Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO Zhexing Huang (Kim) 913199 Studio 22 - Hana Nihill
MEASURED DRAWINGS OF A CROISSANT
How to measure a Croissant? During the initial stage of this module, a croissant was digitally scanned, photographed and scaled, producing a series of plan and section images. Using these, rendered hand drawings were developed. A range of techniques were applied in the drawing process, including orthographic and axonometric projections, hatching and rendering. Through this exercise, the basic conventions for technical drawings were learnt and familiarised with.
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Croissant hand drawings
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NEW MARIO WORLD
The making of a new Mario world. This module explored the notion of axonometric projection within a flat pictorial space, hence the ideas and methods of representing three-dimensional forms using a two-dimensional medium. Initially, two sectional images of the existing Mario World were given as a starting point and scaffold for development and refinement towards the final product of an illustrated three-dimensional interpretation. Employing axonometric projection, the two-dimensional images were first combined back-to-back and transformed into black and white hand-drawn drafts. The drafts were then scanned, traced and coloured digitally. While the final illustrated Mario World preserved most features from the original images in terms of its front and rear elevations, the mid-ground area was imagined and interpreted freely. Through this module, axonometric drawing conventions were learnt, meanwhile skills in using the Adobe Suite were also developed and improved.
Customised grass patterns
DARK
MEDIUM
LIGHT
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Mario world hand drawn linework
This fineliner drawing was the original draft of the Mario World, scaled 1:1, based on the pre-existing two-dimensional Mario images given above. To avoid clashes, the section further away from the picture plane was drawn before the section in the foreground. Through this process, the basic linework of the new Mario world was created in preparation for futher development in Adobe Illustrator.
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PAPER LANDSCAPE
The making of a panelised landscape. This project explored the concept of developable surfaces through using digital fabrication software to develop 2D and 3D panels on an initially curved surface. Made from paper, the final panelised model aimed to create a seamless transition from flatness to form. In order to achieve the aim, this design incorporated both flat surfaces and 3D forms within each panelling module. Five different rectangular-based modules were used, and each module was divided diagonally so that half of it was a pyramidal form and the other half a flat triangular surface. The panelling grid points were offseted in such a way that the heights of the modules varied smoothly from 0mm to 59.4mm across the terrain surface. The surface was panellised with the point attractor function, and the top vertices of the pyramids followed the natural S-shaped curve of the original surface, creating a wave-like quality when viewd from the side of the model. To embellish the model, diamond-shaped openings of varying sizes were cut out from the flat triangular parts of the modules.
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An experimentation combining form, surface, pattern and space.
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Rhino 3D panelling
Original landscape surface (right) and its duplicated copy with offsetted panelling grids (left)
Five varied modules used for panelising the landscpae
Final physical model of the panelised landscape
Final model of the panelised landscape as viewed in Rhino
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INVISIBLE CITY
HIDDEN CITIES 2: RAISSA
Raissa. As depicted by Italo Calvino in his novel, Raissa is a city of sadness, with its depressed citizens living each day in constant nightmares. However, within this dull and cursed civilisation, there is an invisible, rapidly stretching thread of happiness that “binds one living being to another”, so that “at every second the unhappy city contains a happy city unaware of its own existence.” This module reinterpreted two scenes from Calvino’s story using perspectival illustrations that were set in the Old Quad, University of Melbourne. To construct these illustrations, a model of the quad was built in Rhino, with silhouettes of characters and props imported, positioned according to the story plot. After the Rhino model was completed, perspectival views were chosen and their images were exported into Photoshop for further development and refinement. In addition to the perspectives, an isometric illustration was produced to give a holistic view of the entire quad, with a series of symbols indicating the position, movement and emotions of the characters.
Fast Movement
Key
0
1m
2.5m
5m
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Stare Perspective 1
Glance
Perspective 2
Light Mood
Characters
Intense Mood
Object/Animal
Curse
Slow Movement
Thread of Happiness
Raissa: perspective illustration 1
This scene depicts the moment when an officer and a lady gaze at each other in love, while the officer’s horse stares at an attractive francolin bird in the background that was brought to life by a painter. The connection between these characters forms an invisible thread of happiness.
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Raissa: perspective illustration 2
This scene depiects the moment when the francolin bird has just been brought to life by the painter, who dances ecstatically next to his canvas, proud about his new masterpiece.
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REFLECTION
Through the projects completed in Foundations of Design: Representation, I became familiar with a variety of design methods and concepts as well as technical skills. In Module 1, the weekly readings and lectures introduced me to the basic conventions for drawing elevations, plans, sections and axonometric projections, which I learnt to utilise extensively throughout the croissant hand drawings. Meanwhile, I was also able to improve my general observational drawing skills when rendering the croissants. I was generally satisfied with my final drawings, except the shading of the croissants appeared overly dramatic, to such extent that the outlines of the shapes became unclear. I could improve these drawings by reducing the darkness of the rendering. The concept and method of axonometric projection were carried onto Module 2, as the Mario world illustrations were all created axonometrically. This time, apart from drawing by hand, I also learnt to develop and refine my work using Adobe Illustrator. Within this software, I experimented extensively with applying gradients and patterns to texturise the elements in my Mario world. The readings and lectures of Module 2 introduced me to a number of surrealist artists and architects who also employed axonometric projections to explore the different ways of perceiving space, form and shape within a flat pictorial plane.
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Module 3 helped me to step beyond the pictorial plane and explore the infinite possibilities of three-dimensionality. The lectures and readings exposed me to the different types of developable surfaces and assisted me in understanding how architects and designers incorporate digital fabrication in their creative processes. Through technical workshops, I obtained the basic skills in 3D modelling using Rhino, and carried out numerous experiments with custom panelisation. Moreover, through building the physical paper model of my panelised landscape, I learnt a range of methods to cut, score and fold paper neatly by hand. As a final project, Module 4 explored the elements of frame and field, as well as the ideologies and methods of perspectival and isometric projections. Incorporating a combination of all the digital softwares introduced in previous Modules -- Rhino, Photoshop, Illustrator and Indesign, I was able to familiarise myself with the basic design workflow. My knowledge in 3D modelling was reinforced, while my skills in photo editing and graphic design were also improved. Additionally, the weekly readings also assisted me in understanding the distinction between autographic and allographic arts, highlighting the significance of representation within architectural practice. Overall, this subject provided a solid beginning to my tertiary studies in design.