PORTFOLIO
Foundations of Design : Representation, Semester 1, 2017 Hong Peng Yu
913511 Studio 14 - Colby Vexler
TABLE OF CONTENT 3 M1 How to Draw a Croissant
8 M2 Flatness vs Projection
10 M3 Pattern vs Surface
13 M4 Frame vs Field
MEASURED DRAWING OF A CROISSANT
01- How to measure a Croissant? Since the croissant was depicted using graphite and black fineline, colour from the reference image was detracted to facilitate the translation of the lines, texture, and contrast. The drawing process was based on the gradual accumulation of shading or hatching to establish a smooth transition between textures and contrast, as well as outlining the complexity of the croissant. The use of eraser was kept to minimal when shading to avoid smudging that may eradicate the textures created nearby. From this task, I have developed a sound understanding of the concept of shape, form and space that may be present in all objects. Such characteristics can be used to define a object with minimal details within.
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Croissant drawings: using graphite to outline the contours of the croissant
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Croissant drawings: using graphite to apply the technique of shading
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Croissant drawings: using fine liner to apply the technique of hatching
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Croissant drawings: axonometric projection of the croissant
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NEW MARIO WORLD
02. Flatness vs. Projection . The new world is intended as a retirement village for Mario. The landscape is arranged to create contrast between the organic forms of the mountains and waterfall, and the geometric articulation of the landscape (base tiers). Hence, conveys a sense of juxtaposition. All objects are placed in relation to another to establish a sense of harmony and depth. While, the incorporation of elements such as water and wooden fences facilitates a calm and tranquil atmosphere. The new world maps to the two elevations given, in terms of the forms and textures. The hidden space embodies a sense of simplicity and repetition. This was achieved through the consecutive use of waterfalls that extends the verticality of the world. Moreover, the addition of the two base tiers with the coins suggests another hidden space within. From this module, I have enhanced my abilities in using softwares such as Illustrator and Photoshop. Moreover, I have come to the realisation that it requires a balance between the technical and creative aspect of the task.
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Given elevations: maps to the front and back of the new world
First projection: use of the grid lines allowed the arrangement of the objects to show depth
Second projection: use of the grid lines allowed the arrangement of the objects to show depth.
Combined projection: combines first and second projection to form a new Mario world Illustrator outline: refined version of the hand drawing
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PAPER LANDSCAPE
03. Pattern vs. Surface The paper model is composed of two dimensional and three dimensional panels that are geometrically similar. This establishes the relationship between the panels and implies a sense of interaction which facilitates the intention of creating an abstract landscape that depcited uneven mountain ranges and rough tracks. The pattern of two dimensional panels is intricately developed so it creates various surfaces that forms new geometries in response to the pressure applied to the model or how it is orientated. In addition, the pattern is elaborately articulated with various forms of triangles to enable a more fluid transition from two dimensional panels to three dimensional panels. Therefore, further emphasisng cohesion and coherency between the panels. Overall, the model was quite successful. As it achieved the intention of depicting a natural landscape in an abstract form. Additionally, the model was carefully executed with hand perforated dashed lines that enhanced the overall aesthetics as well as the durability of the model.
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Close up: hand perforated dashed lines in 2D and 3D panels
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Terrain: contours that gradually increase in altitude from left to right
Custom 3D panels: represents the shape and form of mountains
3D Panelled Model: horizontal expansion of offset towards the centre, vertical increase in height of panels
Close up: hand perforated fold lines and application of double tabbing to construct a flexible and dynamic model
Final model: symmetrical arrangemnet of patterns as an abstract representtion of mountain ranges and tracks
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DEAD CITY [ADELMA]
04. Frame vs Field The city is of The Dead. It is where the dead arrive to find the person they have know. The overall mood is melancholic and lugubrious. In perspective 1, all of the characters are walking towards Marco Polo, seeking for recognition as well as creating a sense of intimidation. The characters varies subtly in opacity to show their significance to Polo, while also highlighting the ghostly aspect of The Dead City. The lack shadow on the characters also further enhances the atmosphere of a Dead City. In perspective 2, all of the characters are walking away from him. This conveys the sense of isolation and loneliness Polo feels as he looks at people but lacks the physical or verbal interaction. There’s no focal point placed within the perspective, this is to reflect the disoriented feelings of Polo as well as others in the City of The Dead. A number of concrete textures are applied to the base, column and ground to further facilitate the coldness of the Dead City by channeling a sense of frigidity.
Key Perspective 1 characters Perspective 2 characters Main characters Cautious Step Regular Step Looking for a long time 0
1m
2.5m
Short glance
5m
Strong emotions
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Perspective 1: Marco Polo’s perspective as he first enters the Dead City
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Perspective 2: Marco Polo’s perspective as he looks back at The Dead City at the end of the alleyway
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REFLECTION
From these projects and the lectures. I have gained insightful knowledge about design and architecture. The design process requires critical thinking and analysis of the brief, which clearly defines the parameters and meets the requirements of the brief. In module 3, I have also learned that developable surfaces are a smaller component of the larger prototypes. It enables large complex geometries to be constructed in any shapes or forms. Furthermore, the use of notations in module 4 was an essential tool to communicate ideas. The concept of suggestions that facilitates interpretations through conventions is rather interesting, but also an integral part of design in general. I have developed my technical skills throughout this semester. This includes the ability to use software such as: Illustrator, Photoshop, Rhino and Indesign. Moreover, I have acquired that design requires a balance between creativity and technicality, where the creative aspect need to be feasible in terms of its technical execution. Finally, I have also improved my organisation skills in regard to the work flow. I have developed the habit of colour coding and labelling files, so they can be easily revised when required. Overall, the work throughout this semester was accomplished to a high standard. The technical skills was highly reinforced and shown throughout the modules. However, the level of creativity and ambition can be further developed through a more comprehensive analysis of the brief and the potentialities of the work within the limitations. There was various amendments made to improve the overall aesthetics of the different modules. In module 1, I have photoshopped the final work to a lighter tone in order to highlight the relationship between the texture and the outline (form). In Module 2, I have omitted the third tier of the base of the New World. This was to reduce the vertical elongation that overstretched the World. In Module 3, I have rephotographed the model and removed the saturation in order to showcase the craftmanship.
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