Foundations of Design : Representation, Sem 1, 2018 PORTFOLIO Yue Yan
994311 Studio 11 - Junhan Foong
CONTENTS
FRAME VS. FIELD
MODULE 4
13 PATTERN VS. SURFACE
MODULE 3
9 FLATNESS VS. PROJECTION
MODULE 2
6 HOW TO DRAW A CROISSANT?
MODULE 1
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MODULE 1 - HOW TO DRAW A CROISSANT?
This module introduced me to orthographic projection drawings and axonometric drawings. I have not only developed my drawing skill, but also improved my editing skills with photoshop. In order to take photographs with good lighting and clean backgrounds, I set up a photo stage at home. Through this project, I learnt that a standard lighting setup should contain a key light at 30 degrees from camera and a fill light at 60 degrees from camera. This stage is critical as the clean background made me easier to trace the outlines of the croissant.
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MODULE 1 - HOW TO DRAW A CROISSANT?
Orthographic Drawings For each section, outlining, tracing and hatching were done separately on three different sheets of tracing paper. I layered them in photoshop, then edited the images’ levels of contrast and opacity individually. I used a range of drawing material: 2H, 4H pencils for outlining, 2B, 4B, 6B pencils for shading, 6B pencil, 0.2 and 0.4 finelines for hatching. Instead of parallel lines, I hatched curved, broken strokes to follow the texture of the croissant, adding more depth at the same time.
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MODULE 1 - HOW TO DRAW A CROISSANT?
Axonometric Drawing The final stage of this Module is constructing an axonometric projection. The principal of setting up the axonometric is to create a pictorial drawing of the object and show its three dimensions.
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MODULE 2 - FLATNESS VS. PROJECTION Module 2 extended the concept of axonometric projection. Through this module, we learnt how to project axonometric drawings in the traditional way with T squares and tracing papers, as well as in the software program, Adobe Illustrator. For this task, we were given two twodimensional images from the Mario Games. Then we were expected to create a three-dimensional world that has two elevations (front and back) the same as the photos we were given. This module challenged us to use our imagination to create a projection space. The space of axonometric suggests a continuous space in which elements are in constant motion. Therefore, we were expected to show hidden objects and the relationships between the objects that are presented in the two elevations.
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MODULE 2 - FLATNESS VS. PROJECTION
1st world
2nd world
Drawing projected from the front elevation
Drawing projected from the back elevation
By joinng the two drawings I produced, I got a basic threedimensional Mario world without any addition of other objects. However, the pope was drawn incorrectly as it should be inside the edge instead of extending out. I fixed this problem in Illustrator in later stages.
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MODULE 2 - FLATNESS VS. PROJECTION
ILLUSTRATED MARIO’S NEW WORLD My idea for my Mario’s world is based on an underground world with hidden water tanks. To illustrate the infinite space and illusion of axonometric projection, I extended the height of my original Mario World so that the viewers can see the movement of the water. In illustrator, I constructed stairs, blocks, and doors to make links between the two worlds that produced from the two elevations. Those small detailed geometries allowed me to show what is hidden inside and between the blocks. The three waterfalls demonstrate a sense of movement, at the same time suggesting a continuous space in which elements are in constant motion. I also added few textures and patterns to the walls, so the large blocks would not appear as plain and heavy as it was. Analogous colour schemes were used to achieve a sense of harmony, creating a lively, interactive space. I have looked at Monument Valley’s colour palettes to develop my ideas of how I may use colours to work harmoniously.
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MODULE 3 - PATERN VS. SURFACE This module is the only module that the students were asked to create physical modelings. New technical skills were gained through the workshops with the 3D modeling software Rhino. We were asked to create a 3D panel surface that can be built with paper. Then we unrolled our customised surface, printed it on paper, cut, folded and glued together into the final physical model. The images below are the 3D variable patterns I made, which helped me to explore the idea of repetition, direction within a pattern.
3D Penelling: Pyramid 1
3D Panelling: Custom Variable 1
3D Panelling: Pyramid 2
3D Panelling: Box
3D Panelling: Custom Variable 2
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MODULE 3 - PATERN VS. SURFACE
Rhino view of the final model The panel was screenshotted in the rendered display mode to show the solid form and shadows, whereas the meshes were screenshotted in the ghosted display mode to show the geometries that inside the bounding boxes. My inspiration for the landscape is the idea of sloped mountains. Therefore, i Module 3: Pattern vs Surface My inspiration for the landscape is the idea of sloped mountains. nstead of point attractor, I used curve attractors in the Ptpanle customer variable setting, so the objects at the centre of my landscape would be the highest. I also added bounding boxes around the mesh objects to enhance the visual presentation.
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MODULE 3 - PATERN VS. SURFACE
The cutting and scrolling process I used a metal ruler and a pen knife to trace the tabs, then I was able to bend and scrol the ivory card easily.
Unrolling the Surface
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MODULE 3 - PATERN VS. SURFACE
Photographs of the Physical Model
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MODULE 4 - FRAME VS. FIELD In this module, we were introduced to perspective, as a representational technique to convey a concept. We were asked to produce two perspective scenes based on the stories we were given. The students were also expected to represent the figures and the character’s movements via notations. Through this module, I developed my technical skills across three different software by modeling with Rhino, adjusting line weights in illustrator, and using the ‘layer mask’ tool in photoshop.
CITIES AND SIGNS 3 - ZOE This city is all about confusion. It is a city that contradicts the expectations of travelers. Here, perspectives challenge the viewers; change their interpretation; let them start to question about existence. “What line separates the inside from the outside, the rumble of wheels from the howl of wolves”?
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MODULE 4 - FRAME VS. FIELD
The notations not only show the character’s movements, but also transform his emotional feelings. With the graphical notations, the viewers are able to identify where the two perspectives were taken from, the thresholds, and the distance between the people.
Key Mood - Light Mood - Heavy Glance Stare People Transition of space Movement - Slow Movement - Fast Perspective 1 Perspective 2 Rest/Look around Isometric Drawing with Notations
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1m
2.5m
5m
MODULE 4 - FRAME VS. FIELD
perspective 1 A sense of order is important in this scene. The characters I chose have different identities: the high priest, the royal family, middle class in a tavern, and the people in the slum. I didn’t draw a broader/fence or other physical barriers here but used the contrast between the light and dark, texture of the walls, as well as the background to emphasise a sense of hierarchy. This view was taken by the character when he first arrived. The hierarchical orders correspond to his expectation, so he wants to double check if the city is simply arranged by hierarchy. Therefore, the character speeded up to move closer to this place (presented in the isometric drawing).
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MODULE 4 - FRAME VS. FIELD
perspective 2 After the character arrived in the place presented in perspective 2, he turned around and looked back, and this image shows what he saw. Linking back to perspective 1, there is no doubt a sense of confusion within this city. As the text describes, “in every point of this city you can, in turn, sleep, make tools, cook, accumulate gold, disrobe, reign, sell, question oracles”, everyone plays his/her role here. I added flowers, trees and foggy air in the background, to show an environment that appeals bright, lively, welcoming. This forms a strong contrast with the other scene, so the traveler “is unable to distinguish the features of the city”.
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REFLECTION Throughout these four modules, I have learned how to translate an idea or principle into physician practices. I was introduced to the concept of orthographic space, projection, perspective and patterns in the lectures. The specific examples in the lectures clearly explain the principle ideas, which gave me inspiration for my designs in the corresponding module. My technical skills were also gained and developed quickly across Photoshop, Illustrator, Rhino, and InDesign. The process of learning these programs could be quite challenging sometimes, but they are the fundamental tools to represent my design idea digitally. The skills that I gained through the workshops will be beneficial for my future studies. Module 2, in particular, was confusing for me at the beginning. After my tutor explained it clearly to us and I scanned through online references for inspiration, I became much more confident and efficient towards finishing the task. If I have difficulties in my future studio’s studies, I will conduct some research first, then ask for help. Overall, this is an fasinating, challenging subject that introduced us to the fundamental design principles; taught us how to manipulate the digital programs, and opened our minds to the representational function of design.
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IMPROVEMENTS
Changes made: Module 1 * changed the dimension lines * section lines were drawn on the plan instead of the elevation * lower the opacity of the background elements in the axonometric drawing * aligned the sections in the axonometric drawing Module 2 * added more shading and linework to define the faces * removed the rock base * redraw the base into geometries to further the structuraldepth and complexity * added more subtleness on the splashes of water Module 4 * added more arrows to represent the character’s movement in the isometric drawing * darken the roof’s lines in the isometric drawing
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