FOUNDATIONS OF DESIGN: REPRESENTATION SEM 1, 2018
PORTFOLIO MELISSA LANCI
995564 STUDIO 03 - TONY
CONTENT PAGE NUMBER
MODULE 1
3
MODULE 4
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Croissant
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Zora
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Orthographic Projections
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Linework
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Section cuts
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Notation and Key
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axonometric
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Explained Notation
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Perspective 1
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Perspective 2
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REFLECTION
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MODULE 2
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Mario Worlds
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Drawing Process
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Final Mario World
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MODULE 3
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Rhino Model
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Unrolled Templates
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Final 3D Model
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Gallery
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MODULE 1 HOW TO DRAW A CROISSANT?
MEASURED DRAWING OF A
C R O I S S A N T
I firstly photographed the croissant utilising a phtostage, with a white background and artificial LED lighting. I then cut and scanned the sections of the croissant.
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ORTHOGRAPHIC PROJECTION
I drew the croissant with a 1:1 scale, utilising 4H, H, HB, 2B, 4B and 6B pencils as well as a smudge stick to create a glossy surface into some areas of the croissant as well as using it to blend the different shades of grey together seamlessly. To create the section drawings I also utilised a 0.2 mm fineliner to outline and define the section, so that it would later help me create the grid for the axonometric construction. I used hatching lines to give a rough appeal of the crusty surface of the croissant. I emphasised the depth of some of the features by using the 6B pencil, and gradually moved down in shades as the spot needed to be highlighted. I depicted tone through the the use of these different shades, and emphasised texture through the use of drawing techniques. Especially in my sections I used stippling to protrude the small air bubbles in the croissant. I used fast, sharp movement while holding the pencil parallel to the page, to create the crevices that were present in the croissant.
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SECTION CUTS To begin my axonometric construction, I firstly outlines the three sections of the croissant using a 0.1 mm fineliner. Beginning from the left side of the section I constructed a grid which each line was 10 mm away from one another. I then marked where the outline met any of the grid lines. On tracing paper, I started to sketch my construction lines for the axonometric drawing.
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AXONOMETRIC I created working lines to demonstrate where I cut the sections on the croissant. Using a 45° set square I sketched the grid for the sections, and then using the working points, I drew the outline of the sections. The sections are 1:1 scaled to the drawing.
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MODULE 2 F L AT N E SS vs P RO J E C T I O N
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NEW MARIO WORLD Using the two templates of the Mario work, I began to construct the drawing of the world as a whole.
FRONT
BACK 9
DRAWINGS I began by drawing the front part of the world. To make sure that every component was to scale, I measured the lines and replicated that on my 45-degree baselines. Once I completed the front, I began constructing the back. I created an interaction between the two sides by adding features in the middle, such as the small river. I attempted to create different line shapes, such as round and very geometric ones to create balance. I made sure all the lines were straight and at 45 degrees by using a 45 degree set square and a ruler. I also created a connection from the upper world with a bottom layer, making the whole aesthetic more intriguing, and I will incorporate more colour into my lower design. To finish my Mario world, I added another piece of tracing paper on top so that I could clearly see the coins that I needed to add to the design. I also noticed that some elements that were supposed to be in the sky, were actually not floating above the ground. Due to this mistake, I measured the correct distance and placements of the boxes and replaced them in the drawing. 10
FINAL MARIO WORLD
I created depth by having a light source and emphasising the element’s form through the use of different shade ranges and also using the gradient tool. I used the transparency tool to bring the opacity of the coins and clouds down so that they would not cover the elements that are on the ground, but rather interact as a whole. I created geometric shapes that would create a clear connection with the pictorial images of the front and the back. I also used curvature to create a balance between the different lines. I gave more character to the objects by being more creative such as the magical portal at the back, as well as other objects being composed of a modern material such as glass, metal, and cement. The use of a simple gradient makes the water of the river look reflective and realistic, allowing it to visually make the grass and dirt stand out and blend with the water, creating a cohesive landscape. I wanted to create a simplistic but vibrant world through the use of colour and bold shapes, to also remain true to the original templates.
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MODULE 3 PAT T E R N v s S U R F A C E
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LANDSCAPE: RHINO MODELLING
As the template had a slight curvuture and it reminded me of a wave, I was inspired to recreate Moses’ split sea. As I was struggling to create a developable surface using Rhino, I did not explore height in depth. I created a concave in the middle of the template, and allowed height to rise on the sidets of the model, creating that appearance of a split sea. I also made the pyramids go in different directions as waves re all different and wanted to create a vibrant pattern.
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UNROLLED TEMPLATES
I joined my panels into groups of three and four so that It made the process of joining them with the ivory card less time-consuming. Having the templates in groups of 3 and four allows the edges connecting the panels to be a lot cleaner and sharper.
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FINAL 3D MODEL
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MODULE 4 FRAME vs FIELD
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CITIES AND MEMORIES:
Z
O
R
A
The city contains a lot of architectural elements. Marco Polo describes that he is positively overwhelmed by the atmosphere of the space. He is influenced by what famous men discuss, and it demonstrates that Zora was a city of luxury and wealth, which was defined by philosophy, science and culture. This is shown through the Astronomer’s tower as well as simple elements that are present in modern cities as well such as the cafe. The city also seem urbanised due to the succession of streets and the presence of houses. Polo also describes how the simplicity of the houses and their plain features are also fascinating, because of the vibrant Atmosphere of the city. However, he concludes by stating that Zora has now become a memory, as the city has disintegrated, and its atmosphere is vanished.
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LINEWORK
Perspective 1
Perspective 2
For this perspective, I wanted Marco Polo to be in the middle of the Old Quad to maximise his view and incorporate a lot of the story into the space. This positions allows the viewer to see three arches, meaning three viewpoints that allow to connect the old quad with the outside environment or possible other rooms.
Once again, this perspective allows the viewer to visualise three arches. I positioned Marco Polo this way to allow the viewer to perceive as if he was looking outside the old quad, and create the illusion of a grander space.
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NOTATION
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As Marco Polo enters the Old Quad, the first thing he sees is the copper clock on the vault, he then glances at the Barber’s striped awning on the left, to then once again look at the fountain with nine jets on his left. As he moves towards the centre of the building, with slow, steady steps, once he reaches the middle, he visualises the Astronomer’s glass tower on his right and the melon’s vendor kiosk standing in front of a column, to the right of the tower. On the opposite column, he sees the statue of the hermit and the lion. On the last section of the Quad, he glances at the Turkish Bath, and then takes a small stare at the cafe of the corner and the street and buildings in front of it, as he begins to reflect on the beauty of Zora, and listening to the people that are circulating the space. He then continues his journey by walking at a faster pace through the alley, which leads him to the harbor. As time passes, Polo has to face the future, and he begins his journey by walking from the same entrance, and is suddenly confronted by the city becoming a ruin and once again, glancing at the harbor that is now desolate and gloomy. He perceives heavy moods as he is forced to reflect on the city and how he feels towards its atmosphere. The harbour always remains a place for him to have a lighter mood, as it allows Zora’s citizens to reconnected with
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PERSPECTIVE 1 The scene is composed of many characters as I wanted to depict a city full of vibrancy and life. Marco Polo is observing the space, and gaining a lot of knowledge about philosophy, numbers, and virtue, due to the wealthy men talking as they walk by, discussing such manners. The space feels luxurious due to the marble and gilding features on the columns and vaults, as well as the elegant chandelier hanging in the middle of the old quad. I wanted to create an empty space in the middle, to make Marco Polo feel as the protagonist of the space, and also to demonstrate circulation. The cafe is facing the viewer to show that it is in the corner as described in the chapter. Many people are walking through the alley, which is where the light is coming from and demonstrates to be a place of serenity. The light is minimal, as I wanted to show it that sundown is approaching, which can also be understood by the lights in the street.
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PERSPECTIVE 2 From where Marco Polo is positioned, the space feels empty and endless. I wanted to create a gloomy atmosphere, with the city becoming a ruin and the harbor being desolate. The lighting, which once again is coming from the harbor, is much darker, creating a pessimist ambiance. The character, which is positioned in the distance, is overlooking at the city, and by his positioning, it is possible to detect that he is about to turn his head and commence walking once again, indifferently. Marco Polo being so far away, and motionless demonstrates that Zora is becoming a memory, and the closer Polo is to it, the whole city seems closer to vanish.Â
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REFLECTION For Module 1 I would have liked to explore more drawing techniques and possibly add more shading to make the croissant appear more realistic. The axonometric is not exactly correct as the sections should have been joined together to demonstrate the outline of the croissant. For Module 2 I should have explored more innovatively what to add in the middle of the world to connect the two original templates. I could have explored more with texture, but through the use of gradient, shadow, and light, I believe that the world appears vibrant and three dimensional in colour. The clouds also distract the eye of the viewer. However, the use of geometric shapes create a vibrant, fun and appealing world. Module 3 lacks the exploration of form and height, as the geometric shapes I utilized appear simple, however effective for the wave appearance I was attempting to achieve. To clarify my “story�, I should have explored height more in depth so that the outside pyramids could appear steeper and possibly seem as they are about to fold into the concave. I could have challenged my model making skills through the use of complicated templates, but the use of simple geometric shapes allowed me to create a seamless model, however, my folding could be cleaner. For Module 4 I struggled to represent my view of Zora through the notation, as the map appears sparse and desolate. I could have used one part of the Old Quad rather than the entire space to also allow the viewer to understand the past and the future more clearly. The perspectives could have demonstrated the pattern of the city, but I wanted them to appear simplistic and effective, however, they do appear empty. I believe I have used good levels of lighting in the perspectives as all the characters are clearly visible and there are still slight shadows, that however do not overpower the scenery. Overall with my Modules, I could have explored my ideas with more imagination and depth to allow them to thrive, but I believe I continued to have a polished quality across all of the four, where the viewer could see the details of them.
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