FOUNDATION OF DESIGN REPRESENTATION SEMESTER ONE 2017
Jeremy Bonwick 697718 Studio 20 Gumji Kang
PORTFOLIO
M1
MEASURED CROISSANT
TECHNICAL CROISSANT DRAWING The technical drawing of the croissant began with the physical process of photographing the subject. The sections were cut and scanned to provide the basis for the drawn diagram. The final drawings were built from both pen outlines and hatchings as well as pencil renderings overlaid with tracing paper, all aligned around the plan and along orthogonal guidelines.
Front Elevation
Scanned Base
Side Elevation
2
Plan
3
M2
NEW MARIO WORLD
CLOUDS, SNOW AND STONE The New Mario world developed tries to create a collision between two sets of objects — those from the Mario game which seem weightless, floating in or through the clouds, and a more solid, grounded structure in-between, a darker series of buildings and arched walkways which do not float, but sit heavily on landmasses just below the cloud layers. The distinction is alluded to in colours, the vibrancy and brightness of the Mario game elements is contrasted with the bluegreen of the buildings. The cold blue-stone both sits within the colour scheme as well as suggesting the weight of the structures.
4
1
2
(1) Setting up the provided Mario game-play image at 45° to project the scene into Axonometric space. (2) Beginning to project the scene backwards with guidelines to track the edges of objects as they are translated into the projected scene. The size of mountains and floating objects in the original scene is measured and again translated into the projection to retain accuracy. (3) The completed back-projection of the first Mario world. This was completed twice, first to gauge where objects would fall and the second time to achieve a more balanced scene which fit-together better with the proceeding scene to fill in behind. 3
(4) After the second projection had been completed these two designs were traced together to give a combined landscape. The space left between the two projections needs populating with additional elements, effectively joining front and back. The middle section both repeats elements from the original game-play images and adds a new building and pathway structure inspired by ‘Monument Valley’. The building structure takes the Mario character on a journey in and behind his usual game-play, with arching walkways and bridges leading from the floating ice-bricks into the castle, complete with turrets, internal walkways and a grand gate at the front where Mario enters. 4
5
M3
PAPER LANDSCAPE
TASMANIAN; SHAPED BY WATER The physical model of Tasmanian terrain takes inspiration from the island state’s rugged terrain and relationship with water. Water is integral to the state, being surrounded by it, cut-off by it and ultimately bombarded by it during winter rains. The landscape is cut through by river, notably the Derwent which runs from the mountainous core of the island to the southern city of Hobart. In abstracting the terrain of Tasmania, the aim was to examine how water travels downhill, via the path of least resistance, carving out gullies from streams and valleys from waterfalls. The final model plots the movement of water from from and through volumous mountains in the top left corner downwards towards lower areas in the bottom right.
6
7
M3
8
4
Prototype of the 3D panelling produced to test the shapes. This section was unrolled as one flat template which made it difficult to assemble so for the final model only strips were unrolled which did not connect laterally.
(1) The original terrain file of Tasmania provided. (2) Modeled templates for panelling tools to use as the structure of the 3D panelised landscape. The shapes represent small undulations in the land up to large mountains for the high-point of the scene. (3) The result of paneling tool command for variable custom 3D paneling. The atractor curves to determine the direction of changing shapes was placed on the bottom corner boundary lines so the panels would diminish away to the low-point. (4) 2D panels showing through the final Rhino model, deleted to mimic a waterway descending from a mountain. 1
2
9
3
M4
Cities & signs 4: Hypatia
INVISIBLE CITY
CITIES & SIGNS 4:
HYPATIA
Key Stare Glance Confident Step Apprehensive Step Light Mood Dark Mood People 0
1m
2.5m
5m
Time Change Window
10
ABOUT THE CITY The aim of this module was to present the City of Hypatia (from ‘Invisible Cities’ by Italo Calvino) through symbolic representation and rendered perspectives. Hypatia takes Marco Polo on a journey of understanding, from the initial stages of confusion to a moment of realisation at the centre of the city and eventually a reluctance to leave. The difficult of his movement in the lower section of the quad, with obstacles pushing him away, is contrasted in the top half where he moves amongst the people and ascends towards a hopeful conclusion. The central figure is that of a philosopher; a man who helps Marco Polo understand how the city’s imagery is the inversion of his expectations, where he must disregard his preconceptions to fully understand the city’s people and society.
(1) The Rhino model of the Old Quad was used to place the symbols in to represent Marco Polo’s story. Using the command ‘make2D’, this was then exported as linework to illustrator for graphic treatment. (2) The perspectives (see next page) were arranged in Rhino using images cutout in Photoshop. The figures were scaled accurately and then positioned in the scene to be exported as linework as well. (3) The linework from Rhino was combined with photographic elements to create the final render. This was composed with a black and white tonal background rendered from Rhino which contained the shadow information, customised by placing directional lights in the scene. 1
2
3
11
M4
PERSPECTIVE
ONE
The Miners of Hypatia: The enslaved miners are building a bassalt wall. The composition of the image stresses horizontal lines, in the walls, flooring and stones, this distances the scene and presents the city as unwelcoming.
12
PERSPECTIVE
TWO
Cemeteries of Song: The scene opens a path for Marco Polo; now he understands the city and its gates open up before him. The location of the cemetery is inverted, instead of being dark and forboding it is filled with light and musicians.
13
REFLECTION
The series of tasks encountered in this subject taught primarily the basic premises of visual communication — projection and perspective as two forms of representing on a 2D plane a 3D object. As well as encouraging vivid creativity, the subject’s framework stressed conformity to set rules for depiction — drawings must be ‘read’ by viewers, which is made easier if they are regimented, controlled and inline with common practices over the preceding centuries. Through examples in the lecture series and weekly readings, the historical framework for these projects was alluded to. In understanding how techniques such as projection and folding of surfaces were developed historically there is a greater understanding of their relevance.
2
In looking to further improve the designs produced throughout the subject; the Mario World could have more three-dimensionality added by applying the same effect as used on the pipe to the curved mountain-tops. It would also be interesting to experiment with the use of shadows in the scene, how it would fall on objects and the undulating cloud to increase the realism of the illustration. The terrain model would have benefited from the use of thicker 290 gsm card, as opposed to the 160 gsm used. This would have increased the rigidity and, combined with a greater variety of subtly evolving 3D panel templates in the Rhino designing stage, heightened the overall effect of the sharply formed geometric abstractions.
Being already reasonably proficient in the Adobe suite programs, the biggest skills developed were in physical drawing and modeling in Rhino. The use of technical drawing equipment such as the set-square and t-square was developed in modules 1 and 2. The rapid progression through the workshops in Rhino made for a steep learning curve and an exciting challenge to developed and apply new skills within a short timeframe. The result is the rewarding achievement of being able to stand back at the end of a task with a successful outcome developed through new techniques. 1
3
(1) Rhino interface during M3. (2) Final M3 outcome which would have been more rigid with 290gsm paper. (3) Mountain tops in M2 which could have been shaded for a 3-D effect.
14