arc1301 by Leah Angelopoulos

A BEGINNERS... A BEGINNERS... A BEGINNERS...

INTRODUCTION

BIBLIOGRAPHY Google images Pinterest OASE ROMA ALL TITLES SOCKS

Hello, this is a collation of all my work done throughout the semester, ranging from development to finished drawings. Thankyou and I hope you enjoy reading it. Leah Angelopoulos, 31500196, ARC1301, Pearl Dempesy, 9/6/20

CONTENTS Front cover-1

Organisation

Introduction-2 Bibliography-3, 96-97

Title

Contents--4-5 Drawing A- 6-25 A1- 8-9 A2- 10-15 A3- 16-25 Drawing B- 26-55 B1- 28-29 B2- 30-31 B3- 32-53 B revised- 54-55 Drawing C- 56-79 C1- 58-59 C2- 60-69 C3- 70-79 Drawing D- 80-93 D1- 82-83 D2- 84-85 D3- 86-93 End note- 94-95 Back cover- 98

Images of work

Subtitles and or annoatations and descriptions

CHAPTER A CHAPTER A CHAPTER A

DRAWING A1

Laszlo Moholy-Nagy, Light Play- Black White Grey, 1930.

Andy Warhol, Brillo Boxes, 1970

DRAWING A

A+B+C+D.

D+B+C+A.

B+A+D+C.

C+B+A+D.

no!

RESEARCH

1 EL LISSITSKY, HERE ARE TWO SQUARES, 1920 This red square represents the new soviet order whereas the black is the old one. I like how even though this artwork is very minimal and uses little colour, it conveys strongly, the idea how in the same world change has occured (shown with different use of colour). This change is also different and has caused the world to shift, shown by the tilted square which causes an unbalanced composition.

EL LISSITZKY, PROUN 19D, 1922 I find the composition, use of colour and shapes to be really satisfying in this artwork. What might seem random when each element is on its own has been cleverly arranged and placed. Also how some of he shapes vary in texture and appear 3D. Lissitzky represents with these shapes what he though Russia would be like after the revolution. I like how the circle contrasts nicely with everything else by being an organic shape and having slightly more saturated colour.

JOAN MIRO, THE HUNTER, 1942 The artist has created an almost surreal, bizarre like landscape. The colour pallette is strange and so is the use of line and text. There is also a lot of symbolism being used. I like how the hunter has been reduced to the most basic shapes, almost like a stick figure, the triangle acts likea head, and he stereotypically holds a gun and pipe. The dead animal he’s killed also lies below. I think it might be a rabbit being represented using odd shapes and lines for ears and whiskers.

EL LIZZITSKY, NEW MAN, 1923 The artist was commisioned by a group to do artworks similar to this one. However they wanted him to make the artwork look somewhat like the human anatomy. So I like how he kept his abstract style and created a sort of humanoid shape/composition with lines and shape varying in thickness and scale. He also reuses his idea of the ‘red square’ again.

WASSILY KANDINSKY, AROUND THE CIRCLE, 1940 I admire how this artwork uses many bright hues and uses the red circle and a focal point. The color also acts as the positive space whereas the black is the negative. The shapes also range in scale creating movement, kind of like their ‘jumping’ everywhere. I also found interesting how he saw music as art and the ways he visually expresses what he thought of it. Musical sound=colours tone, Pitch=hue, Volume of sound=saturation.

WASSILY KANDINSKY, ON WHITE II, 1923 I like how Kandinsky uses a wide range of shapes and colour to represent the many possibilities and oppurtunities available in life whereas the black represents the opposite and death. I like how the composition is circular and radiates from the centre, escpecially how the central black shape is the focal point and slowly branches outwards leading your eyes to the colour.

SAUL STEINBERG, VIA AEREA 1969 Here Steinberg tried to reinevent and intergrate cubism into his own type of style. I like how he’s used a range of shapes, media and colours to create this artwork. The composition is crowded and chaotic and makes the viewers eyes dart all over the place. Alot of abstraction is used with no literal forms.

5 DRAWING A

JOAN MIRO, DOG BARKING AT THE MOON, 1926 I find it interesting how he doesn’t use literal forms and instead bright colours and organic composite shapes. This artwork really is surreal as the dog and moon look nothing like a real dog or moon. I also find it interesting how the bright colours or the dog and moon really contrast with the dark background.

SAUL STEINBERG, VIEW OF THE WORLD FROM 9TH AVENUE, 1976 I like how how Steinberg has included map imagery in his subject matter along with illustrations of the city. This not only adds contrast between a crowded foreground and empty background but highlights the narrow view Manhattan has towards the rest of the world.

SAUL STEINBERG, CHEST OF DRAWS CITYSCAPE, 1950 I like how Steinberg has clearly changed the context of the object in this image. Normally a draw is used somewhere to place clothes and is funiture, but here it has become a building. I like how he seemleesly blended in the draw with the perspective he’s created to make it appear like its apart of the city.

DRAWING A2 6XA4

This is one of my classmates work, Chantelle’s. I like how she used different textures like lace so I tried using other ones aswell, like foil and wood.

Eusapia I really tried to emphasize the confusion between the two cities through the use of watercolour. Both of the cities are portrayed as blue with black lines representing the connection between them. The lines are chaotic and range in transparency to really show the cities dont know how to differentiate one from the other, ‘who is alive and who is dead’. The triangle is used to help highlight this idea and also the idea of ‘confraternity’. It says in the story how there’s 3 dead brothers that move between the cities. I also then obscured the text or used jagged or mixed letters to again emphasize this confusion. I then placed wooden skewers pointing outwards and made the watercolour spread out and fade away to represent the idea of how the cities copy eathother and try to grow more and more to ‘keep up’ with eachother. Additionally the assymtrical composition helps convey this idea.

DRAWING A

Thekla Here I tried to show how when people arrive at this city they can see little of it. This is shown through how you look at the collage, remotely nothing really stands out excpet for the writing which is in red. I tried to use a grey hues to help convey this as it contrasts with the red which is so much brighter. Next I used simple textures such as wood and foil to breifly act as the ‘wooden catwalks’ and ‘metal armatures’. These are very abstract and again go with the idea of how little is seen by outsiders.

Thekla Here I tried to show the ‘city’s blueprints’ and why they are building. The dark blues represent the night sky and the orange representing how the sun is setting. I made the night sky not cover the entire page as they haven’t achieved their goal yet. It’s their dream, wish and desire that’s why it only covers a portion of the page. I also placed the skewers and metal wire, representing scaffolding, pointing towards the night sky to show this is their goal, it contrasts with everything else of the page and the foil bits representing stars also make it stand out. I left the sharp ends of the skewers to show how the people fear this ‘desctruction’ to ‘not only the city’ that could happen any moment and the wires are curved and wonky to show its fragility. I partially covered the words to show that the people are really focused on their work and don’t have time to talk.

DRAWING A2 6XA4

Argia Here I tried to convey how Argia is literally ‘filled with dirt’ by using positve an negative space. The black represents the dirt, nothingness, darkness and the white is the little room and space there is. The extreme minimalness and simplicity of this collage helps to show this idea of nothingness. The white dots are acrylic paint splattered which I used to represent air and how you can bearly breath down there.

Argia Here I tried to contrast the world above to that ‘below’ by purely using black and white. The black square acts as an entrance but reveals nothing as there is nothing but dirt and no light. The white circles are meant to represent people and how there connection to eachother are broken which is shown by the ripped pieces of paper in between them. This is because no one moves and is better off being prone anyway’. Adding to this I used grey paper instead of colourful paper to reflect this depressing thought.

Euspasia The fixed solid squares represent the physical cities whereas the lines and smaller ripped pieces of paper show the journey between them. The green and blue highlight and symbolise life whereas the grey is death. The shadows created by both are made to unite the two and show they exist in reality. They don’t see eachother as surreal or fake. The gap in between the lines emphasizes the ‘leap from life to death’. I was inspired by El Lissitzky’s work and tried to create a really abstract collage here. This was one of my first collages and so tried to incoporate more textures and text in my other collages to repsond to feedback.

Feedback

Use different media, incoporate name of cities and parts of the text, pick only a certain section to focus on for your collage, be abstract not literal.

DRAWING A

DRAWING A3 COLLAGES THEKLA DEVELOPMENT Here is the selection of the text I chose to portray in this collage. I tried to follow the same idea in my hand made collages where I used a sunsetting background except digitally using Illustrator. Then I used the ‘paint splatter’ brush in photo shop to create many small random spots, representing the stars. However, I think this might be too literal and not abstract enough because they appear as real stars anyway. Maybe, I could represent the universe in another way? The flat, solid rectangles represent the scaffolding and go upwards to show how their building go towards the night sky. I also used a blocky, thick typefaces as it gives a constructive, building feel which reaches towards the sky as well.

I I tried using cricles ranging in opacity and scale to be stars. I very much like this variation as it doesn’t seem too distracting and is more abstract balancing out with the rest of the composition.

THEKLA Work stops at sunset. Darkness falls over the building site. The sky is filled with stars. “There is the blueprint,” they say.

I tried to edit in the skewers from my last collage to represent the scaffolding however I feel like not enough analogue techniques are being used still

DRAWING A

Here I tried representing stars as ribbons in the sky with different digital brushes however they seem a bit too distracting for the overall collage

DRAWING A3 COLLAGES THEKLA FINAL I feel this is a very nicely assymetrical balanced composition which represents how the people of Thekla are working together to achive their goal which is to reach the stars. The crowded composition also represents how they are really absorbed into their work. The sense of hierachy I have created firstly draws you to the stars as they are white and contrast the most with the rest of the collage, then the writing ‘Thekla’, thin lines (represnt scaffolding) and then the sketches in the background. I tried aranging the skewers in different ways but it didnt go with the compsoition or the right type of feel I was trying to acheive.

I tried drawing my own ‘blueprints’ using sketching and ripping paper. These were’nt really blueprints but breif quick skecthes of buildings like they are being planned with dimension lines and numbers around them.

Then I applied a filter which inverted the colours and used it in the background of the collage on a low opacity. I think this achieves the planning feel that I wanted for this collage as the people of Thekla are planning for the stars and that’s what they are building for.

DRAWING A

DRAWING A3 COLLAGES EUSPASIA DEVELOPMENT I wanted to portray the confusion between the two twin cities. To do this I continued with my first idea in collage A2 where I used water colour except now I used two different colours and mixed them. I tried to show this confusion by using really drastic paint strokes that seem rough and random and tangled altogether. To show they are twin cities I tried to create assymetrical balance.

EUSPASIA They say that in the twin cities there is no longer any way of knowing who is alive and who is dead.

This compositie shape I created in Illustrator is what represents the city, Euspasia. I tried showing a city in an abtsract way by only using simply rectangles and squares. I then also used similar hues to the water colour painting above to blend in with it in the collage.

DRAWING A

Here I inverted the colours of the watercolour painting to make the chaotic lines white which really contrast and emphasize the confusion between the two cities. I then resized and placed many types of the composite shape to create an abstarct version of a city skyline. The tilted composition and zoom in on the white lines further reinforces this idea of confusion and creates movement. The assymetry also implies how the two cities reflect eachother because they are twin cities.

DRAWING A3 COLLAGES EUSPASIA FINAL Here I finally placed the word ‘Euspasia’ in the middle horizontally so it can be clearly read. This is because The cities don’t know which is alive or dead but they do know it exists.

Here I used different filters to see if I got get the right amount of red and blue on either side to reduce the overall contrast bewteen the two cities, successfully show how they blend with eachother and no one can tell who’s who.

Here I used different orientations for the words so the ‘alive’ and ‘dead’ can relfect eachother and intertwine. I used a distorted typeface to give an eerie feeling and then a solid/clear one for the words dead and alive to easily sum up the idea of confusion between the cities

DRAWING A

DRAWING A3 COLLAGES EUDOXIA FINAL

This is a photo of me laying out some string which I cut as Eudoxia is a city linked with threads and carpet. I also cut some pieces of an old carpet I had to use in the collage as well, it creates a nice texture.

EUSPASIA ... a carpet is preserved in which you can observe the city’s true form.... It is easy to get lost.... ....you recognize the street you were seeking in a crimson or indigo or magenta thread which, in a wide loop, brings you to the purple enclosure that is your real destination

Here I tried to convey a sense of being lost and not sure where to go or being able to recognise your surroundngs. To do that I used alot of bright and confusing colours, nothing seems ordered or makes logical sense in an abstract representation. The blue rectangle represents the carpet and the purple one is the ‘destination you want to go. But the threads leading to it are tangled and jagged not smooth and direct showing again how ‘easy it is to get lost’.

The lines from the real thread are black and also add confusion and a further lost feeling.

DRAWING A

CHAPTER B CHAPTER B CHAPTER B

DRAWING B1

DRAWING B

DRAWING B2

DIRECT SUNLIGHT These were taken by my window when the sun was out. I played around with the exposure a bit and moved the positions of my model.

NATURAL LIGHT SUNNY INTERIOR Here I used a red piece of paper to diffuse the light giving this red effect. Also the light isnâ&#x20AC;&#x2122;t directly being shone on the model.

DIRECT ARTIFCIAL LIGHT Here I used my lamp and placed it in different positions around my model to get this yellow effect.

DRAWING B

RESEARCH

11 18

Who is my space traveller? An ex coastguard/marine now a choreographer What is their task? To observe and research space and create movement sequences for robots in space What is the concept/ function of my capsule? To allow for the freedom of movment/fluid movement, contrasting enviroments, unique perspectives

13 DRAWING B

17 19

DRAWING B3 PRECEDENTS

To give it an old military style look I put an old typeface and made everything black and white I also scaled everything to 1 to 50 so it fits on 2 A3 pieces of paper.

DRAWINGS FROM ARC1001

22 Feedback

Have a hidden opening that is not not super obvious. The inside is different to the outside. The model can ahve a central turning point so all parts turn together. Have military document style instructions.

24 DRAWING B

Next I added a latte colour on top with these brush splatter pattern to make them look old and worn out

FINAL INSTRUCTIONS

Next i put crosshatching and then a classified logo to make it look more military like

DRAWING B

MODEL PROCESS

The capsule is made of glass as well so I thought to put a transparent material like plastic in the model. To then imitate its rotating pattern like the original (has the concept of movement) I thought to add a skewer going through everything where the user can turn the â&#x20AC;&#x2DC;beansâ&#x20AC;&#x2122; to any position desired.

I made a small practice peice to get an idea of how everthing will be made. I started with the basic bean shape with paperand masking tape. Then I added small flaps to increase the strength of the whole shape

To create the rocky pattern like in the section/plan I was thinking of simply printing it on or drawings it. Then I realised it might be better to create a simple zig zagged fold with the print at well to give a realistic texture

DRAWING B

FLAT PACK Part 5

Part 3

fold along these dotted lines

remove the grey shapes cut out along the outline of the solid shapes

cut out along the outline of the solid shapes

Part 2

remove the grey shapes

Part 1

fold along these dotted lines

remove the grey shapes

cut out along the outline of the solid shapes

Part 6

Part 4

cut out along the outline of the solid shapes

fold along these dotted lines

remove the grey shapes

cut out along the outline of the solid shapes

fold along these dotted lines

remove the grey shapes

fold along these dotted lines

DRAWING B

cut out along the outline of the solid shapes

I made simple flatpack versions on illustrator with instructions in the same font. This is because it needs to be simple/straight foward and clear for the person to make it.

MODEL PARTS PROCESS I have decided to use card, glue gun, skewers as I think they are durable and not too hard to cut

Here is all the parts. I decided to make the curved part that connects each of the beans out of paper because its flexible enough for pieces this small.

I tried using card however I dont know why but it was incredibly hard to cut and took too long to make these small intricate pieces so I decided to use cardboard instead.

So I traced and cut all the pieces on cardboard and stapled a see through plastic on the back to be like ‘glass’. This was a lot easier to cut. The skewer pieces act as spaces between the beans.

DRAWING B

I made the package out of cardboard and split the box into sections like a weapons case with each bean and its own parts in a small square. There is a thin small gap underneath which isnt really obvious where the plans and instructions are meant to be kept. However I couldn’t print these out as I don’t have a printer and officeworks printers service wasn’t available to its full capability. The skewers which will be the rotating device are also hidden between the cardboard layers and need to be found. This relates to my concept of camoflauging/staying hidden and movement.

MODEL PARTS PROCESS

INSTRUCTIONS PROCESS

Next the package is wrapped in several layers of paper layers with masking tape placed everywhere. This makes the box kind of hard to open as the proper opening is hard to find. The picture on the end shows these extra layers when removed.

I tried to make the instructions straight foward and direct and then put the words ‘dispose of’ like how soldiers are made to get rid of the evidence so they don’t get tracked. They are also simplified so they are memorised.

DRAWING B

ASSEMBLAGE AND EXPLANATION Open the box by sliding off the two layers on top.

Pull out the instructions from underneath, memorise them and burn them.

Once all the parts are put together find the skewer and pierce all the pieces on the plastic area lining them up. These can then be rotated or moved in different positions.

Start connecting the premade parts together first starting with the skewer bits and then the zig zag paper over the top. Repeat this with the other parts as well.

DRAWING B

FINAL MODEL

I improved the package by replacing the paper cover with a card one which goes over the top.

model parts in package

DRAWING B

FINISHED PRODUCT

DRAWING B

FINISHED PRODUCT

Due to not having a printer and officeworks printing services not working properly I had to edit how the package is meant to appear on photoshop

Since the top of the package reveals little context of the modelâ&#x20AC;&#x2122;s background the lid offers that.

DRAWING B

DRAWING B IMPROVEMENT

Drawing B was improved as its presentation wasn’t at a good standard. I redid the package in a more refined manner with black card and a proper label on the top of it.

In the inside of the lid a finished model is placed to show how the finished model is meant to appear The instructions below are placed in a folder, following with the ‘military aesthetic’.

DRAWING B

The concept was a military like gun case. This is seen with how the package, with the lid taken off, is split into sections for each part and surrounded by a soft material protecting the parts, cotton balls. I decided to make the model parts as the simple flat pack ones as previously the cardboard ones I made were very difficult and took a long time. Below the folder with the instructions is in a small slit, where you grab them out.

CHAPTER C CHAPTER C CHAPTER C

DRAWING C1

DRAWING C

DRAWING C2 PRECEDENTS

DRAWING C2 DEVELOPMENT

The way these images organise their elevations, sections and plans is really interesting. They use collage, heirachy, balance, contrast which creates a satisfying image. I removed the lines. I feel this is better as the lines can be distracting and the colour only does a really good job at showing the implied heights of the contour map

I first tried using simple black and white pallete. The lighter it is the greater in height, the darker the lower

DRAWING C

COLOUR DEVELOPMENT In studio I realised that the crash site is like a sand dune so I adapted the colours from it into the map

I then tried blending the colours like a smooth gradient but that didnâ&#x20AC;&#x2122;t work

DRAWING C

LAYOUT DEVELOPMENT I tried different line weights for the contour map. The thinner the lines gives a sense of distance, the thicker the closer the lines are

The typeface is very minimal and simple to not distract from the drawing

FINAL CRASH LANDING MAP Crash Site B 0.4

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DRAWING C Contour map

Section @ A-A

DOCUMENTATION OF CRASH LANDING I took these photos into photoshop, turned the saturation down and masked the background out to make the capule stand out.

FINAL PHOTO SEQUENCE EDIT

DRAWING C

I put a colour mask on top to make the model stand out even more.

I decided to use a warm colour like red as it works better and contrasts more.

LINE DRAWING SEQUENCE EDIT Then I added colour to add further contrast. It fades into a bright red and then out into a purple to show the aftermath of the crash. I then added labels, lines and dotted lines to help portray the â&#x20AC;&#x2DC;storyâ&#x20AC;&#x2122; better.

Here I made the model have a higher weight so it contrasts with the site model.

DRAWING C2: CRASH LANDING

-x distance

Part 1: Incoming

DRAWING C

Part 2: Approaching ground level

Part 3: Contact

Part 4: Collision

Part 5: Seperation

Part 6: Rest

DRAWING C3 PRECEDENTS Overlaying the same thing creates repetition.

26 27 I like the use of hidden imagery with mutiple meanings whilst being abstract and simple. These drawings are all multilayered and have many textures collaged into them adding interest and extra information.

This drawing is very informative, has many diagrams, has alot of text and has a consistent aethetic.

This poster is minimal and not overcrowded only key words stand out. The hatches collaged in go nicely and the white text constrasts well. It also has an interesting traingular composition.

The use of repetition gives a sense of movement. The combination of 3D and 2D imagery contrasts nicely.

DRAWING C

I like how this drawing has hand drawn techniques like water colour collaged into it.

IMAGERY FOR C3

PROCESS Here I went over my site model again in Rhino and added more detail, even the damage the capsule had done on the site model.

Crash Site B

Crash Site B 0.4

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To add more detail to the capsule model, the insides have also been drawn.

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Plan

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Contour map

DRAWING C

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Above is a planned composition with the main elements put in. Other smaller details like labels and grids were then placed in on the right. The compoistion was also improved in a more dynamic, assymetrical way, to keep your eyes moving.

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Section @ A-A

PROCESS I collected some images of deserts and then pixillated them to get a colour palette. I decided to go with the bottom one as it really shows the heat and light of the desert. Also its more consistent, ordered and monochromatic, which realtes to Eskâ&#x20AC;&#x2122;s character more.

Here is a bold but less bright colour choice for the background. The colours are harmonic and a sense of distance has been created. This hits the concept Bold title and contrasting colours Sense of hierachy and order Sense of movement/repetition Clarity/minimal and directness

The bright warm colours take away from the line work, composition and detailed information, so I opted for a simpler colour palette.

Here I had trouble deciding whar colour to make the sun as I wanted it to be bright to show the heat and brightness of the desert but at the same time wanted to show more importance to the capsule and title. I decided to go with the one above as its a fair compromise between the two.

DRAWING C

ADDITIONAL IMAGERY FOR C3 Title

Eskâ&#x20AC;&#x2122;s profile

Sand dunes, sun and background

A grid and 5 secondtimeline were added

distance above ground

The larger site context was added

DRAWING C

Backstory/context

Inventory codes

North arrow

Dotted lines showing the pathways of fallen parts and teh radius of the impact

FINAL C3 DRAWING

AFTER IMPROVEMENT

As feedback from class some fixes were a more original title and change to a less distracting typeface, also the ‘sun’ could be a more closer hue to the ‘sand dunes’ to create a better hierachy DRAWING C

CHAPTER D CHAPTER D CHAPTER D

DRAWING D1

Final Euspasia Drawing A3

This drawing highlights the confusion between the dead and alive in

Final Thekla Drawing A3

Final Euxodia Drawing A3

Final Euspasia Drawing A3

Final Thekla Drawing A3

This drawing highlights how the people of Thekla use the stars as their plan.

This drawing highlights the carpet’s detail.

Euspasia.

Final Thekla Drawing A3

This drawing highlights the confusion between the dead and alive in Euspasia.

This drawing highlights how the people of Thekla use the stars as their plan.

Final Euxodia Drawing A3

This drawing highlights the carpet’s detail.

This drawing highlights how the people of Thekla use the stars as their plan.

Final Euspasia Drawing A3 This drawing highlights the confusion between the dead and alive in Euspasia.

Final Euspasia Drawing A3

This drawing highlights the confusion between the dead and alive in

Euspasia.

A Series Layouts

Final Euspasia Drawing A3

This drawing highlights the confusion between the dead and alive in Euspasia.

C Series Layouts

Final Thekla Drawing A3 This drawing highlights how the people of Thekla use the stars as their plan.

Final Thekla Drawing A3

This drawing highlights how the people of Thekla use the stars as their plan.

Final Thekla Drawing A3

This drawing highlights how the people of Thekla use the stars as their plan.

Final Euspasia Drawing A3 This drawing highlights the confusion between the dead and alive in Euspasia.

Final Euxodia Drawing A3

Final Thekla Drawing A3

This drawing highlights the carpet’s detail.

Final Euxodia Drawing A3 This drawing highlights the carpet’s detail.

Final Euspasia Drawing A3

This drawing highlights how the people of Thekla use the stars as their plan.

Final Euspasia Drawing A3

This drawing highlights the confusion between the dead and alive in Euspasia.

Final Thekla Drawing A3

Final Euspasia Drawing A3

This drawing highlights how the people of Thekla use the stars as their plan.

This drawing highlights the confusion between the dead and alive in Euspasia.

Final Thekla Drawing A3

This drawing highlights how the people of Thekla use the stars as their plan.

Final Thekla Drawing A3

Final Euspasia Drawing A3

This drawing highlights how the people of Thekla use the stars as their plan.

This drawing highlights the confusion between the dead and alive in Euspasia.

B Series Layouts

Final Euxodia Drawing A3

This drawing highlights the carpet’s detail.

D Series Layouts

DRAWING D

Final Euxodia Drawing A3 This drawing highlights the carpet’s detail.

Final Thekla Drawing A3

This drawing highlights how the people of Thekla use the stars as their plan.

DRAWING D2 OPTIONS FOR COLOUR PALETTE AND TEXT STYLES

Arial Narrow Bold Italic (underlined, size 48)

FRONT PAGE

Arial Narrow Bold Italic (underlined, size 30) Arial Regular ( size 13)

CONTENTS PAGE Front cover-1

Organisation

Colophon-2 Contents-3

Title

Drawing A A1A2A3Drawing B B1B2B3B revised Drawing C C1C2C3-

Folio 2020

Drawing D D1D2D3-

Images of work

DRAWING D

Subtitles and or annoatations and descriptions

DRAWING D3 PRECEDENTS

These designs all have a clear and united aethectic which is consistent throughtout the folio images. I like their intersting colour pallette while each of them also give off a unique mood. The John Wick poster has minimal graphics and simple typeface but has a bold strong red colour. This is a balance I want to achieve.

The Panacea poster also has an intersting aesthetic. The colours are contrasting and the imagery looks kind of old, like pop art but modern.

45 37 86

38 DRAWING D

FOLIO DEVELOPMENT Final chapter front cover

Folio Folio

FOLIO FOLIO 2020 2020

FOLIO 2020 FOLIO 2020 FOLIO 2020 FOLIO 2020 FOLIO 2020 FOLIO 2020 FOLIO 2020

FOLIO 2020 FOLIO FOLIO 2020 2020 FOLIO FOLIO 2020 2020 FOLIO FOLIO 2020 2020

CHAPTER D CHAPTER D CHAPTER D

FOLIO FOLIO 2020 2020

A BEGINNERS... A BEGINNERS... A BEGINNERS... Final folio front cover

DRAWING D

FOLIO DEVELOPMENT Brainstorm of ideas -Minimal, straight foward and clear, make the drawings stand out -Hidden camo -Bold -calm -hand brush work -clouds -Show improvement over time in my folio with the layouts and aethetics slowly becomes more sophisticated and intersting colours monochrmatic, to duo tone, to tri tone -normal blue first, then light blue , then rose pink -movement repetition FINAL CONCEPT-SIMILAR TO C3, MINIMALIST, DIRECT, SIMPLE, INFORMATIVE, ABSTRACT BUT SOFTER COLOURS FOR THE WORK TO ‘STAND OUT’

Final colour palette

TYPEFACES TESTED arial alternative gothic atrament politica nobel prohibition

FINAL CHOICE RAJDHANI LIGHT SIZE 6 RAJDHANI regular size 8 RAJDHANI semibold size 34 DRAWING D

FINAL CONTENTS PAGE Front cover-1

Organisation

ColophonBibliography-

Title

ContentsDrawing A A1A2A3Drawing B B1B2B3B revised Drawing C C1C2C3Drawing D D1D2D3End note92

Back coverDRAWING D

Images of work

Subtitles and or annoatations and descriptions

END NOTE

You have reached the end of this drawing book. I made this in the first year of my univerity course at Monash. I had alot of fun making this and hope you enjoyed reading it, thankyou. I would also like to dedicate this book to my parents who supported me through tough times and heped me reach my goal of studying architecture in university. -Leah

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