Lauren Thomson Folio

Lauren Thomson 911599

FOUNDATIONS OF DESIGN:REPRESENTATION Semester 1, 2017

PORTFOLIO

Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO

Studio 22, Hana Student Name Nihill Student Number Studio 00 - Tutor Name

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How to measure a Croissant?

This task introduced me to axonometric drawings.

Beginning with sketches and then fine liner, multiple views, including cross cut sections, of a croissant were drawn. The cross-cut sections were then used to develop an axonometric drawing by overlaying a 10mm x 10mm grid, and marking the intersection points. It took a few attempts for the drawing to accurately represent the croissant as at first, I hadn’t properly aligned the cross cut sections with each other.

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The making of new Mario world The original Mario world is 2D, and shows little depth, but by turning it into an axonometric image, we can explore the space hidden within.

This representation uses the same colours and objects found within the original Mario world but contains aspects unseen before; objects hidden behind the front objects, the earth below and the width of objects.

NEW MARIO WORLD

NEW MARIO WORLD First attempt at axonometric drawing done wrong - started with objects in the foreground first making it confusing

New attempt at first world drawing, now starting with objects closest to the back.

Both world drawings put together in preparation for the final drawing. Drawings were done in stages so some pencil lines are visible from last phase.

Experimented a bit in Illustrator, though much did not feature in the final such as this cloud.

I chose not to keep this as it distorted and obscured many of the objects within the world.

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Drawing process The tops of the trees in this drawing aren’t uniform; something I wasn’t able to achieve until moving to illustrator. The size of the base is rather large, which I shortened in illustrator and eventually added layers to represent the earth to help break it up a little. It is hard to get a true representation of depth here, as there is no colour to indicate shadow and different textures.

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The making of new landscape My paper model consists of 5 shapes (panels) and is symmetrical on a diagonal axis. The 2D panels follow the same triangle pattern that most of the shapes follow, though their height is significantly lower than the 3D panels. The middle four panels are inspired by roses, giving the effect that a flower is blooming from the middle.

The sharp triangular pyramids represent the many mountains and untouched land that cover Tasmania’s terrain.

PAPER LANDSCAPE

Model Details

INVISIBLE CITY Raissa city Raissa is a city seemingly devoid of happiness. Everywhere you look is suffering and pain, and yet smiling children can still be found. The story describes an invisible thread, connecting each person in the city for a moment, showing how a city can connect people even when they appear to be in entirely different worlds. I interpret this as a run-down city, filled with people low on luck, yet the children are completely unaware of this world that surrounds them. The only hope that can be found for the adults is that point in time when the thread connects them to the children, who are able to relieve them of their pain, and pull them into their world of oblivion if only for a moment.

In my notations, I am trying to show the clear difference between these two groups of people.

The large circle featured represents the adults, though I have only used small circles to represent the children to show how isolated and unaware of the world around them they are. Similarly, I have used the ‘dark mood’ symbol only once and covering the whole of the crowd circle, but small ‘light mood’ symbols above the children to show how their happiness is isolated to them only, and is seemingly separate from the world surrounding them. The arrows show that the adults featured are staring and generally in a downwards direction; something commonly associated with sadness and boredom. The closely dashed curved line surrounding one side of the quad represents how the children are in the dark, whereas the line on the outside of it is made of dashes spaced further apart. This is showing how the world outside them is light and disguising nothing.

Key Stare

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Second Perspective - Sad This view suits my scene as the large number of columns give the view a busier feel. I wanted this scene to be the opposite of the other scene; hectic rather than peaceful. This view also allows lots of light to come through, whereas the other view is a lot darker in comparison. I wanted the other scene to portray that the children are quite literally “in the dark”. They are oblivious to the sadness that surrounds them as opposed to this scene that is completely light and crowded with sad figures. The man sitting at the worktable and the man covering his ears are directly related to the description in the story, though the rest of the figures are only inspired by it. I have chosen to leave the background blank and light, to show how everything is in the open with these people, who reflect the sadness that corrupts most of Raissa, and that nothing is hidden from them.

First Perspective - Happy This view suits my scene as I wanted the focus to be on the windows that I have added in the wall. In the story, it mentions children smiling and leaning out windows as an example of moments of happiness within the city. There is also quite a lot of large, dark space included that I have left empty to show the children’s isolation from the rest of the world and what is going on around them. As opposed to the other scene, I have included a stone wall around the perimeter of the quad to again show how closed off they are from the world, and because it helps to make the scene darker, again showing how they are in “in the dark”. The cracks in the stone symbolise how the world is crumbling all around them yet they seem to be oblivious to it.

INVISIBLE CITY

Reflection Through these assignments, I have learnt to look at design in a new way with a deeper understanding for it. I was particularly fascinated with the history behind design concepts, such as how and why axonometric drawings came about. As a result, I am able to decipher how certain designs were created and their inspiration when looking at them. I found it interesting that many design concepts were able to be used across various design fields and enjoyed learning certain techniques used in fields I’m not planning on majoring in, such as notation in non-static art forms.

I was completely new to many of the Adobe programs and Rhino before beginning this subject, and though I had experience with some technical drawing types, many were foreign to me. I found it very new and interesting to work so consistently between 2D and 3D, and found it absorbing how one is developed from the other.

I enjoyed being to able to learn from and amend my mistakes from various courses. One of the most important things I have learnt is to always do a print test to ensure the colours and lines are all visible. I had the most trouble with Module 3 and it wasn’t until after I had completed it that the one mistake I made was not labelling my panel nets. Again, a prototype would have been smart to have made before hand. I was able to play with angles when taking new photos for my portfolio, and fix certain panels to more accurately represent the original design. I have also learnt the value of touching up scans in Photoshop. Throughout the semester, many of my drawings appeared fuzzy and light, but playing with the levels and curves, as well as erasing the parts not needed helped to rectify this.

Overall, I found this subject challenging but enjoyable, and anticipate the skills to be incredibly useful in the future.

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