
monolith
23-24
3 D DESIGN f a l l s e me s te r 2 0 1 4
01
PLATONIC SOLIDS
Platonic solids are regular, convex polyhedrons with congruent faces of regular polygons and the same number of faces meeting at each vertex. These shapes get their namesake from the Philosopher Plato though they were discovered years before. The purpose of this project was to create the five different three dimensional shapes that make up the platonic solids using only bristol board and glue. The five shapes of the platonic solids are the cube, octahedron, tetrahedron, icosahedron and dodecahedron.
3 D DESIGN f a l l s e me s te r 2 0 1 4
02
UNIQUE POLYHEDRON
The object of this project was to design a unique and symmetrical polyhedron out of bristol paper and glue using our knowledge three dimensional form. The goal is to use one complete piece of bristol paper to form our solid. The craft is to be immaculate and without gaps, glue marks or overlaps.
3 D DESIGN f a l l s e me s te r 2 0 1 4
(PROCESS) unique polyhedral solid My polyhedron was inspired by a geometric take on the bouquets I make for my summer job as a wedding florist. I wanted the form to have the same organic form language while being make up of lines and angles. I also wanted to create the illusion of curves and utilize shadow using concave and convex moments.
3 D DESIGN f a l l s e me s te r 2 0 1 4 The criteria for the first four are as follows: 1. Interrupt a regular or semi-regular polygon with a regular or semi-regular polygon.
03
SHAPE STUDIES 1-4
2. Interrupt a regular or semi-regular polygon with a
The purpose of this project was to create five
regular or semi-regular curved shape.
unique shapes using two over regular shapes. One of the standards was not being able to quickly or
3. Interrupt a regular or semi-regular curved shape with
easily distinguish the parent shape when looking at
a regular or semi-regular polygon.
the new form.
4. Interrupt a regular or semi-regular curved shape with a regular or semi-regular curved shape.
3 D DESIGN f a l l s e me s te r 2 0 1 4
03
SHAPE STUDIES 5-6
For study five, the criteria was to use the same methods as the former shapes but to use three regular or semi-regular polygons instead of two. In addition to creating a new shape, we also showed the interworking behind the original shape using outlines of the shapes used.
3 D DESIGN f a l l s e me s te r 2 0 1 4
05
BODY MANTEL
From the beginning, I knew I wanted to make a body mantel inspired by Great Gatsby and 1920’s glamour. After much exploration, I decided upon using skeleton garlands from the dollar store and red pompom trim to evoke the movement and repeated shapes hallmark of 1920’s fashion. I hung the skeletons from their necks using the holes in the trim which was inspired by the French Revolution practice of wearing red ribbons around one’s neck after a loved one was guillotined. I connected the trim by cutting pieces into inch and a half sections, weaving them into the other strands using a needle I fashioned from a twist tie then burning the edges together while using tweezers to keep the material together.
3 D DESIGN f a l l s e me s te r 2 0 1 4
inspiration
(PROCESS) body mantel Throughout the whole process of makng this mantel, my greatest struggle was keeping the strands connected under the weight of all the skeletons. I ended up tying many of the strands together which
process
connectors
worked equally as well, if not better, than my original solution of burning the strands. I also struggled to find a way to connected the dress once it was around my body. I found lacing the trim in a corset type style was the most solid and effective method and evoked the tie in the front of Daisy’s dress (middle photos on the top row) from the 2013 Great Gatsby film.
3 D DESIGN f a l l s e me s te r 2 0 1 4
06
MONOLITH
The concept behind this project was to create a hand made, hand held shape out of rasped and sanded pieces of sectioned wood. The form should be visually appealing but mostly appeal to the sense of touch. Once held, the form should never rest in ones hand but rather inspire constant motion and exploration. My goal was to emulate the flow of waves as they undulate in and out of tide pools. This movement creates a fluid, circular motion which I captured with a long, unbroken curve with deep recesses.
3 D DESIGN f a l l s e me s te r 2 0 1 4
(PROCESS) monolith This project first began with a clay model that was smoothed and perfected till it resembled wood. Next, the clay model was cut and the pieces were traced out onto paper then foam-core. The formcore acted as a preliminary exercise in helping us to aline our rough pieces to mimic the form of the original shape. After this was achieved, these shapes were traced onto wood and cut with a jigsaw. Next, these wood pieces were glued together using the foam-core model as a guide. The final step was rasping and endlessly sanding the final wood mass with varying grits of sandpaper, finally finishing off with varnish.
DRAWING I Emil Robinson Section 014
CONTENTS perspective
27
stacked cubes
28
ellipses // cones // cylinders
29-30
tool
31
interior // exterior
32
value
33
skull
34
fruit // vegetable
35
sketchbook
36
D RAWIN G I fa l l s e m e s te r 2 0 1 4
01
PERSPECTIVE
The purpose of this study was to learn proper two dimensional perspective using drafting tools and constructed perspective.
D RAWIN G I fa l l s e m e s te r 2 0 1 4
01
STACKED CUBES
This project stressed the importance of free handed perspective of geometrical objects as well as line weight, motion and quality. The objective was to sketch one solid box from life and a composition of multiple boxes interacting with one another.
D RAWIN G I fa l l s e m e s te r 2 0 1 4
02
ELLIPSES//CONES//CYLINDERS
The objective of this project was to gather a better understanding of eclipses in perspective and how cylindrical shapes such as cones and cylinders build in space.
D RAWIN G I fa l l s e m e s te r 2 0 1 4
02
ELLIPSES//CONES//CYLINDERS
D RAWIN G I fa l l s e m e s te r 2 0 1 4
03
TOOL
This aim of this project was to better understand how perspective and proportion work as well as building line quality and knowledge of orthographic drawing.
D RAWIN G I fa l l s e m e s te r 2 0 1 4
04
INTERIOR//EXTERIOR
This project further explored perspective and depth through live interaction with three dimensional space such as buildings and interiors using line weight to show depth and line building up to show process and motion.
D RAWIN G I fa l l s e m e s te r 2 0 1 4
05
VALUE
The value project showcases both knowledge of the relationship between light and mass as well as building on our prior studies of three dimentianal forms.
D RAWIN G I fa l l s e m e s te r 2 0 1 4
06
SKULL
The objective of the skull drawings is to develop an understanding of the intrinsic qualities of the human skull, as well as become farmiliar with drawing more organic and irregular objects.
D RAWIN G I fa l l s e m e s te r 2 0 1 4
07
FRUIT//VEGETABLE
The objective of this project was to draw a fruit or vegetable from life using color to develope the objects shape and contours.
D RAWIN G I fa l l s e m e s te r 2 0 1 4
SK ETCHBOOK The sketchbook assignment was a semester long project that focused on regular sketching and exploration of different styles and mediums. Because the project was so open ended, I set some additional criteria for myself and tried to work mostly in mediums I was not familiar or comfortable with, such as pen and marker and to mostly focus on creating quick, loose sketches instead of long, detailed drawings.
THANK YOU!
HAYLEY OLSEN FALL SEMESTER 2014