Marnie Chang Foundation Design Section 005 Fall Semester 2014
Process Book 2D Design 3D Design Drawing 1
2D Design Section 005 Professor: Leslie Blade
2D DE S I G N
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PRO JECT O NE: Text ure The objective of this project is to create unique achromatic textures through the experimentation of various mark-making tools. Not only do the individual textures have to be striking, but the four textures must also have a golden thread that unifies them in a series.
2D DE S I G N
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PRO CESS: Text ure In order to successfully enlarge the texture studies, it is important to take quality notes during the exploration process. The Fountain Grass plant found ouside the DAAP building is used to make the first two textures. Dabbing the plant in black paint creates the feature like effect while allowing the plant to bend produces a more dynamic image. The third texture is fabricated by spinning a nickel covered in black paint. For the fourth texture, the paper is first scored with a pushpin and then black paint is lightly smeared over the cuts. Then all of the previous techniques are applied on top of each other to create the last texture. The implied frame around each texture is achieved by marking out a square with blue painter’s tape before replicating the textures. This creates an intriguing sense that the white space of each texture spills into the frame. The progression from simple to complex and light to dark is what unifies this series. While the last texture may seem dark and flat, the sense of depth is created through the various uses of colors. The white shapes against the black and grey background especially jump out at the viewer because black on white is more common.
2D DE S I G N
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PRO JECT TWO : Achromat i c/ M onochromat i c Scal e The goal of this project is to develop an understanding of value through the exploration of a grey scale. The key to forming a visually consistent 12 step scale is to have the ability to identify soft and hard edges. The middle grey strip down the middle of the achromatic scale reveals a color illusion. The grey appears to get lighter as the scale progresses; however, the value of grey is actually consistent. The fact that color is relative is the reason behind why the grey strip seems to get lighter and thinner. Against the light background, the middle grey seems darker and vice versa. The monochromatic scale focuses solely on the value aspect of color. The goal is to be able to take a black and white picture of the scales and the horizontals should all read the same value.
2D DE S I G N
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PRO CESS: Achromat i c/ M onochromat i c Scal e The paint chips for the achromatic scale are made by adding one drop of black paint to pure white paint. This tedious process of going from pure white to pure black requires patience, but it all pays off in the end. The range of paint chips that vary only by one drop of black paint provides options and increases the ability to maintain the same edge hardness between all 12 steps. The same process is used to create the monochromatic scale. Ignoring the hue and saturation of the color and focusing only on the value, is how the color paint chips are chosen to match each value on the grey scale. Both scales use the kisscut technique to ensure that each paint chip fits perfectly with one another.
2D DE S I G N
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PRO JECT THREE: Sat urat i on St udy This project focuses on the change of saturation when complementary colors are combined. The purity of a color changes when complementary colors, one primary and one secondary color, are combined. The mixture becomes further and further away from the pure original state. This de-saturated color is a neutral color that fails to resemble either of the saturated colors. The first scale explores the change of saturation through complementary colors while the second scale explores the same concept but through tertiary colors. The third scale is a smooth scale made from mixing a pure color with a grey of the exact same value.
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PRO CESS: Sat urat i on St udy The process of making the first and third scale are the same as the achromatic and monochromatic scale projects. A hundred paint chips that vary slightly are painted and 9 chips that best maintain the same edge are chosen. The tertiary scale between citron green and red-violet is the hardest scale to produce. The pure citron green is bought from the art store, however, the red-violet must be manually made. The goal is to produce a red-violet color that produces a neutral color when mixed with citron green.
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PRO JECT FO UR: Si mul t aneous Cont rast The objective of this project is to understand that color is relative. The appearance of color can vary when placed near certain colors. Understanding the color wheel, complementary colors, and analogous colors are the biggest keys to this project. Each study must meet one of 4 different requirements. The temperature of the figure color must change from warm to cool in the first study. For the second study, the figure should change saturation or intensity. The edge between the figure and the background color can help identify whether there is a change in saturation. The figure in the third study must vary in value, light to dark. Finally, two different colors must appear alike through the manipulation of the background color.
2D DE S I G N
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PRO JECT FI VE: O pt i cal M i x The exploration of color continues through the manipulation and repetition of five different colors. Depending on the placement and the repetition of the colors, the eye will view each study and see a distinct overall color presence. Rather than seeing a green interval next to an orange one, the overall color presence in the third study is a muddy yellow-brown. The fascinating thing about color and how the brain works is that colors are visually mixed. This is attributed by the soft edges between the green and orange to create a sense of one smooth unified yellow-brown color.
2D DE S I G N
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PRO CESS: O pt i cal M i x The key to this project is to choose a color palette that varies in value, hue, and saturation. Having colors that are too similar, restricts the ability to create four different bands with four different color presences.
2D DE S I G N
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PRO JECT SI X: I nt erval Syst ems The purpose of this project is to understand proportions and how they can create stability and movement. The regular sequence with equal black and white intervals has the tendency to appear static. This can be avoided by having an even number of intervals to avoid a suggested frame that stabilizes the image. The next study consists of an increasing and constant sequence; the black intervals are constant while the white intervals increase with each step. In the fourth study, the black and white intervals increase in the same direction but at different rates. The final study fulfills the criteria of a sequence that increases in opposite directions. Proportions of both black and white intervals increase but in different directions and rates.
2D DE S I G N
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PRO JECT SI X: I nt erval Syst ems In this project, the vertical system is tilted at an arbitrary angle. The most interesting angles are those that are slightly off of familiar angles such as 45, 90, and 180 degrees. This system is tilted at an 82-degree angle.
4 Degrees
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PRO JECT SEVEN: Combi ned Syst ems The goal of this project is to create an visually interesting image from overlapping interval systems. The first image is a result of combining two perpendicular systems, alternating and increasing in opposite direction. In the second image, two angled systems, alternating and increasing in the same direction, are added. A curved shaped is then subtly introduced and unique shapes appear when the image is divided; the unique shapes are a result of the overlapping systems. The shapes are converted to black or white as part of the deconstruction process to open up space and create a focal point. Textures are also strategically placed to enhance the focal point. Finally a black and white image with texture is produced after further deconstructing the original image.
2D DE S I G N
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PRO JECT SEVEN: Combi ned Syst ems This image is the result of adding color to the resolved black and white image with texture. The color palette consists of colors from combining coral to teal. The contrast between the larger areas of open space and small details as well as the variation of soft and hard color edges help create a sense of depth and a focal point. Soft and large open area act as a background for the hard edged figure shapes. Hard edges create a figure because the eye has a natural tendency to gravitate to the stark contrast. The key to this whole project is to have the courage to open up space and to get ride of details. A focal point and a sense of depth can only be achieved by having differences in size, shape, and color.
2D DE S I G N
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PRO JECT EI G HT: Leaf St udi es The objective of this project is to learn how to maintain contrast when one of the color characteristics is held constant. The first image is an exact digital replication of the leaf collage. The second image proportionally distributes the colors that appear in image into vertical intervals. Colors from a monochromatic color palette make up the third image; the contrast in value and saturation help keep the image interesting. The next image uses colors with the same value; this means that if the image was converted to grey scale there would just be a block of solid grey. While saturation is held constant in the fifth image, value and hue provide the contrast. In the last image, the color palette is a result of mixing two complementary colors, blue and orange, together.
2D DE S I G N
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PRO CESS: Leaf St udi es The objective of the leaf collages is to create a composition that brings out the color in the leaf through contrast.
3D 3D Design Design Section Section 005 005
Professor: Professor: Karen Karen Hughes Hughes
3D DE S I G N
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PRO JECT O NE: Pl at oni c Sol i ds Platonic solids are convex solids bounded by regular polygons. There are five platonic solids: tetrahedron, cube, octahedron, icosahedron, and dodecahedron. The objective of this project is to appreciate the basic shapes found in nature and to learn how to construct a 3D form from a 2D net. The net or pattern of a solid is first lightly constructed on Bristol paper with a drafting pencil, straight edge, and compass. The net is then carefully cut out with an x-acto knife. Due to the fact that the net is made out of one piece of Bristol, lines are scored where the paper needs to fold. Scoring is the technique of only cutting through the first 2 layers of Bristol to ensure a crisp fold. Tabs are then strategically placed on every other side to minimize the number of tabs need to enclose the solid The key to creating five successful platonic solids is to measure twice and cut once. It is vital that the lines are drafted accurately so all the edges match up when gluing the solid together.
3D DE S I G N
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PRO JECT TWO : Uni que Symmet ri cal Pol yhedral Sol i d The goal of this project is to create a unique, elegant, and symmetrical closed form out of one sheet of Bristol paper. The unique solid is displayed suspended which means that it needs to fulfill the requirements from all sides
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PRO CESS: Uni que Symmet ri cal Pol yhedral Sol i d The first step is to recreate tessellations, which will help develop an understanding of different ways to manipulate paper. The discoveries should then influence the polyhedral form. Prototypes made up of taped pieces of paper should first be made. Once the final form is decided, take pictures of the solid before carefully deconstructing the form into a 2D template. It is important to remember to label the sides using the number or letter system to ensure that the form can be reconstructed. The flat net is then scanned into Adobe Illustrator where the pen tools traces the cut lines, score lines, and where tabs should be placed. The final solid is made by transferring the net to Bristol paper, cutting, and then gluing it together.
3D DE S I G N
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PRO JECT THREE: Shape St udi es, part s 1- 3 The goal for this project is to create four interesting shapes that fulfill certain requirements. This project also emphasizes the importance of considering the image area in order to activate the shape. The new shape should not have parts that stick out like arms and two parental shapes should still be identifiable. The first new shape is made up of a regular or semi-regular white polygon that interrupts a black shape. The result of the interruption of a polygon with a curved shape forms the second shape. The third shape consists of a curved shaped being interrupted by a polygon.
3D DE S I G N
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PRO JECT THREE: Shape St udi es, part 4- 5 A curve in the fourth shape in the series is interrupted by another curved shape. The final shape is comprised of three individual shapes, which is clearly seen in the last image.
3D DE S I G N
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PRO JECT FO UR: Body M ant l e The project statement for this project is to make a body mantle out of 100 of the same object attached by 1 type of connector. The body mantle or the extension of the body should be both aesthetically pleasing and functional. The learning objective is to explore a common object and to let the object influence the final form.
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PRO CESS: Body M ant l e The concept behind this body mantle is that violence is a dangerous, eternal, and pointless cycle. The googly eyes, Ganhi’s quote, and matador jackets are all sources of inspiration for this project. The googly eyes itself suggested a headpiece, but it was Gandhi’s quote, “An eye for an eye only ends up making the whole world blind” that influenced the armor feel. The googly eyes are meant to resemble the embroidered details of matador jackets. The result is a head and shoulder piece made out of googly eyes wrapped in wire. Figuring out how to connect the googly eyes was a challenge. Binder clips, Halloween spider web, wire, and dental floss were all options but only wire encased the eyes without hiding them and provided structure. The head and shoulder piece had a tendency to fall off which posed another problem. The problem was resolved by making ear cuffs with the wire and eyes to secure the headpiece to the head. For the shoulder piece, adding wire and attaching them under the shirt secured it in place.
3D DE S I G N
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PRO JECT FI VE: Hand- draw n O rgani c Shape The problem statement for this project is to create a single shape that is elegant, unique, and organic. The shape must include a point, curve that changes direction, straight line, and positive and negative space. The goal is to break away from geometric shapes and to explore organic curves. The shape should have contrast between the types of curve, edge length, and mass. The shape also shouldn’t appear to have long appendages sticking out. The placement of the shape in the image area to activate the shape is equally as important as the shape itself. After many revisions, the final shape is printed out.
3D DE S I G N
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PRO JECT FI VE: Hand- draw n O rgani c Shape The final shape is also hand-drawn with marker, paint, or graphite. This image is hand-drawn with a black marker.
3D DE S I G N
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PRO CESS: Hand- draw n O rgani c Shape A handful of thumbnail size shapes are first drawn on tracing paper. Selected shapes are then reworked a few times. The translucent quality of the tracing paper makes it easy to tweak a shape to make it more organic, simple, and elegant. The final shape is then scaled up appropriately to occupy a 7.5’’ x 7.5’’ image area. The final shape is then transferred to Bristol paper by applying graphite to the back of the shape and tracing it. The shape is first outlined with a 01 Micron pen because the ink from the fine point marker doesn’t spread on paper. The shape is then filled in with a black Prismacolor marker. To make a digital copy of the shape the hand-drawn version is scanned into Adobe Illustrator. Using Bezier curves, the shape is outlined and filled in with black. The goal for the digital version of the shape is to draw it with the least number of points.
3D DE S I G N
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PRO JECT SI X: M onol i t h The problem statement for this project is to develop a monolithic mass that is visually and tactility intriguing. The mass should not have a front or a back, must contain at least one sharp edge contour, should look natural, and it should encourage the viewer to feel and move the mass around. The objective is to learn how to use the tools in the woodshop.
3D DE S I G N
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PRO CESS: M onol i t h The mass is first made out of clay and then it is sliced at a specific angle with a taut guitar string. Before slicing, it is important to mark meridian lines. The perpendicular lines to the direction of the slice are meant to ensure that the layers can be repositioned correctly again. Each clay layer is carefully traced onto Bristol paper. The paper template is then transferred to the foam core and then to wood. Before cutting, two handles are added to the middle layers on the concave surface of the mass. Using the scroll saw, each piece is then cut out. The cuts need to be strategically planned so that the last cut isn’t the smallest piece; cutting the smallest piece last is dangerous because fingers are going to be inevitably close to the blade. The individual wood pieces are then sandwich between extra pieces of wood and glued together three at a time with two clamps; the two clamps help ensure that pressure is applied evenly. It is also helpful to trace around the wooden shapes before gluing so it is easy to tell if a layer shifts during the gluing process. The handles of the monolith are then clamped down to a table and rasped down. Rasping is complete when all the individual layers disappear. Files and sandpaper should be used to redefine small details in the design. When the monolith is finally sanded to a velvety softness without any scratches, a sealer is applied and wet sanded with at least a 600 grit sandpaper. The monolith should be sealed twice to achieve the skin-like finish.
3D DE S I G N
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PRO CESS: M onol i t h The ability to translate a form into different materials is also developed in this project.
Drawing 1 Section 005 Professor: Bobby Rebholz
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PRO JECT O NE: Draf t ed Perspect i ve The goal is to learn how to draft construction lines in order to convey a sense of depth. The vanishing points are especially helpful in drawing a cube in perspective.
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PRO JECT O NE: Draf t ed Perspect i ve The more cubes there are the harder it is to draw in perspective.
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PRO JECT TWO : El l i pses/ Cones/ Cyl i nders The objective of this project is to understand that a circle in perspective is drawn as an ellipse. Cones and cylinders in perspective are also starting to be understood better. The ability to freehand straight lines is developed.
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PRO JECT TWO : El l i pses/ Cones/ Cyl i nders Understanding the ellipse can help with drawing circular objects in perspective. For example, water bottles in perspective are composed of many ellipses.
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PRO JECT THREE: Tool The ability to use line weight, break down an object into simpler shapes, and draw orthographic views are skills that are developed in this project. The tool invented is an instant water filter; the product is placed underneath a waterfall and filtered water shoots out like a water fountain.
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PRO JECT THREE: Tool This is an orthographic view of the tool.
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PRO JECT THREE: Tool Quick thumbnails of the tool.
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PRO CESS: Tool These are examples of 5 to 20 minute thumbnails.
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PRO JECT FO UR: I nt eri or and Ext eri or Space This project teaches the importance of being able to observe and judge proportions. The line quality is especially important for this project. Darkening the lines that are up close can help create a sense of depth.
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PRO JECT FO UR: I nt eri or and Ext eri or Space It is important to keep in mind that lines should all merge at a vanishing point at some point in space. This can be seen in the drawings of hallways.
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PRO JECT FI VE: Val ue Understanding how the light hits an object and the different values that appears is extremely important. This project teaches how to shape objects correctly to communicate a sense of depth and dimension.
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PRO JECT FI VE: Val ue The cone is the easiest to shade because the shadow is just a triangle that is extended from the base of the cone.
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PRO JECT FI VE: Val ue The whole grey scale is used to shade this cube.
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PRO CESS: Val ue To successfully communicate a sense of depth, it is important to accurately map out the shadow and to refer to the grey scale when shading.
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PRO JECT SI X: Skul l One of the hardest parts of drawing skulls is the symmetry. This project develops one’s ability to draw symmetrically and understand facial proportions.
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PRO JECT SI X: Skul l This minimalistic approach of taking the color of the paper into consideration when shading is difficult.
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PRO CESS: Skul l It is hard to forget the preconception of a skull and drawing strictly from observation.
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PRO CESS: Skul l The animal skulls are harder to draw because the form of the human skull is more familiar.
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PRO JECT SEVEN: Frui t / Veget abl e The objective of this project is to understand how to draw asymmetrical natural forms and how to convey the various colors on paper. The key to a successful colored fruit drawing is to layer the colors.
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PRO CESS: Frui t / Veget abl e Before adding color to the drawing, it is vital that the form and proportion of the fruit is accurate. Most of the time should be spent on the actual form of the fruit.
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SKETCHBO O K PRO JECT These sketches were completed throughout the course of this semester. These are toilet designs inspired by different styles found throughout art history. The different styles are Egyptian, Gothic, Baroque, and Divisionism.
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