Anastasia Sklavakis
Studio 19
Semester 1 2018 Marissa Samrai 1003391
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foundations of design:representation
P O R T F O L I O
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PHOTOGRAPHED CROISSANT
Through the use of a photo stage and appropriate digital photo editing techniques I was able to clearly capture three sides of my croissant. My photo stage consisted of a backdrop and two lights that somewhat aided my ability to control the intensity of lighting that hit my object. Through trial and error, I found that the use of natural light during this photo shoot gave my images a more unprocessed finish, as my two setup light sources created a warm and artificial look. After cropping my images using the rule of thirds guidelines, I then adjusted the levels and curves in photoshop. These two editing tools are used to control the image tone and effectively lighten the lights and darken the darks, as seen in these before and after images.
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DRAWN CROISSANT
My drawings were constructed through using a variety of process and drawing techniques to ensure a consistent and unique style throughout. I started by printing the original images of my croissant on A3 size paper and then tracing over the key features such as the outline, highlights and lowlights in a HB pencil. Through shading, I aimed to achieve a representation of the croissant that mainly showcased the texture, including the flakiness and the troughs and peaks the pastry naturally forms. I predominantly focused on the darker aspects of the croissant as I believe that the eye is naturally drawn towards these areas, thus requiring more detail and depth to be built up, I used a 2B, 4B and 6B pencil to achieve this. Next, I scanned in the images and resized them according to the scale set by page one. As the top view required the use of the technique of cross hatching, I reprinted this image off and used 0.1mm fine liner pen to apply cross hatching in the darkest areas of the croissant.
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FINAL MARIO WORLD
My final illustration reflects a lively, playful and colourful landscape. The use of gradients in specific places helps to add dimension to the setting and a sense of space and layout. The use of varying colour groups including the greens, browns and oranges encoperates variety into the image and defines alike objects together, such as mountains, ground objects and floating objects. Furthermore, details were added through the use of patters on objects, including the polka dots on the mushroom and plants, imperfect circles on the mountains and rhombuses on the arches and other architectural structures. I purposefully left the second level sparse because I wanted the viewer to establish a sense of space and not bombard them with more objects and elements. Altogether the composition has details and variety but isn't overcrowded or confusing.
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MARIO WORLD DRAWING
My final sketch aims to utilise all available space in a sensible and clever manner. I tried to fill up all the area available by either extending the length of objects where I could, making objects extend towards the viewer beyond the defined levels and also by using the hidden spaces creatively. Furthermore I added interest and theatrics in the drawing by including objects the character would avoid such as the vicious plants or the cliffs. Additionally I introduce attractions for the character through the strategic placement of coins, movement of water and, again, interest in hidden spaces. I feel that my drawing is pleasing to look at because all the layers are built on the original placement of mountains, arches and waterfalls in my very first drawing. I approached this drawing with an open mind with allowed me to plan for the next stages and the numerous objects that were added and removed accordingly.
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P A P E R L AN D S C A P E
My nal design combines three different iterations of a basic shape, creating a focus on the use of repetitive elements with slight variations, and a subtle contrast throughout the whole piece. The terrain that I was given elevates in particular areas, hence accentuating the taller geometries in my design. Consisting of only three iterations of the same geometry, my design appears unique, and more detailed, consisting only of three iterations of the same geometry. I chose to include only closed pyramid shapes in the design, thus relying heavily on the focus this draws to the topography of the terrain to interest the viewer. A major aim of the design from the beginning was to distract the viewer from the grid-like formation these shapes occupy. The transition across the piece therefore appears seamless and integrated rather than static and constrained by the boundaries of each square.
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INVISIBLE CITIES
The final composition shows how simplistic elements can be used together to create meaning and a narrative in an image. The notations I used were simple yet informative, and are used purely to depict and illustrate my understanding of Marco Polos movements through Laudmonia.
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This perspective captures several scenes set by Marco Polo in the story in a single image. The City of the Dead have busy, crowed streets with towering dwellings and crammed spaces. The image produced doesn’t show any of the ‘dead’ people, however instead captures the ‘living population’ who ‘pay visits to the dead’ as they ‘decipher their own names on their stone slabs’. The city communicates ‘toil, anger, illusions and emotions’. Through the chosen images of unexpressive people, gloomy streets and crowds hustling, I aim to probe these emotions though my interpretation of the scene and how Marco Polo depicts it.
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The second perspective was harder to conceptualize as Marco Polo’s depictions were more open ended and open for interpretation. Therefore, to create a contrast between the two images, I decided to create a more dramatic scene with open plains and debris to reflect the abandoned yet supposedly occupied scene. The piles of rubble are the most symbolic features in this image as they represent the unborn as depicted by Marco Polo through the analogy of an hour glass. The individual pieces represent the unborn population, where the piece on the top of the pile is the last inhabitant of the city. This feature also runs into the city of the dead in perspective one, symbolic of the recently deceased population accumulating in piles at the feet of those still living.
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REFLECTION
This subject has allowed me to apply the fundamental skills of practicing design in differing contexts over the course of the four modules. The use of programs such as InDesign, Photoshop and Illustrator, with the addition of Rhino, free hand drawing, technical drawing and modelling skills, provided a broad understand of how different techniques are used in the present day to represent physical or digital forms. I believe that there is an integral relationship between the physical object and the digital object, especially with the growing potential of computerised design programs. This subject has allowed me to grasp the fundamentals of this relationship and thus further investigate the ways in which representation bridges the gap between physical and digital forms.
However, although it is very important for a designer to understand and utilise these skills, this subject has taught me a much bigger lesson over its course, the significance of effective time management and productivity. At the start of nearly every module I was perplexed by the volume of work we were assigned and the strict time constraints that accompanied this. I found that as the semester progressed I surprised myself by the amount of work I was able to complete at a satisfactory standard within the given time limit. Although I successfully completed each module, I often doubted my ability to do this at the commencement of each task. This subject really did push me to achieve my absolute best, something only possible through the implication of strict time limits and the growing conceptual complexity of each module. Furthermore, after completing this subject I am even more certain that Architecture is the correct career for me, and I appreciate the time and effort both my tutor and the subject coordinators have dedicated to this subject.
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