Portfolio

PORTFOLIO FOUNDATION OF DESIGN: REPRESENTATION

SEMESTER 1

A design portfolio for Foundation of Design: Representation.

KARRY SHENG 988154

2018

HAN LI Tutor

STUDIO-27 Studio number

contents

Foundation of Design: Presentation

MODULE 1

MODULE 3

How to draw a croissant?

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reflection

Pattern vs Surface 11

22

Flatness vs Projection

Frame vs Field

MODULE 2

MODULE 4

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Module 1

how to draw a croissant?

Flatness vs Projection Pattern vs Surfaces Frame vs Field Reflection

This module discovers the techniques of measuring a croissant and consructing orthographic projection drawing by hands.

The study of appropriately using drawing equipment and techniques of hatching and shading are also emphasized in the module guideline.

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Photo of Elevation

Photocopied Plan

101 mm

Photo of Elevation

Photocopied Sections [A, B, C]

Photo of Plan View

Module 1: How to draw a croissant?

162 mm

06 03

This is the cleaned croissant scan of multiple views of the croissant, it was photographed in the photo stage using two direct light sources to assist the lighting. The image shows the plan view, elevations and the scanned bottom view of the croissant. The colour difference, reddish tone and the levels were adjusted in the photoshop and aligned & annotated in Illustrator. The measured width of the croissant is 101 mm, and the length is approximately 162 mm. Moreover, the croissant was equally cut into three sections and the greyscale photocopies of sections A, B, C is also attached.

In this Module, photography and composition skill is also an important category and relate to the next task in this module.

Besides, the better effect the original photo has, the fewer works need to be done in the Photoshop, Vice versa.

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Hand Drawing This image includes a top view, two elevations views and three sections which overlayed on the tracing paper. The understanding of using drawing equipment and techniques that have been discussed through the module is shown in this image.

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Axonometric This image includes a top view, two elevations views and three sections which overlayed on the tracing paper. The understanding of using drawing equipment and techniques that have been discussed through the module is shown in this image.

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Module 2

how to draw a croissant?

Flatness vs Projection Pattern vs Surfaces Frame vs Field Reflection

This module determines the differences between "subjective" and "objective" points of view. Using the technique of constructing axonometric projection from Module 1 to turn a 2D Mario World template into a 3D spatial construction.Moreover, a basic introduction to Adobe Illustrator, Rhino and InDesign is conducted. All the tracing and colouring are finalized in Adobe Illustrator. Essentially, this module gives a general understanding of using the software.

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Mario’s World 1: Front.

26 03

This Mario World is a landscape with a limited colour palette. It incorporates small green plantations as decorations, which is set in front of the cylinder trees with the circular pattern, and these trees create a sense of distance by arranging in different heights and orders.

Everything behind the tree is ambiguous and blurred. This suggests there can be a certain space between two worlds, so I put a rampart between them. Because the main colour tone of the world is green, in order to avoid the colour blended up, a bright aquamarine river is added to connect with the rampart and going down to the underground as a waterfall.

Mario’s World 2: Back.

A block of the cloud is floating in the sky, and it conceals a part of the highest tree, Hence I add a castle with a veranda on the top, which recalls the brick block showing in the second world.

In the first world, a tube in the water is shown. I extend it to the underground and connect it with a cage to create more storytelling and enrich the overall effect.

The final drawing of Mario World.

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Hand drawing of the ftst Mario World.

Module 2: Flatness vs Projection The axonometric drawing of Mario world was generated based on the given elevation template and relevant imaginations. The template was forward at 45-degree angle using A3 tracing paper to overlay on it to produce the axonometric drawing. The frontal world was drawn first because it gives a clear indication of the future omission of details on the back world. In order to create more details relating to the given template, an extra layer was drawn and designed to be a water prison as the hand drawing shows. To develop the spatial relationship and balance the drawing, a castle connecting with a rampart was drawn.

Hand drawing of combined Mario World projection refined by 0.1 and 0.4 fineliner.

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World: 27-14 Karry Sheng, 988154

Module 2: Flatness vs Projection The drawing based on given Mario World template finalized in Illustrator.

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Module 3

how to draw a croissant?

Flatness vs Projection Pattern vs Surfaces Frame vs Field Reflection

This module manipulates topography as surface using Rhino 3D panelling tool. After applying 3D panelling tool to make both 2D and 3D iterations, using the techniques and commands learnt from the workshop to design a customized model in rhino based on the given terrain. Essentially a physical model is made according to the finalized design, which shows a transformation between two dimensional and three.

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Top viiew of customized panels.

Five different panels were used to create the effect. The variations between the panels are more distinct when observing from the top view.

Isometric view of customized panels.

Five different panels were used to create the effect. The variations of the three trigangilar shape seem more obvious when observing from the isometric view.

Finalized model in Rhino.

Rendered view of the final model.

The rendered view gives a rough indication of the overall effect of the physical model.

Module 3: Pattern vs Surface The understanding and familiarity of Rhino is one key factor of this model. Half of the work was conducted within this software. This module not only builds up the elementary knowledge of Rhino commands but also develop an idea of turning a two-dimensional digital model into a three-dimensional physical model. Both technical skill and hand-operating skill are important. The digital model is designed to fit into the given terrain. Due to the flat shape of the terrain, the fundamental idea is to reproduce a scene that barnacles in the wave using five different customized panels.

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23 04

Due to the flat topography, not many dramatic effects can be created. But I have noticed that one side is slightly higher than the another. so when I was designing the model,  I chose to place the attractor point in the higher direction, hence the contrast is stronger and create more dynamic. I was inspired by the barnacle, a type of marine organism with a shell that clings to rocks. This is why I chose to draw a panel with opened diamond shape, it has an octagonal base which differs from other patterns, and it also brought more complexity to me when I was trying to glue them together. Besides I draw another pattern with a much smaller opening on the top to reduce the repetition. I don’t want too many barnacle shape panels on my model. The rest of my panels were inspired by the famous print of the great wave off Kanagawa, which illustrated by the prominent Japanese artist Hokusai. So I used three different pyramidal shapes to represent the wave.

Top view of the physical model.

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Perspective close-up 1 In order to show the attempting effects of the model, a more intimate perspective of the model is photographed and adjusted in Photoshop. The physical model does not show the same curvature as the digital model, it is nearly flat and normal camera angle cannot show the dynamic and the sufficient details, hence this perspective was chosen to show the flow of the patterns. I also faded the background to emphasize on the frontal part to create the focus of the photograph.

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Perspective close-up 2 This is another photograph shows the effects of the model. It explores the effect created by the light casting on the model, develops the understanding of the interaction between light and shadow. Only one light source was used when taking the photos, hence the light only comes from one side and lighten up the background, the frontal part seems darker and creating a contrast to the photo.

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Module 4

how to draw a croissant?

Flatness vs Projection Pattern vs Surfaces Frame vs Field Reflection

This module introduces perspective as the technique of representation first theorised in Renaissance Italy and further developed as a tool in cinema, and shows its difference from a less "subjective" and more "open" mapping of movements and figures via notation. Using Rhino to create an old quad model and reproducing the imaginary city in Calvino's interpretation

by Illustrator and Photoshop.

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Module 4: Frame vs Field The original text of City &The Deas 2: Adelma.

Invisible Cities, Italo Calvino

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Cities & the sky 3: thekla

Isometric drawing& Captures of the perspectives

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Perspective 1.

1m

2.5m

5m

Isometric drawing without the annotated symbols.

Perspective 2.

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Perpective 1

Perspective 2

This is the view showcases when Marco Polo first landed in Adelma. It was captured from the southeast of the old quad, which indicates where the dock is (see map above). Instead of choosing a completely frontal view, a slightly rotated eye level view can show more details and dynamic. According to the text, Marco Polo arrives at dusk, so I adjusted the sun to create the narrow long shadow to represent this. Another reason for me to use this perspective is the main activities are happening in this area, and the backgrounds can be observed form this view.

This view represents the second half of the story, where Marco Polo sees the vegetable vendor who looks like his grandmother and a series of cloaked people walking down the stairs. So I choose to capture the view from the front to show the main town hall and the full view of the stair.

This side is facing the sea, and the background shows a glimpse of the graveyard, which increases the sense of horror as the annotated symbols show. This is where Marco Polo develops his idea that Adelma is the city where you arrive dying and each people he meets is the goner.

Cities & the DEAD2: ADeLMA Karry Sheng, 988154

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The isometric drawing on the left showcases the movement of Marco Polo and the other characters in the story. Because I want to show that the characters are also moving as Marco Polo moving. A triangular shape symbol is used to represent the movements of the characters from perspective 1 to perspective 2.

According to the text, “...I was assailed by unexpected faces, reappearing from far away, staring at me as if demanding recognition, as if to recognize me, as if they had already recognized me. Perhaps, for each of them, I also resembled someone who was dead.” This is what Marco Polo encountered some same characters in the perspective 2.

I used three different arrow shapes to represent Marco Polo’s changing of movements, which also implies the changing of mood. He starts with a light mood and slow movement as he first landed in Aldema, then the arrow becomes thicker to show he is moving faster because he saw more similar faces in this city.

He glimpses into the city and starts running because of the increasing sense of horror. This is how the notations tell the same story as the scenes graphically illustrated in the perspectives.

Key Crowds/ people

Light movement

Light mood

Fast movement

Heavy mood (Fear, anxious) 0

1m

2.5m

Perspective 1

5m

Perspective 2

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Heavy movement (Running) Stare Glance Character’s movement

Perepective 1 Because of the story of Adelma proceeding as Marco Polo taking his tour across the city. The storyline is very linear, so I chose to present this city by following his steps.

I separate the story into two parts. The perspective 1 shows the first part: what Marco Polo sees when he arrived Adelma. At first, he considers that “It was the hour of the wholesale fish market� in a quite light mood, and then he recognizes the fisherman who already old when Polo was a child. This is why I put several fish baskets and a wooden cart beside the old fisherman character in the scene.

When he sees the fever victim huddled on the ground, who looks like his father a few days before his death. His mood becomes much heavier and fears to look at any faces.

Due to the overall theme of the city is cold, rough and horrific, I used sandstone and marble texture to multiply on the columns and used the mixed concrete texture for the spiral stair.In order to emphasize this sense of ill, the stone texture vault is covered by the fresco of the hell and a smudge texture is multiplied on most of the old quad to reinforce the worn-out effect.

Perspective 1: 1 Marco Polo landed at Adelma.

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Perepective 2 Perspective two shows another half of the story. As Marco Polo walks deeper into the city, he sees a vegetable vendor who looks like his grandma and a girl who gone mad for love and committed suicide.

As more familiar faces he encountered, he thinks that he reached a moment in life while among the people he knows, dead overnumbered the living and mind refuse to accept more faces. For each new face encountered, it finds the most suitable mask from his memories. Marco Polo then sees the stevedores walking down the stairs and he could not takes his eyes off them. So I put a spiral stair in the centre of the city, firstly it shows more dynamic than the regular stair. Secondly, it symbolizes the reincarnation, hence recalls the nature of the city.

Those faces are staring at him as if they recognized him. Maybe he also resembles someone they knew was dead. Since Marco Polo entered into Adelma, he had many theories about the bizarre scenes happened.

Essentially, he realised maybe Adelma is the city where people arrive dying and each finds again the people he has known. Was Chuang Chou dreaming the butterfly or the butterfly dreaming Chuang Chou? I think this is the chaotic charm that author trying to convey.

Perspective 2: Marco Polo walked deeper into the city.

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Reflection

how to draw a croissant?

Flatness vs Projection Pattern vs Surfaces Frame vs Field Reflection

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REFLECTION

04 07 Through twelve weeks’ study in Foundation of Design: Representation, I have developed many skills, not only the hand drawing skill, but also the digital interpretation in software. Besides, the modular readings and lecture contents presented me a different view of design and idea of thinking.

Despite all the hard work and the time-consuming projects, I learnt a lot from this subject and fully appreciated the progress they had brought me.

As an introductory model, Model 1 gave me a good understating of the importance of the drawing convention and photography. I have practised my hand drawing skill in the process of trying to achieve a more realistic effect. I also learnt how to produce an axonometric drawing using tracing paper and other assisting tools. I have fixed up some general mistakes (such as the sectional line positioning in wrong direction etc.) in the portfolio.

Module 2 again develops the technique of constructing orthographic projection drawing, and It was the first time for me to use Illustrator. Which is a useful vector-based image manipulation software and very helpful in creating the design and vector graph. This module determines the differences between ‘subjective’ and ‘objective’ points of view and provides a particular insight into the relationship between 2D and 3d spatial constructions. I also realised the importance of printing effect in this module.

Module 3 is a bit challenging for me because it requires physical operating, and this is something I am not very good at. In this module, I had a basic understanding of Rhino commands relevant to the manipulation of the given topography. It provides an abstract view of beauty and

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develops my understating towards the harmony created by geometrical shapes. I personally think this is the most intensive module in terms of crafting phase, and this is also the module I learnt most of the technical knowledge from.

Module 4 used Calvino’s Invisible Cities as the base to create the scenes shown in the stories. This is the module that I think interested me the most because I really enjoying in reproducing the philosophy of the text in both modelling and drawing. In this module, perspectives are used as a technique to present the old quad in Renaissance Italy and differ from a less ‘subjective’ and more ‘open’ mapping of movements and figures via Notations.