PORT FO LIO
FOUNDATION OF DESIGN: REPRESENTATION Semester 1 2017
Melvin Dinata 900429 Studio 14 - Colby
CONTENTS
01
02
CROISSANT 3-5
MARIO 6-7
03
04
PATTERN V SURFACE 8-10
FRAME V FIELD 11-13
CROISSANT
01 MEASURED DRAWING OF A CROISSANT
Front Elevation
Side Elevation
This task practices the usage of pencil (Shading) and pen (hatching) through the axonometric projection of a croissant. Photography is also another visual medium that is being explored in this module. Process of drawings: A croissant is photographed with proper lighting that highlights the object’s -dimensionalityThe photo is then used as reference for -shading and hatching of the croissantThrough this module, I have developed a deep understanding about the concept of shape, form and depth to deliver the dimensionality of an object
Plan view hatching 3
MEASURED DRAWING OF A CROISSANT
Graphite drawing of croissants
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Axonometric projections
MARIO’S WORLD
02
NEW MARIO WORLD The New World is intended to be delivered in a robust and lively manner, indicating the multitude of spaces and scenes that can take place behind the seemingly flat 2D views. The step-like slope is constructed to suggest the hierarchy of depths into the world and the mountains are raised high to emphasise verticality, Natural elements such as a waterfall, river and underground cave are also used to embed a strong picturesque landscape scene. From this module, I have improved my digital skills in using visual softwares such as Photoshop and Illustrator. It has also revealed to me the importance of having an equal skill in both technical and creative aspects.
2D views: The given 2D views of the world which will then be used to project into a 3D space
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Setting up: The materials and 2D images used to complete this module
Placing characters: Characters are drawn on a seperate piece of tracing paper and are then overlaid on the landscape. This allows easy visualisation of how the characters will be placed within the landscape without having to erase when error occurs.
Finishing the projections: Spaces are further projected back and frontwards from the given 2D images. The 2 way projections are then joined to form a 3D world
Digital: Once the hand drawing of the world is completed, the outline is brought to illustrator to be finished and coloured digitally.
Ink medium: Outline of the new mario world
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PATTERN V SURFACE
03 PATTERN v SURFACE This paper model is composed of grids occupied by 3D and 2D panels of different forms. The different heights between the different modules convey the sense of a topography found in a mountainous Tasmanian landscape. The 2D panels are constructed of similar geometries with the 3D modules, enhancing the coheviness between both forms I believe my intention for this task has been achieved successfully as the model managed to deliver a clear gradation of difference in level/ height. The complexity of the 3D modules have also effectively convey my throughout experimentation with Rhino software. However, the technical aspect of constructing the models could have been better performed with more accuracy.
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Plan view: The repetition of modules that forms the panelling over the given surface
Plan view: Paper model that translates the gradation of spaces and height through the use of different models and forms
Close up (plan): One of the different forms of modules used. The geometrical composition aims to deliver the sense of complexity of forms
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Finished paper model : Finished paper model constructed of 350gsm paper that delivers the picturesque view of mountain ranges which gradually decreases in height and intensity into the flatter lands.
Surface: Given terrain that gradually slopes upwards from left to right
Customised 3D modules : Digitally generated modules that will represent the different heights and forms of mountains and landscapes
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Final model: Final digital Rhino model that will be used as reference for the construction of the paper model
FRAME V FIELD
04
FRAME v FIELD EUSAPIA Eusapia is an unique city of the dead which overlays death with life. It is an underground city made as an exact replica to its above-ground twin. The city is populated with preserved corpses from the citizen above which continues to live beyond death here in Eusapia, arranged in static positions as if carrying their daily activities and carefree moments as usual. Due to this rather forceful idea of living beyond death, the atmosphere I intended to convey is an unnatural liveliness. The notations assist in delivering the descriptive story as the narrator ventures into the city-space. The main concept of the notation highlights the gradual change of atmostphere, from dead and tense upon arrival to ease and lively once settled down. Robust atmosphere with tinges of eerie-ness in certain areas are also conveyed through the notations of moods and lighting. The perspectives are then used to provide a more vivid translation of the original story.
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SCENE 1
First Marco Polo’s perspective: Tne first scene captures the central and main activity which the whole underground Eusapia revolves upon. As the story captioned:
“it is their carefree moments which take first place�. The figures found within the scenes follow largely as what is mentioned within the story - corpses seated around laden tables, dancing or playing trumpets. Many figures are compactly placed within the centre to further capture the lively and carefree moments of Eusapia. The characters within this scenes are a mixture of skeletons and humans, both dressed and acting like living human, blurring the lines between the living and the dead.
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SCENE 2
Second Marco Polo’s perspective: The second scene potrays the remaining activities and figures present as described by the story - clockmaker , barber, big-game hunt-
ers etc. The figures are intentionally placed compactly again to reveal the actual liveliness of the area which could not be seen from the sides of Scene 1. The hooded brother is placed infront and brighter than other figures to show the “vast authority of this confraternity in Eusapia”. The sudden contrast of brightness in the middle of the old quad is done to recreate an underground effect with artificial lightings such as the chandelier being the only source of light in Eusapia. (This is done by using ‘pointlight’ in Rhino). Hence, the gradual lighting changes from a vertical manner (top brightest to bottom darkest)
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REFLECTION 14
This subject has certainly provided me with the basic knowledge and skills needed for my future endeavour in design practices such as Architecture. The lectures and readings provided me with ideas and understanding which could be used for inspiration in technical process. The hands-on nature of this subject is personally much preferred by students like me who depends on motor and visual memories. The execution of all the modules have allowed me to practise my technical skills in various design softwares and exercise my creativity within a restricted frame.
Through module 3, I have learned that large surfaces such as building facade can be further divided into smaller developable surfaces through the use of panelling. Personally, Module 4 has been the most enjoyable. The use of notations and perspective in Module 4 demonstrates the various ways in which I can effectively deliver my ideas and visualise the ways a space can be organised and optimised. At the end of this subject, I found myself having developed skills for Photoshop, Illustrator, Rhino and InDesign. Additionally, I have also gained useful ideas of the various aspects that needs to be taken into consideration before executing a design. This subject has also insitlled a habit of cleaning and organising my images, designs and files.
In conclusion, I am fairly satisfied with my work throughout the semester. The sleepless nights and trial-errors have certainly been an unregrettable experience upon gazing my finished products. However, there are certainly still rooms for improvements particularly in hand modelling and digital articulation. These are something I will continue to develop and practise throughout my journey in university.
Several amendments are done to improve the overall appearance of the modules. In module 1, the images are further Photoshopped and cleaned to improve the aesthetic of the sketches. In module 2, the characters are re-scaled into smaller sizes so as not to dominate the spatial context of the world. In module 3, better photographs and lightings are employed to better showcase the finished model.