CONTENTS MODULE I
2-6
MODULE II
7 - 12
MODULE III
13 - 18
MODULE IV
19 - 28
REFLECTION
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1
MOD I
How To Draw A Croissant?
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MEASURED DRAWING OF A CROISSANT The first module focuses on the technical drawing of the croissant and the usage of the axonometric projection. Starting with the collection of informations, the photos of the croissant were taken at a makeshift photostage from plan view, elevated side view, and elevated front view. As for the bottom view of the croissant, a scanner was used. Later, the croissant was cut in three sections at three different locations and they were scanned.
PLAN VIEW
PHOTOCOPIED PLAN
ELEVATION (Front)
ELEVATION (Side)
PHOTOCOPIED SECTION I
PHOTOCOPIED SECTION III
PHOTOCOPIED SECTION II
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DETAILED DRAWING Using the photos of the croissant, the drawings of the elevated croissant were done with the HB, 2B, 4B, and 6B pencils. The heaviest shades of the croissant were done by the 6B pencils. Other three pencils were used in variance to create the texture depending on the tone of the picture. The drawing of plan view was drawn only with pens with the thickensses of 0.2, 0.3, 0.5, and 0.8. The penmanship was done in the same way as pencils. DRAWING OF ELEVATION (Front) DRAWING OF SECTION I
DRAWING OF PLAN VIEW
DRAWING OF ELEVATION (Side) DRAWING OF SECTION III Firstly, the section I, section II, and section III are located at the numerical markers shown in the drawing of plan view. To draw these sections within the croissant, the previous scans of sections were used. 0.1 pen was used to outline the shapes on the croissant, and the detailed shapes of the sections were shaded using pencils with the thickensses of 2B, 3B, and 5B. Lighter pencils were more utilized to create very subtle difference in the lighter tones. Darkest tone was replicated with the thickest pencil.
DRAWING OF SECTION II
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GRID DRAWING OF SECTION I
GRID DRAWING OF SECTION II Following up the drawing of plan view with its corresponding drawings of section I, section II, and section III, axonometric drawing plan I takes on the similar approach, but with an architectural apporach and orthographic projection. Axonometric drawing plan shows the dimensions and the simpler plan of the grid drawing of the sections. Same as before, the grid drawings of section correspond to their numerical order. Grid drawing of section I is located at the marker 1 on axonometric drawing plan I. Moreover, grid drawings of section are measured in millimeter.
GRID DRAWING OF SECTION III
AXONOMETRIC DRAWING PLAN I
AXONOMETRIC PROJECTION 5
AXONOMETRIC DRAWING PLAN II
AXONOMETRIC DRAWING PLAN III
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Axonometric drawing plan II is the follow up of the axonometric drawing plan I that includes the outline shapes of the sections rather than the grids of the sections. This creates a physical prescence on the orthographic projection of the croissant. Axonometric drawing plan III is again the follow up of the plan II. By connecting the shapes of the croissant, it creates the tangible form of the half cut croissant.
MOD II
Flatness vs Projection
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THE MAKING OF A NEW MARIO WORLD Using the Mario Worlds on the right, a new three dimensional world of the mario has to be created. Mario World 17 was used as the front facade of the three dimensional world, and Mario World 7 was used as the back facade of the three dimensional world. There were multiple steps taken for this creation. Using the combination of physical sketching, Photoshop, and Illustrator, the planning of the world and the designing of the world were executed.
MARIO WORLD - 17 (BACK)
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MARIO WORLD - 7 (FRONT)
GRID PLAN - 17 (BACK)
The facades of Mario World 17 and 7 were planned out in to the grid plan which are in the orthographic projection. They correspond to the shapes and the patterns of the flat images. Thus, it has exact dimensions. This extra process was done in order to make the world configuration accurately and neatly. Also, these two grid plans were drawn on different sheets of tracing paper.
GRID PLAN - 7 (FRONT)
GRID PLAN 9
By laying over new trace papers over the previous grid plans, the rough design plans were developed. This was also done all while keeping the dimensions and the shapes of the facades. Essentially, the design plans on the right are the three dimensional figures of the facades. Moreover, to construct a dynamic theme for the design, the three dimensional objects were moved back, front, or both creating staircases or overlapping objects.
DESIGN PLAN - 17 (BACK)
CONSTRUCTION 10
DESIGN PLAN - 7 (FRONT)
On the left, the picture shows the overlapping of all the previous trace papers. The grid plans were placed at the furthest back and the design plans were placed at the front. Using a new tracing paper, the final design of Mario World was traced. Both facades were copied from the design plans. Moreover, the details in the middle blank space filled up with personally designed objects while maintaing facades of the original images. This final step was done with 0.2 pen to make the lines thin and visible.
LAYER OF TRACING PAPERS
The previous completed design plan tracing paper is scanned. Using the Photoshop and Illustrator, some edits were done to the lines, and level of the picture was adjusted to make details on the picture even more visible. Traced plan (combined) on the right bottom of the page is the final result.
TRACING 11
TRACED PLAN (COMBINED)
FINAL PLAN w/o BACKGROUND
Finally using the ‘make paint’ tool from the Illustrator, the final plans on the left were created. These colors were chosen in order to replicated the color theme of the Sahara Desert. This resulted in pop art design rather than normal realistic design. These final plans are the three dimensional Mario Worlds. One has no background in order to present the edges of the objects without blending in to the background color. Other is the final and the full picture of the three dimensional Mario World.
FINAL PLAN w/ BACKGROUND
3D MARIO WORLD 12
MOD III
Pattern vs Surface
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THE MAKING OF A NEW LANDSCAPE Module three focuses on the building of the new terrain digitally and later physically. Firstly, to achieve physical manifestation of the landscape, the terrain had to designed. Using the given terrain on the left, the surface was manipulated with the Rhino design software. Three point attractors were set on top of the middle of the left top corner, right top corner, and center of the bottom of the plane. Using custom 3D panelling tool with selected models and the location of the three point attractors, the landscape was created. This was done in different orders and multiple models.
GIVEN TERRAIN
SAMPLE I
MODELS
SAMPLE II
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Sample I and sample II are some of the many experimented terrains with each unique set of models. The unqiue set of models that were used are on the right of the sample terrains.
FINAL 3D MODEL
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UNROLLING GEOMETRY The top view of the final 3D model was the reference that was used to unroll all the strips of the panel. Every column was assgined a color to keep things organized. After being cut meticously, the label and the unrolled shapes were paired up. With everything cut and laid out, the construction of the 3D panel began. Using the conventional tools such as glue to stick and the paper clips to keep the form of the panel, the 3D panel was created. Moreover, a technique of cutting slightly on the dash lines of fold lines helped the process of folding quicker and more efficient.
TOP VIEW OF FINAL 3D MODEL
TWO STRIPS OF UNROLL SHAPES 16
Above all, the landscape tells a story. It has a hilly, low elevated flat land in the middle which disperses greatly out to the left bottom corner, minimally to right bottom corner, and some to the central top. Constrasting them are the three distinct places for high elevated mountainous regions. With these features, if one was to look diagonally through the long paved view of any two pyramids models, it will be either be blocked with rotated or opposite faced module, or lead to an open valley. This inspiration came from the Inle Lake, Myanmar which hosts an unique civilization and ecosystem. It is a lake situated at high elevation surrounded by multiple layers of mountains. One needs to navigate through these mountains to see this unique beauty of the lake in the mountains.
TOP VIEW OF 3D PANEL
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CENTRAL VIEW OF 3D PANEL
DIAGONAL VIEW OF 3D PANEL
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MOD VI
Frame vs Field
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INVISIBLE CITY The last module is the ultimate task of translating the words of someone in to an unqiue design. The passages from Marco Polo’s journal, ‘Trading Cities 2’ were the given words. Using the information and the story from the passages, a new design based on the ‘old quads’ had to be created. Based on the old quad and the passages on the city ‘Chloe’, the scenes had to be planned out with the characters and the enivronments that were sourced externally. Again, the Rhino was used to manually design the old quads to shape and fit the external sources and new features.
PASSAGE PART I
PASSAGE PART II
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ORIGINAL OLD QUADS (REFERENCE) FLOOR DESIGN (SHADED)
LAYER I
ORIGINAL OLD QUADS (REFERENCE)
FLOOR DESIGN (RENDERED)
Various new features were added to the original old quads. This was done in order to make the final plan of old quads similar to the inspiration it was based on and, ultimately, unqiue. Layer I is the overall plan of the floor design done in the Rhino. Floor design (shaded) is the close-up view of the floor. The rendered verison shows that the three dimensional grooves which were dug in to the floor.
LAYER II OUTER ROOF ARCHES 21
Layer II is the combination of the floor design plan, the columns and the outer roof arches. The picture of the outer roof arches emphasizes on the three curves on the one big arch.
FEATURE
ORIGINAL OLD QUADS (REFERENCE)
CAPITAL
LAYER III
ORIGINAL OLD QUADS (REFERENCE) LAMP
Layer III shows the plan of the original old quads without the roofs and with the extended base. However, the capitals from the original old quads were subtly changed. They have two polygonal rings on the top of the capital and near the bottom of the capital. Layer IV continues the previous layer, and adds buttresses and lamps. Lamps are located on every column except the corner columns. Buttresses are situated around the old quads completing the structural apsect of the design.
LAYER IV
BUTTRESS
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FINAL DESIGN OF OLD QUADS
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ISOMETRIC VIEW OF FINAL DESIGN OF OLD QUADS w/ SYMBOLS
ISOMETRIC VIEW OF FINAL DESIGN OF OLD QUADS
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By the end of the thin and long corridor, Maroc Polo turns around to observe the path he came from. 4 Atmosphere in this area is tight as the two people are locked in an eye stare. c
The mood is not intense at this location as people are facing backwards to this space. d Continuing his journey, Marco Polo takes a glance a band of people. 5 The mood here is intense as the people are sharing deep stares. e
After looking around at the entrace, Marco Polo keeps walking and sees a person in the corner. They share a quick glance. 3
Before ending his journey, Marco Polo onced again looks back to observe the large corridor and 6 the people in it.
As nobody is in this area, everything feels free flow- b ing. 7
Marco Polo looks back and takes a glance at the some of the people surrounding him. 2
a Mood in this area tight as a bunch of people are waiting at the corridor for the rain to end. Marco Polo starts his 1 journey from this point.
f As nothing is happening between the people in this last section of the corridor, it feels loose. ISOMETRIC VIEW OF FINAL DESIGN OF OLD QUADS w/ SYMBOLS - REPRESENTING MARCO POLO’S JOURNEY THROUGH CHOLE 25
Marco Polo ends his journey at this point.
The pictures below show the perspective I and perspective II in Illustrator. It includes the linework of the the final design of old quads with outline of the characters. PERSPECTIVE I (ILLUSTRATOR)
PERSPECTIVE I (RHINO)
PERSPECTIVE II (ILLUSTRATOR)
PERSPECTIVE II (RHINO) The pictures above show the perspective I and perspective II in Rhino. It is the rendered version of the final design of old quads with the shape of characters, and the images of the backgrounds and shops.
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PERSPECTIVE I The ‘perspective I (final)’ picture on the left is the result of the combination of the Rhino and Illustrator versions of the perspective I with no color. Also, the textures were added to the structural components of the picture. Seamless cement was used for the roofs, sandstone was used for the captials and the columns, glass was used for the lamps’ transparent areas, gold plate was used for the surrounding area of the glass, and plaster was used for the floor. Perspective I is the perspective that Marco Polo sees when he looks back for the first time. It is a central view of the long and thin corridor with the slim lady in the middle. Within in this view are the two girls running to the entrace, a giant tattooed man and the courtsean. This scene demonstrates three aspects of the passage. The first is indifference of the people. For isntance, by the time Marco Polo walks and turnsback, the lady that he had eye contact with when he glanced at the entrance is no longer interested in him. The second is the innate desire of each person. The giant tattooed man and the courtesan are sharing a deep look. In spite of not talking, they have some innate desire of sexual behavior as they are attracted to each other. The last is weather. It is raining outside. The lady is looking outside to gauge how bad the rain is and the bigger girl is trying to stop her sister from running into the rain.
PERSPECTIVE I (FINAL)
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PERSPECTIVE II The ‘perspective II (final)’ picture on the right is made out of all the same components of the perspective I. It has the same textures and same combination of the verisons of the perspective II. However, perspective II is the diagonal perspective that Marco Polo sees when he looks back for the second time. It is the huge corridor with the side where sun shines from the right and the fat woman at the center. The band is at the right corner, the blind man with cheetah is at top left corner, and the military man (ephebe) is at bottom left corner. Some of the previous aspects are present in this scene. For example, the indifference among the people are still strong as nobody is actually talking or are in contact with each other physically. Moreover, there are two new aspects in this scene. They are the lines of glances and the variety of people existing on the same plane. The lines of glances can be seen with the fat woman, the blind man with the cheetah, and the band. The fat woman is looking at the blind man. Obviously, blind man can not see. However, his body language is moving toward to the band and the music. The band is only staring at the fat woman. This creates a triangle of glances. In this view and including previous view, none of the characters look similar or repetitive. This makes everybody on this plane of existence unique.
PERSPECTIVE II (FINAL)
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REFLECTION From these projects, it is obvious to me that there are two lessons. The first lesson is the technical aspect. The architectural presentation of design is unique as it does not priortize artisitc and asthetic values. It has to balance between those vaules and the presentational value of maintaining the original dimensions. From the experiences of the projects, the best technique is orthographic projection or axonometric view. Second lesson is the broad view of all four modules. It is about the translation of one medium in to another designed medium. In the first module, the photos were translated in to the realistic three dimensional projection of the photos. For the second module, base on the flat images, new three dimensional worlds were desgined on the two dimensional surfaces. Third module focuses on the creation of a three dimensional terrain from scratch. Lastly, the words were used to create and describe the an invisible city with characters that can even tell a story. They clearly show that whatever medium it is such as customner’s words or references anything can used to design. Time management and the gauging of the work load are the skills that improved a lot with this subject. Before this subject, my skill has not matched the pace of the university and the subject. With this course, I am confident that I will be able to work efficiently with the upcoming design courses. Above all, this subject has been eye-opening for me as it shows me the potential growth in my observational and design skills. With this realization, I have set the goal to change from merely drawing to thinking critically of what I draw and finding inspiration beyond my knowledge.
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