M O D U L E
0 1
HOW TO DRAW A CROISSANT
The first part of the project involved capturing photographs that accurately showcased the scale of the croissant, as well as its tonal variation and form. This was followed by the creation of orthographic
drawings
of
the
plan,
elevation and section views, maintaining the correct
technical
throughout. process
The
lead
axonometric
to
notation final the
drawing
and
stage
of
completion that
scale of
depicted
the an half
the croissant. This process fostered an understanding of the spatial
relationships
of
objects
and
their
representative forms. While, the photographs captured
the
reality
of
the
croissant,
the
orthographic drawings were a representation of the object. And the axonometric projection was the culmination of the study which reversed the abstraction of representation by creating recognizable form.
Composition of measured photographs.
-3-
Orthographic drawings of plan, elevation and section views. -4-
Axonometric projection of the croissant, generated using section views. -5-
M O D U L E
0 2
FLATNESS vs PROJECTION
Module
2
involved
an
investigation
of
axonometric projection, and the consequent insights into the designed spatial relationships this representative form brings. The designed world is constructed using two elevation views of Mario World 1, extrapolated to develop the hidden space
between
structures
of
consideration and
the
the
views.
land of
creation
are the of
The
geometric
arranged parallax
depth
with effect,
through
the
layering of flatness, to establish the interplay between developing
each an
segment, overall
as sense
well
as
of
the
rigid yet harmonious environment.
Completed Mario world axonometric projection, modelled using Adobe Illustrator. -7-
Mario World 1 elevation views that were used to create the axonometric projection of the world.
Hand-drawn axonometric projection line work. -8-
M O D U L E
0 3
P A T T E R N vs SURFACE
This
project
prompted
a
consideration
of
pattern, both in the sense of developing a surface and establishing a targeted visual experience.
As
profoundly
noted
by
the
guest lecturer, Professor Donald Bates, the fundamental “by
concept
multiplicity
emerge�1.
This
of
pattern
is
else
starts
to
emulated
by
something notion
was
that
developing a modelled surface that from one perspective seems exact and rigid, while from another viewpoint is chaotic and unrestrained as each individual module interacts with the others in a unique way depending on the viewer’s aspect and focus.
1: Foundations of Design: Representation - Lecture 05 2018, Lecture, The University of Melbourne, Melbourne, Australia.
Plan view photograph of the model made from 160gsm white card, with the modules arranged according to the Rhinoceros model. - 10 -
The three modules used to create the surface. These modules were designed by rotating the vertex of each module slightly to obtain an organic flowing effect in the model.
The digital model of the surface, created using Rhinoceros 3D software and the established single attractortor point to determine the arrangement of the individual modules. - 11 -
Photograph of the model’s detail showing the relationships between the modules, developing the organic nature and fluidity of the surface.
- 12 -
Photograph of the model’s detail simultaneously showing the uniformity and the chaotic relationships between modules.
- 14 -
Photograph of the model’s representation of the surface contours, as achieved through the form of the modules as they blend over one another.
- 16 -
M O D U L E
FRAME
vs
0 4
FIELD
Key Fast movement Slowing movement Slow movement Crowd of people Reconstructed environment Unnatural mood Perspective 1 viewpoint Perspective 2 viewpoint Eerie mood 0
1m
2.5m
Decay
5m
Passage of time Darkness
This module focused on the concept of frame, prompting particular considerations for the effect of the frame in presenting a scene. The story ‘Cities and Names 4: Clarice’ from Calvino’s Invisible Cities spans numerous historical periods to establish the notion of the cyclical nature of time. The constraints of this project arose when considering the perpetual nature of the story to be represented in the static form of the two perspective images. As a result, these two images were developed to represent the story during two distinct periods in time. In addition, the isometric projection of the story successfully portrays the plot’s progression through time with the use of specific icons and the conventions of notational drawing. - 19 -
Perspective 1: The abandoned city This
perspectival
immediately
after
image it
shows has
the
been
city
of
deserted
Clarice by
its
population. Therefore the city’s buildings are filled with the inhabitants’ abandoned objects as shown in this image. The suggestion of abandonment, in conjunction with the intense shadows, establishes a dark and unsettling mood in the image.
- 20 -
Perspective 2: The atrophy of time In this perspectival image the city of Clarice is shown as decayed and desolate. The absence of people and abundance of overgrown vegetation establishes an eerie mood, which is complemented by the strong shadows and bleak background.
- 22 -
F
O
D
R
REFLECTION
I have developed the projects presented in this portfolio by using acquired design skills, particularly technical drawing, digital manipulating and modeling, and physical fabrication. My practical learning has been complemented by an improved understanding of the theoretical components of design, and an enhanced respect for the importance of the thinking behind the design. This learning was particularly powerful with reference to module 3 and the use of pattern to develop a visual experience that is superior to the individual components generating the pattern. As a result of this, the skills I developed from this subject encompass both the practical skills discussed, as well as the theoretical skills of analyzing design and generating design thinking. Each project has been successful in fulfilling its purpose to simultaneously prompt the use of technical skills and the application of design creativity. However, module 3 has been the most impactful as the project required the application of artistry and design, as well as digital and physical modelling skills. This resulted in a successful model that realised the fundamental concept of the pattern, being that the use of simple components can generate an entirely unique visual experience. Module 2 was the least successful of all the projects. Although the resulting design was technically sound, it was visually limited and dull. As a result, I have altered this design to include more dramatic tonal variations to ensure greater visual interest is generated to complement the complex structure of the world. The success of module 4 was also limited due to the previously noted challenge of the static representation of the story undermining its perpetual nature. The first perspective in particular looks incomplete as the story’s core message of the cyclical nature of time is unsuccessfully portrayed as the perspectives are unrelated and overly segmented. This project could be improved by creating a continuum from the two perspective views in which all four periods identified in the story are simultaneously portrayed with a seamless transition.
- 25 -