Module 1 How to Draw a Croissant
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Outline
Hatch
Making a Croissant After photographing each elevation and scanning the three sections of the croissant each image could then be outlined, hatched and shaded (above). For the outline a thicker line weight was used on the section cut to emphasise the overall shape. Hatching was a technique I had not used before, my first attempt using a 6H lead was unsuccessful as the hatching was too light and distributing the hatching over the croissant to represent the form wasn’t accurate. Using a 0.1 line weight pen and developing the technique produced the desired result. To achieve the shading a variety of lead weights were used, H series leads to outline the croissant and fill in details to get an overall form. B series leads were then layered over to develop depth and tone in the croissant. The sketches were then scanned and importated into photshop to create the final layered images (Right).
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Shade
Orthographic Projection
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Axonometric Projection To create the anonometric projection each section outline was placed on a 10 x 10mm grid, with each intersection between the outline and grid noted (bottom left). The templeate could then be translated into an axonometric projection to create the sketch above (top left).
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Module 2 Flatness vs Projection
Mario World 3
Mario World 18
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Mario World 18
Mario World 3
Projecting in Axonometric Mario worlds 3 and 18 were projected in axonometric at 45 degrees towards the horizon line, spaces obscured in the flat projection were beginning to be developed using depth. However, some of the projections were unsuccessful such as the bridge and pipe in projection 3. Developing an understanding of the axonometric projection through these drawings was essential when creating new structures not represented in the flat projection as the drawing developed. Both Mario words were then combined, world 3 was projected from front to back and world 18 from back to front. Improving the accuracy of the axonometric projection from the flat projection was the primary concern when developing the drawing at this stage. This ensured the technique was fully understood before progressing to creating new spaces in the world.
Combined Mario Words
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Creating Spaces in the Axonometric As the axonometric technique was better understood creating new structures in the world, that were accurate in their projection could be achieved. The combined world allowed the greatest flexibility in creating structures and elements in spaces below the ground level of the world. However, elements that were present in the 2D projection were incorporated into the design of the world and were abstracted in some instances to fit the narrative.
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AXON OF THE GODS All religions are accompanied by stories of creation, the characters of these stories are known as Gods and the worlds they create are inhabited by the people they rule over. The forearm emerging from the cloud symbolises the creation of this world, it points to a prophet who must enlighten those who are ignorant of their creator. From time to time the mortals of this world claim to have seen Gods enter thier world. The contrasting 2D nature of the Gods in comparison to the world of the Axon makes them elusive and hard to define. They are able to navigate a 3D space as 2D beings, rotating towards their edge if they are ever glanced upon. The mortals erect monumental structures in honour of the gods, to preserve thier legacy in stone throgh time. The pillars should last for eternity if they are not struck down... for the Gods who are struck down, the pipes lead to an unknown world from which they cannot escape, the stairs serve as a reminder of those that have been banished. The mortals of this world are ferried down an impossible river after their passing, if they have compleated their dues they may not follow the banished gods down to the unknown world.
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Module 3 Pattern vs Surface
Modeling the Landscape Before constructing the panelised landscape different module designs had to be modeled in rhino. Designing a solution that was developable while also not being too complicated and efficient to construct informed the final design. Five modules were used, each progressively increased in height while decreasing in their opening width. Different heights and widths were used to create a composition that represented the geometry of a lotus pod, the flat panels symbolise the decay in structure that occurs in living things.
Modules
Panelised Landscape
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A LOTUS LANDSCAPE To represent the geometry of a lotus pod the five modules were distributed on the surface along a circular curve with height increasing towards the centre. From the top plan view the distribution of the modules is clear, representing the pattern and geometry of the lotus pod. From the side elevation view the difference in height is most clear. However, this element could of been further emphasized, increasing depth and volume in the model. Exaggerating the height would have also better represented the form of a lotus pod and provide greater contrast between the flat panels and modules.
Side Elevation
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Top Plan
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Module 4 Frame vs Field
ARMILLA - PLEASURE AND REGRET The world as described in Thin Cities Three has been interpreted through three perspectives; an isometric plan view describes the scene within old quad (left), perspective one shows pleasure and perspective two regret (pages 20, 21) As Marco Polo moves through Armilla he transitions through these two worlds. Mythical creatures such as nymphs, naiads and sirens occupy the world of pleasure, luring mortals from reality. If the mortals spend too much time in the world of pleasure they are trapped in the world of regret. For the people they left behind in the world of reality it is not until they are finally forgotten by a final friend or a loved one may they return back to the world which they now desire.
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Perspective 1 - Pleasure
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Perspective 2 - Regret
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REFLECTION What did you learn from these projects with reference to lectures? The lectures were useful in providing context to the overall principals each module was trying to communicate. Understanding why communicating information or an idea may be more effective though a visual representation rather than a written one. To discern the difference between perspective and axonometric, why objectively representing something though perspective can be inaccurate and when each type of representation is appropriate. Furthermore, understanding how perspective in constructed through the frame and how it can be manipulated by the individual controlling the frame. What skill set did you gain? Applications that were crucial to the studio such as rhino, photoshop, illustrator and indesign were not programs I had previously used extensively. While the learning curve was challenging at times, my understanding of these applications will be a crucial skill that is relevant to studios in future. In particular, the rhino - illustrator - photoshop workflow is a skill set that will be essential going forward. The concept of layers, and ensuring that elements are organised into layers and groups across all these programs is a second skill set that I gained, and one that can save a lot of time when adjusting linework in illustrator. Furthermore, for my perspectives in module 4 understanding nondestructive editing methods such as layer masks in photoshop were pivotal in developing a composition that had depth, detail and complexity.
Note: Changes were made to Module 4, Perspective 1 & 2 after presentation. Images were added to the compositions to further their depth and complexity.
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