FODR Portfolio

PORTFOLIO

Manasi Chopdekar 935401 Studio 11 - Jun Han Foong

3 MODULE 1 How to draw a croissant?

8 MODULE 2 Flatness vs Projection

13 MODULE 3 Pattern vs surface

17 MODULE 4 Frame vs Field

MODULE 1 How to draw a croissant?

3

Measured drawing of a croissant

The croissant was first scanned from the bottom, and then its photos from different orthographic views were taken. These colored images were then cleaned on Photoshop CC and edited and aligned.

The croissant was then cut into three pieces, and its cross sections were scanned on a clean photocopier. These scanned images were then cleaned using Photoshop CC and aligned with the rest of the images.

4

Steps to create final orthographic drawing

1. Tracing the croissant

2. Shading the croissant

3. Adding cross hatches to the croissant

5

Orthographic drawings A fresh sheet of A4 tracing paper was taken, and the outlines of all the different parts of the croissant were drawn on separate pages.

After the outlines were completed, a new batch of paper was taken and fresh outlines of all the croissant parts were made, but this time, light and dark shading was added to the outlines to show depth and shadows.

Once again, new batch of outlines were made, and this time, only light and dark cross hatchings were added to give texture to the final drawings.

Once all three batches : outline, shading, hatching were done, they were layered on Photoshop CC by adjusting opacity and darkness levels to form the final complete drawing of the croissant 6

Axonometric projection

In this module I have learned the technique of hatching and shading and used it to produce orthographic drawings of the croissant.

I used Photoshop CC to adjust and format the layout of the final axonometric drawing on my lighter top view drawing of the croissant.

In this module, I was introduced to the concept of axonometric projections, and how to create one for the croissant by using the grid diagrams of its cross sections.

7

MODULE 2 Flatness vs Projection

8

New Mario World

In this module, I began to understand the differences between 'subjective' and 'objective' viewpoints, the thought that begins to define 2D and 3D spatial constructions, and their impact on perception. I learned how to construct axonometric projections of given two-dimensional images. I learned how to use the various tools of Illustrator CC to re-trace and apply color to my axonometric projection and apply creative thinking to construct an original, new three-dimensional world from given two-dimensional images.

9

Constructing axonometric projections from giving 2D Mario template

I was given two templates from the Mario game and asked to first construct the front and back axonometric projection of my Mario World.

There were to be no coins, characters, or cartoon figures added, focus was on the structure and design.

I used a T scale and set squares to construct the projections.

Back axonometric

Front axonometric

10

Axonometric projections for underground levels

I decided to add 2 floors underground, with the idea of a waterfall system in mind.

The designs I came up with were deliberately geometric, as I prefer geometric designs.

They were easier to plan and draw and fit easily with my main axonometric level.

I used T scale, set square and 2B pencil to draw the axonometric views. Once this was done, I scanned all three drawings and then cleaned them on Photoshop CC.

Level 2 axonometric

Level 3 axonometric

11

Working towards final Mario World

Final level 1 axonometric

Final level 1 axonometric - colored

The final axonometric images were cleaned on photoshop and then traced on Illustrator CC. Two more floors were added to make the scene look more interesting.

I used live paint bucket tool on Illustrator CC to fill color in the different parts of the drawing after using pen tool to trace the outlines. Hatching has been added for the grass and a little shading has been done on the rock faces to show depth.

I'd decided early on that I wanted to add more levels underground rather than above ground.

This is my final take on my idea of a waterfall system with various pipes transporting water from one place to another.

12

MODULE 3 Pattern vs Surface

13

The final landscape

Paper landscape as designed on Rhino 5.0

Landscape model made from A1 Ivory card

My final landscape was inspired by The Esplanade, in Singapore. I used triangular base panels and have used variation in height of the panels to show the flow of the landscape.

In this module, I manipulated topography as a surface using Rhino 3D paneling tools. I learned to use digital tools to manipulate form to create effects and produce a physical model.

This module was a good introduction to Rhino software and the concept of creating complex geometries on a curved surface using simply shaped panels and I definitely learned a lot from it.

14

Process leading up to final ivory card landscape model

1. Working with Rhino 5.0 3D panels on given landscape

2. Coming up with custom made 3D panels

3. Making final model on Rhino 5.0 4. Unravelling each pair of panels on Rhino 5.0 and arranging them accordingly on Illustrator CC, formatting line colors before printing on A4 sheets 15

Process leading up to final ivory card landscape model

5. Sticking the printouts of unrolled surfaces on ivory card before cutting with a blade and making a test panel.

6. Fixing the gaps and tabs between panels with scissors and tape.

7. Making sure that ivory model looks the same as the model on Rhino 5.0

8. Taking pictures of model, cleaning them on Photoshop CC for final presentation 16

MODULE 4 Frame vs Field

17 17

Invisible city: Hypatia This isometric quad model shows Polo’s starting point (top left of the quad), when he was happy, walking along the magnolia gardens expecting to see pretty things and how his pace, mood etc. changes when he walks further into the quad (perspective 1)when he sees the crabs, and then the convicts. He then walks further into the quad (perspective 2) to the library. His pace is more hurried and tense, and the mood is overall heavy. When he arrives in the library and meets with the opium smoker we see the mood becoming lighter, and finally a complete clear clarity of thought in Polo’s mind after his conversation with the philosopher - the moment of realization. This quad shows Polo’s journey both physically, as well as internally - from a state of expectation to disappointment to realization that he has to let go of the idea of Hypatia he previously had in his mind in order to truly understand it.

18

Given story and modelling the Quad

1. Modelling 3D old quad from given orthographic drawings on Rhino 5.0.

This model would be the base for interpreting and representing the scenes from the story graphically.

19

Finalized perspective views

Perspective 1 view

Perspective 2 view

My idea for perspective 1 was that I had to have a lot of transparent background space to add the scenes/pictures of Marco Polo's vision of a beautiful Hypatia and in the Quad itself, I could show the real state of Hypatia. The idea was to show the contrast between what Polo had envisioned Hypatia as, in his mind, vs what he actually saw upon arriving there.

My idea for perspective 2 was to show Marco Polo's conversation with the adolescent opium smoker and the philosopher, which I feel is an important moment in the story. It is that moment of realization where Polo realizes that he has to let go of the vision of Hypatia he’d been clinging to in his mind. Only then would he truly understand the city.

20

Perspective 1: Contrast The scene that I’ve chosen to be my first perspective is the part in the story where Marco Polo mentions what he expected to see in Hypatia, and the scene that he actually saw on arriving at Hypatia. The fountain, the image of the ladies bathing and the magnolia garden in the background behind bars is what Polo envisioned Hypatia as - in his mind, hence behind the bars (which is a barrier of sorts that restricts Polo’s mind) and the scene inside the Quad is what Polo actually saw in Hypatia - the crabs, the convicts - the true state of Hypatia.

The columns are of strong stonework whereas the arch areas seem a little destroyed – this is symbolic to suggest that on the top, this is what Polo thought of Hypatia on seeing it - a horrible place, but once he opened his mind, he realized that Hypatia was just different. All he had to do was see it with a fresh perspective. The flooring is stone but its grimy and dirty - again showing the state of Hypatia as Polo saw it.

21

Perspective 2: Realize The scene that I’ve chosen to be my second perspective is the part in the story where Marco Polo comes to the library, meets with the opium smoker who then directs him to the philosopher outside the window.

This is where Polo gains a valuable piece of advice from the philosopher that enables him to realize that all he had to do to truly understand Hypatia was let go of the rosy picture he’d painted of it which had become fixated in his mind and caused him to be disappointed and angry when he’d first arrived at Hypatia. He had to stop looking for what he’d expected to see and understand the city for what it truly is.

The columns are made of mosaic tiles and the base is made of stonework.

The flooring is also of stone. The arches have marble texture.

22

Through these modules, I have learned a lot of new techniques and concepts related to design. In module 1, I learned the technique of hatching and shading to produce clean and realistic orthographic drawings with the help of Photoshop CC. In module 2, I learned the various tools of Illustrator CC and most importantly, learned how to construct new, creative axonometric models and color them on Illustrator CC. In Module 3, I was introduced to Rhino 5.0 3D software, where I learned how to model 3D panels of basic geometric shapes on a curved landscape. I learned how to reproduce the model on ivory and present it. In module 4, I was introduced to the concept of perspectives and how to interpret and present narratives on a 3D model using Rhino 5.0, and how to use notations effectively to convey the perspectives on the model.

The most important skill set I’ve gained is using the various design software that were introduced through these modules – Photoshop CC, Illustrator CC, InDesign CC, Rhinoceros 5.0. The skills required to use these software are essential for designers and this course was a smooth introduction to these software. Through the process of pin-up presentations, I was able to understand what is required to make a good presentation, and was able to work effectively on my speaking skills and confidence to deliver presentations throughout the course.

Out of the four modules, in my opinion, module 2 could have been done a little better, but it was my first time using Illustrator CC, and I wasn’t familiar with quite a few tools that would’ve made it look better. Module 3 could have been executed a little better but due to time constraints, I wasn’t able to work as creatively with it as I would have liked to.

Through this course, I have also learned the importance of time management and working out how much time is needed to complete the different segments of each module.

Amendments: Module 4 perspective views have been modified for a brighter, better look.

23