FOUNDATIONS OF DESIGN: REPRESENTATION PORTFOLIO
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
CONTENTS MODULE 1 MODULE 2 MODULE 3 MODULE 4 REFLECTION
MODULE 1
MEASURED DRAWING OF A CROISSANT HOW TO MEASURE A CROISSANT?
The accurency of the drawn Croissant was entirely dependent upon the initial photographs taken by the individual. These photographs above provide the ground work for the drawings themselves, with the ďŹ nal images being traces of the photos taken. The Croissant was photographed with great care in an attempt to achieve accurate elevations. This is important as although these images will never be true to the ideas of elevation which are not achieveable with a photo due to perspective, they could still be used to forge the effect of elevations.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
MEASURED DRAWING OF A CROISSANT FROM PHOTOGRAPHY TO GRAPHITE
Pictured here are the sketches produced from the photographs. The outline was of the upmost importance in ensuring the orthographic was an accurate representation of the croissant. Furthermore, using a range of pencils which varying lead weights was vital to achieving a detailed understanding of tones and textures.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
MEASURED DRAWING OF A CROISSANT CREATING AN ORTHOGRAPHIC
The purpose of this excercise was to practice elevations and orthographic drawings. Ultimately I feel as though my orthographic resembles my croissant accruately.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
MODULE 2
MARIO WORLD
PROJECTION VS FLATNESS
The two images of a Mario world which forms the basis of my own axonometric creation.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
MARIO WORLD CHAOTIC PROCESSES
Originally I thought it best to project the hills as cylinders to create a more interesting visual, however, the logistics of creating such wide cylinders was not only difficult but cluttered. As such I decided to create intrigue another way through the creation of serperated spaces and elevated hills in a flatter format, while adding depth through defined layers.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
MARIO WORLD AXONOMETRIC
The images above show how I decided to project my Mario worlds into an axonometric as well as ďŹ ll the space inbetween. I found it important to add my own take on this task by seperating the landscape into sections. I felt as though this provided a more interesting Mario world as it switched up the classic block landscape. I also added a pipe system below the actual world itself.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
MARIO WORLD FINAL
FINAL MARIO WORLD 21-15
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
MODULE 3
PAPER LANDSCAPE PATERN VS SURFACE
Above is a collection of experimental landscapes, designed randomly within Rhino. My design process for this module was somewhat limited due to time. As such, although I attempted to ensure my design was interesting by adding complex designs, it was not until I printed my ďŹ nal concept that I realised my mistake of creating complex shapes.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
PAPER LANDSCAPE PROCESS
Pictured above are some of my various attempts at creating my landscape. As suggested I decided to go with a geometric pyramid base and always triangulated my meshes as this ensured that they could be physically unfolded and created.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
PAPER LANDSCAPE FINAL MODEL
Pictured are images of my final model. The biggest problem that I faced with this module was time management. What I had realised is that by attempting to create a more complex shape in some aspects, such as including a slant at the top of my square, I create an object which would not unroll as cleanly as I would’ve liked. This created a huge problem in regards to being able to efficently create the shape and ensure that it still maintained its square base. Overall although the physical model itself was not amazing, I was still able to, through photostaging, captured images which were still passable.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
MODULE 4
FRAME VS FIELD TELLING A STORY
Module 4 allowed for an increased degree of creativity. For my Rhino design I decided to add a secondary level to imitate a city plaza. I feel as though the movement I decided to create indicates a owing environment. The environment does tell the story well of two seperate meetings in an abandoned city. I decided to take this further when exploring my perspectives.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
FRAME VS FIELD PERSPECTIVE
For the ďŹ rst perspective I decided to take a low-down image at ground level, looking up at the stair case. I feel as though this perspective is my strongest as it encompasses all elements of the storyline and has a real sense of ow. The second perspective continues the story during a second meeting between the two characters much later on in their life, but this time the setting is more stagnant as the story demands it to be so. Overall creating both these perspectives where challenging but also fun work as it drew parrallels to a colouring book.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21
REFLECTION
REFLECTION
FOUNDATION OF DESIGN: REPRESENTATION
Throughout this subject I feel as though there has been an emphasis on time management. Overall, I enjoyed the subjects challenges as they came, whilst picking up new trinkets of knowledge. The lectures themselves provided interesting insights into the fields of design and how best to engage in the challenges within the field. I found the lecture wherein the patterns seen throughout Melbourne’s city centre was explored. The designer revealed the ways patterns can be created within a format; seen in the triangle paneling. While I wouldn’t say most the concepts where new to me either, I found that it was good to get a grounding of what to expect in future years and how to operate within a set of parameters. Nevertheless, If there was one glaring fault of my semester it would’ve been Module 3 and the model which failed to reach its full potential. I realise now that ultimately my fault comes from over ambition and poor time management. I spent most of my module 3 attempting to create wondrous digital designs only to be brought back to reality when attempting to fold fidgety paper into shapes which were over complicated with little purpose. I believe the greatest take away from that would be to attempt more trials before I go to complete my final model, as by not doing so in this instance I was forced at the last minute to brute force my way through the difficulty and place whatever I could up for assessment as it was better than a fail. Ultimately, the skill set that I gained was a more refined understanding of the design process and a greater competency at adobe programs combined with a general understanding of Rhino 5. Regardless of marks as well, I found myself simply exploring concepts in pursuit of creative inspiration rather than sticking simply to the script, and although at times it was to my detriment, it was never regrettable.
LUCAS BECERRA | 910143 | CAMILO CRUZ | STUDIO 21