ARCH10001 Foundations of Design: Representation
P O R T F O L I O
MEHBOOB MADATALI CHATUR
Mehboob Madatali Chatur (903803) Studio 10: Anastasia Sklavakis Semester Two, 2017 Melbourne School of Design
C O N T E N T S page 01
Mario World: To WaterWorld flatness vs. projection
page 03
The Road Less Travelled pattern vs. surface
page 05
Invisible Cities: City of Leandra frame vs. field
page 07
Looking Back: A Done Deal reflection
page 09
others
module 4
module 3
module 2
module 1
2D & 3D Representation how to draw a croissant
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module 1: how to draw a croissant
2D & 3D Representation
This module aims at exploring a three-dimensional object, in this case a croissant, and further representing it in two-dimensional and three-dimensional forms on a planar surface. The two-dimensional representations are done in the form of plans, elevations and sections, while the three-dimensional representations are achieved using axonometric drawings. Furthermore, rendering, in the form of hatching and shading, was used to show depth and texture in the representation drawings. Careful planning and consideration to detail was used to ensure the accuracy and consistency of the drawings. Adobe Photoshop CC was used to edit the images to get a much more aesthetically pleasing image, which would make it easier to further render it via pen hatching or pencil shading. In addition, Adobe InDesign CC was utlised to form a consistent layout for all images, so as to produce accurate drawings - also, it was used to change add measurement lines (and changing their line weights) and values digitally. When drawing, understanding the different thicknesses of the fineliners and density of the pencils were essential in order to represent the depth of the croissant. In order to add textures, different forms of hatching and shading were utilised. After doing the two-dimensional drawings, axonometric drawings (at an angle of 45 degrees) were created to further represent the croissant three-dimensionally. They were created from the combining the section cuts and the elevations.The somewhat abstract axonometric representation reflect the actual dimensions of the croissant. The sequence of the project allows to understand the process of actually representing real-life objects onto planar surfaces, both in two and three dimensional methods.
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A
B
C
88 mm
Cross Section A
195 mm
Short Elevation
Top View (Plan) Cross Section B
67 mm
Long Elevation
Cross Section C
Photography Photographing high-quality images of the croissant from various angles was essential towards the rest of the project. The photographs exibhit the textures and depth of the croissant.
A
B
C
88 mm Cross Section A
195 mm
Short Elevation
Top View (Plan)
Cross Section B
67 mm
Long Elevation
Cross Section C
Drawings (top) Scaled drawings of the croissant were done using the texchniqies of pencil shading and pen hatching to show the depth and texture.
Axonometric (left) Three-dimensional drawings of the croissant were produced from rotation the cross sections by 45o and merging them together to form the shape of the croissant. C A
B
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module 2: flatness vs. projection
Mario World: To WaterWorld
The second module focuses on the exploration and the relationship between flatness and projection. The result of the two flat world combined and thus projected into a three-dimensional space is thoroughly explored. The two Mario World screenshots were projected onto each other to link them seamlessly to create both images. Through the use of various colour, character and patterns the three-dimensional world to illustrate the themes in Mario World to portray the challenges, rewards and adventure. Firstly, hand drawn images of the the two worlds projected onto each other are drawn in axonometric to give an idea of how both the worlds integrate and the sequential order of the objects in the worlds. These two worlds gave a transition between the worlds on the land and the water, thus the title ‘To WaterWorld’. The placement of objects and creating a sense of adventure was is important since it’s ultimately a video game. Later on, the hand-drawn axonometric is transferred onto Adobe Illustrator CC to digitally trace and render the it. This ensured line accuracy in sections to show the hierarchy of objects. It also enabled the colouring of spaces. Understanding gradients and shadows were essential in the three-dimensional representation. This task demonstrated the progression of drawings from two-dimensional images to projecting them onto a three-dimensional one both by hand and digitally. Accuracy was essential throughout the whole project, so as to ensure smooth transition between hand-drawing and digital format.
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MarioWorld Sections These two images are the sections (i.e. screenshots) from the game of MarioOwrld. They were furthere used to develop the axonometric three-dimensional world.
Hand-drawn Axonometric (left) A hand-drawn merging of the two sections into a three-dimensionall axonomtric. More charagetrs were added to enhance the storyline. Digital Axonometric (right) The digititally traced axonomtric is drawn. Colours and the use of gradients is used to show depth in the objects. Additionally, textures are added to add more reality onto the drawing.
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module 3: pattern vs. surface
The Road Less Travelled
The third module explored ways in which modelling and patterns can be used to enhace a planar three-dimensional surface. A surface is any developabel geometry made between two lines. Later on, the understanding of patterns and their sequence is used to establish a panellised landscape onto the surface. In this case, a terrain from Tasmania’s forest was used. Imagination is then applied to construct developable ‘modules’ to then panelise the landscape. A developable surface is one that can be constructed in real life by joining panels. The tiltle, ‘The Road Less Travelled’, is due to my interpretation of the terrain being a rough one, with many mountainous edges. Thus, making it less desirable for one to travel through. The modules chose had to fit with my interpretation, hence the main module was made up of four small pyrmaids of varying height. Rhinoceros 3D was used to make the 3D model, where the appreciation of shapes and how they affect a landscape is observed keenly. The complexity of the modules allowed me to unroll up to four modules at a time without causing much difficulty. A Rihinoceros 3D plug-in enabled me to unroll the modules easily. The thick paper made it possible to fold crisp edges without causing much damage to the paper.
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Digital Model The digital model of the terrain constructed using ‘rough’ modules (shown on the right). This is to show the complex nature of the terrain. All modules are developable since they are made of triangles.
Physcial Model The top three images show details of the model under different lighting conditions and colours. This shows how variable the landscape looks at different times of the day and seasons. The image on the left is the full modelled terrain with a balanced neurtal lighting.
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module 4: frame vs. field
Invisible Cities: City of Leandra
The last module focuses on the ideas of frame and field. This was achieved using Marco Polo’s story and showing various persepctives and annotated isometric of the narrative. The frame was a focused and more detailed visual of the field. The subjective annotation of the story was formed, with two parts of it chosen to fully focus on. The link between the isometric and the perspective is important to show a cohesive representation of the story. Leandra is a city which has two gods in it: Lares (gods of the household) and Penates (gods of the city). Therefore, shwoing the differences between them and theor interaction was crucial to the storyline. The dynamics of moods and movement are alos shown to show the effect of the narrative on the city. Various notations are used to demonstate this on the axonometric. I used Adobe Photoshop CC, Adobe Illustator CC and Rhinoceros 3D in this module. Shifting between the threares enabled for a coherant story line with a fully developed narrative in each section. Rhinoceros 3D was used to model teh Old Quad adn layer the characters in the perspective view. Adobe Illustrator CC was used to add the notations, colours them and give them various line weights. Adobe Photoshop CC was used to create the realistic persepctive images by incorporating variuos textures and shades of greyscale colours.
Key Population Density
This media enabled me to fully explore and showcase my digital skills.
Perspective 1 Glance
Penates 0
1m
2.5m
5m
Lares
Perspective 2
Stare
Light Mood
Movement (slow to fast)
Heavy Mood
Isometric of Story Setting Isonometric model of the Old Quad showing notations hat relate to the story and the narratove given in the original story. Marco Polo is seen to move from indoors to outdoors.
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Perspective One: The Lares Cats were used to represent the household gods. The image is set in a common household kitchen. The Lares are seen to live harmoniously amongst humasn and interact with some Penates (dogs).The are showcased on a shelf amongst other Greek gods to show their importance in Greek mythology. The image is set at night to show their omnipresence.
Persepctive Two: The Penates Dogs were used to represent the city gods, Penates. The image is set on the streets. The Penates interraction with humans is seen, and also their interaction with the Lares. The Penates are also shown to fight with the Lares, as they do not always live in harmony. The image is set during the day to show the everpresence of the gods.
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others: reflection
Looking Back: A Done Deal
During the course of this subject, I have gained multiple skills that enable me to better visually represent my creative concepts and ideas. I have grasped the importance of two and three-dimensional representation of a real-life objects, tranfroming two dimensional objects into three-dimensional spaces, altering surfaces to create a desired pattern and using the concept of visually narrating a concept from words only. Additionally, I learnt how to understand perspectives and how they can show different aspects of the same space. The use of colour, textures and patterns was also crucial in representing various depths and surfaces. I also grasped the concepts of using various line weights to exibhit teh distance of various objects in drawings. Moreover, the development of my verbal communication skills was improved, as well as layout skills, photographic techniques and written communication, in order to fully express my ideas and aesthetics. The exposure to digital software programmes which I have never used before, such as Adobe Suite and Rhinoceros 3D have also enabled me to convey my designs in a presentable manner that fits with architectural aesthetics. Despite gaining all these wonderful skills, I also faced some difficulties throughout my journey in this subject. Using of digital softwares to represent my works took me a long time to grasp, thus extra effort was needed to ensure that I am able to produce quality work. Additionally, drawing of axonometrics posed as difficult to me due to the alignment and usage of architectal tools that I was unfamiliar with. As the semester progressed, I was able to familirise myself with these techniques which further enabled me to explore various styles and incorporate them into my works. I stilll have yet a lot to learn in order for me to be comfortable enough to fully exhibit my works and push my creative boundries, which I hope I
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will learn as I progress with my course majoring in Architecture. To imporve my work in the future, a detailed and carefull consideration of the task given should be considered. For example, using heavy modules in my modelling curved the model in a way the terrain did not in real life, thus in the future, I would balance the weight of the modules to get the desired curvature of the terrain. In addition, my time-management skills will have to be improved to ensure that I produce my leve best towards the given modules. If I had the chance, I would re-do module two so that I can get an accurate axonometric drawing of the three-diimensional Mario World. Overall, this semester has given me a broad insight into different forms of representation that I will definetly use in the future. It has challenged me to push my creative boundaries, and portay my ideas in various forms (such as models, digital art and hand drawings). It has also given me the opportunity to interact with other students, who are goign through similar challenges, to which we overcame together.
Mehboob Madatali Chatur (903803) Studio 10: Anastasia Sklavakis Semester Two, 2017 Melbourne School of Design