Tan_Melissa_912630

F O L I O

Melissa Tan 912630 Studio 10 - AnnekePrins

MEASURED DRAWING OF A CROISSANT

How to measure a Croissant?

The scans and photographs of the croissant’s orthographic viewpoints ensued an accurate twodimensional depiction that was then outlined. Through the exploration of techniques such as hatching and shading, I was able to communicate the varying depths of the croissant, as well as the shadows cast by the light source. A variance in line weights also conveyed the undulating distances from the surface of the croissant to the eye.

A

B

C

LONG ELEVATION

SHORT ELEVATION

PLAN

A B

m 90

m

14 0m m

C

REFLECTED PLAN

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50mm

Hatching & Shading

140mm

LONG ELEVATION (GRAPHITE SHADING)

A B

90mm

90mm

C

61mm

REFLECTION PLAN (GRAPHITE SHADING)

140mm

PLAN (FINELINER HATCHING) 3

Sections Section A

Section B

Section C

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NEW MARIO WORLD

The making of new Mario world.

Within the confinements of the Super Mario Bros realm I have constructed a Mario Kart course, twisting in and around the solid forms of the structures. This course demonstrates that the space within accommodates for movement rather than one frontalised perspective.

Through this hybrid, I have explored the potentiality and flexibility of spatial constructions.

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Take one...

This was my first Mario World outline that followed the limitations of the information provided by the 2D images. Although it did adhere to the elevations that were provided, there was a lot of open space that had the potential for many creative possibilities.

Process....

Take two...

Additional ramps and buildings were drawn in order to create depth within the world. Although the composition of the central world was balanced, the above-world elements needed further development.

Preliminary outline

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Take three...

After observing other people’s works I felt compelled to upgrade my concept, encorporating Mario Kart into my world. I layered tracing paper over my original outline, sketching a Mario Kart track and Princess Peach castle over pre-existing buildings.

Final...

This is the final outline of my Mario World that was scanned and colourised. I encountered problems with smudging while outlining resulting in multiple drafts. Varying line weights were utilised to indicate the differences in depth within the mario world and the distance to the eye.

PAPER LANDSCAPE

The making of new landscape Inspired by the stars that possess the night, I aimed to create a terrain that represented the night sky when star gazing. Pentagons were the main shape featured, representative of the five points of a star.

Once offset in Rhino, these hexagons created an empty prism allowing for light to pass through. The variances of height within the terrain were reflected in the elevations of the paper model. As the centre was the lowest point of the terrain, I decided to leave this patch two-dimensional, while the concentration of individual structures increased towards the border.

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Fairy lights illuminate individual systems; crafting silhouettes of the cutouts on the two-dimensional surface, whilst simultaneously turning the open-top structures into beacons of light.

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Deciding the placement of 3D structures required experimentation as I aimed to have an equal amount of both open and closed prisms interspersed throughout the square. The concentration of 2D patches would represent the lowest depths of the terrain, and thus, be placed in the middle.

Process....

The process of developing the terrain included trialing many 2D geometric patterns before projecting the chosen set into a 3D model.

The luminousty casts shadows across the floor and backdrop, simultaneously emphasising the structured folds of the hexagonal prisms.

Rendered in Key Shot Anodized Grey material in light blue.

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INVISIBLE CITY

CITIES & EYES 1: VALDRADA

Cities & Eyes 1: Valdrada A bitter and raw aura epitomizes the reflection that sits below the paralleled world of Valdrada. Within the context of the story depicting a mirror-city built on a lake, I have illustrated, with the aid of Rhino, Illustrator, and Photoshop, the unadulterated reality of the world through two scenes; one of a couple self-decidedly blind to their impaired relationship, and the other of a murderer haunted by the Valdrada mirror beings of his victims. The isometric notation depicts the way in which Marco Polo navigates the scenes, illustrating his movement and where he contemplates.

Key Large Oar Strokes Shallow Oar Strokes Heavy feeling Light presence Dark presence Reection in thoughts Interacting with water Tentative steps Space transitions Light/dark Free oating Passage of time Standing in boat

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Scene 1 A young couple walks along the shores of Valdrada. The water below reflects the two almost entirely; mimicking their faces, gaits and emotions. He loves her, as did his reflection, and her to him as well.

Ripples echo beneath their wandering feet in the puddles that bridge their world to the parallel below, harrowingly distorting the once pristine mirror image. While one couple continues to walk serenely hand-in-hand, the other reflects an awry shadow; tired and effete.

One boy holds his lover’s hand with tenderness and affection; the other with reluctance. One girl admires her partner in adoration and love; the other with malevolence. Both are silent; one weighted with unspoken words and the other void of any further conversation.

Two couples walk upon mirrored puddles; one real, one fake.

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Scene 2

Death lies on his mind perpetually. All his moments of misconduct have finally been realised – comprehended in utmost clarity with his moral compass no longer askew. Like the many others that he had silenced, it was now his time.

An eerie fog illuminates the presence of god’s messengers; an ivory deer and stag posted to accompany the deceased to the pearlescent gates of heaven. Intercepted – they fall. Arrows fired through their hides of incandescent fur, subsequently halting their mission; austere and formidable.

The spectral perpetrators are non-other than the mirrored souls that had belonged to the humans quelled by the man who kneels before them. Unfeeling, they tortuously relieve the messengers of their task – sealing the fate of the prostrate man, allowing him to succumb the eternal darkness that awaits him.

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R E F L E C T I O N

Knowledge I attained through lectures and readings precipitated an understanding of previously foreign design concepts. Similarly, tutorials and workshops provided an application of both raster and vector programs, such as Rhino and Adobe Photoshop, Illustrator and InDesign.

Module One required a technical exploration of a croissant. By scanning the plan, reflected plan, elevations, and sections, I was able to compose an accurate orthographic projection of my croissant. Through this module, the significance of varying line weights was emphasised, enabling me to determine depths within a two-dimensional outline, as well as what weights to use in formal layouts.

My understanding of spatial constructs broadened whilst developing a 3D Mario World in Module Two. Preliminary outlines were arduously hand drawn and outlined, resulting in a world to be scanned and colourised in Adobe Illustrator. Although I was previously comfortable navigating the basic features of Illustrator, this task necessitated a more extensive skill set, driving me to become accustomed to new tools and shortcuts.

It was throughout Module Three that I became well acquainted with Rhino’s capabilities, as well as the hardships of model making. With the aid of Rhino Panelling Tools, I constructed my given terrain of Tasmania through hexagonal prisms that were then individually crafted into 3D structures. The overall model, however, was not successful in the sense that it did not seamlessly connect to 2D surfaces. Hence, if I were able to redo this model, I would ensure that the 2D surfaces and 3D structures would seamlessly transition into one another, and connected by double-sided taped tabs.

The story of Valdrada facilitated an endless number of interpretations in Module Four. From the outset, my ability with Adobe Photoshop was limited to adjusting levels and curves, but through this module, resulted in learning how to distort images to suit my needs. Additionally, I was able to apply my understanding of the concept of notation through an isometric view of both scenes, depicting the way in which Marco Polo navigated through the space.

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