Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO Student Name
Student Number Studio 00 - Tutor Name
Amelia Good
914362 Carl Areskoug Studio 17
MEASURED DRAWING OF A CROISSANT How to measure a Croissant? How to draw a croissant was a fundamental introduction into the world of technical drawing and the construction of organic shapes within ruled guidelines. By the end of the project I learnt about the importance of different views; plan, front, side, sections and the construction of an axonometric. As well as presentational techniques of etching, shading and hierarchy, though the use of different pencils and pens, to aid in a representation that more clearly conveys desired aspects.
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Section markings
Sections The croissant was cut into sections, photocopied, overlaid with a grid and sketched out.
Axonometric These section were then taken and drawn in axonometric through the use of the grid lines and cut lines, to create an accurate 3D representation of the croissant.
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Shaded sketches The photos and photo copied views were used to create sketches of the croissant, enhanced by etching and shading techniques. A variety of pencil weights were used to create depth and fine liners to give the outlines hierarchy.
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NEW MARIO WORLD
The making of new Mario World My Mario World combines the outside world of the cactus desert and the underground world of pipes and arcade games into one nighttime game block. By using the traditional colour scheme and theme of Mario games I have created a secret mini world and short cut between the frontal zone and rear industrial world. The rainbow portals and transparent steps allow a player to enter the section and advance to the rear section of the world. By shrinking this world a viewer can get a new perspective of the many elements of repetition in the multilevel Mario system.
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World 17 Sketch First hand drawn Mario World, using the elements and dimensions from world 17, to create the rear of the world.
Final Fineliner Drawing After drawing the 2 sections of the world they were laid on top of each other and I created my own middle ground to form a coherent world. This world was them drawn using fineliner, to later be scanned in a traced on Illustrator to create the final image shown on the previous page. World 8 Sketch Hand drawn sketch of the second section at the front of the block.
Drawing Equipment A2 and A3 trace paper T-square Set square Ruler Different shad pencils 0.1 fineliner 0.4 fineliner for cutlines
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PAPER LANDSCAPE
The making of a new landscape This paper landscape was modeled on a section of Tasmanian terrain. Through the use of Rhino 3D modeling software, I created a 2D and 3D paneling to represent this terrain. The iconic Tasmanian mountains were depicted by octagonal based pyramids with varying heights, trimmed to different widths, along with a curved grid work to create a sense of undulation and varying gradients of a mountain range. The 2D panel aims to portray a simplistic wave form, another element often associated with Tasmania, however this shape was very subtle making the 2D panel not as prominent as I desired. In order for this model to be a dual level representation of the Tasmanian landscape, the two panels came together to represent valleys and ranges, creating connotative shapes as well as the terrain base form itself.
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Close up of the undulation and mountainous form of my final paper model.
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3D Modules Octagonal Pyramids 3 different modules with altered open top widths, to create a variation in gradient. Made using geometric shapes, loft and trim tools.
Final Model A combination of a 2D and 3D panel, with a bottom grid to map the terrain and top grid of curved height change. Meaning every shape is slightly different. Made using the modules above and paneling tools.
Unrolled Panels Each 3D panel was rolled separately, with the 2D panels rolled in sets of 3 or 4. Tabs and cut and fold lines were added and it was composed on Illustrator to be constructed by hand.
Underside of Model Each panel was printed, labelled, cut, folded, glued together and then every panel was glued to each other to create 100 piece square. In order for the shapes to fit together and bend the way they were supposed to some sides needed multiple little tabs.
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CITIES & SIGNS 1: TAMARA
INVISIBLE CITY
Isometric mapping of Marco Polo’s Tamara Tamara is a city of status, symbols and representation of self through material belongings. I choose to do a contemporary representation of this world through the use of modern status symbols and brands. Through the use of my own symbol ‘superficiality’ and the provided symbols, I mapped Marco Polo’s journey through my interpretation of Tamara within the Old Quad. His entrance and exit perspective have a leap in time to show the jump in the contemporary world. The pace is slow, constant and wandering, as whilst there is little mention of movement in the story there is a running commentary on the clothing and adornments of its inhabitants. He stares and glances at these people who are covered with a ring of superficiality. The centre is left empty as none of these characters are connected or even attempt to interact, while the only area of brightness, at the right side, is covered with a feeing of heaviness due to it being a prohibited zone. Marco Polo’s journey through Tamara is messy with a lack of deeper meaning and a lack of connection to place.
Key Time jump Slow movement Brightness Heavy feeling Stare Glance Superficiality 0
1m
2.5m
5m
Perspective 1 Perspective 2 People
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0
1m
2.5m
5m
Perspective 1 Contemporary status This perspective shows Marco Polo’s view as he first enters the scene. You can see across the span of the whole quad, not only highlighting the archways of the structure itself, but also the interplay between the characters as they all ignore each other and circulate outside of the space. The characters are modern depictions of the characters in Marco Polo’s story, who go practically unnoticed due to a focus on their clothing and accessories with branding symbols that are ‘valuable not in themselves but as signs of other things’. The posters and advertisements reference the jutting signboards and demonstrate a need to acquire things that display status, wealth and superiority.
Perspective 1- Contemporary status
Perspective 2 - Superficial clarity
Amelia Good, 914362
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Perspective 2 Superficial clarity This view depicts Marco Polo’s exit of the scene. The bare space (with a tilt towards the floor) and almost hidden view of the characters show the lack of connection that Marco Polo made. This perspective represents the superficial images that Marco Polo retains from Tamara. The significance of the brands in establishing an impression is highlighted by the blurring of the surrounding figures. This also serves to simplify and dehumanise the characters as individuals. Encapsulating the line “The eye does not see things but images of things that mean other things”.
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REFLECTION
The four modules of this subject covered a wide range of subject matter that built upon each other, teaching me the many tools, techniques and concepts that a creators can employ to influence a representation. To me, one of the most fundamental elements of representation conveyed was the choice of view, starting from the first module with plan, side and front views, sections and an axonometric. To the final module where difference between perspective and axonometric drawing or ‘views as seen by the eye’, compared to those drawn using mathematical scaling. This was discussed in lectures and the reading ‘Practice Architecture, Technique and Representation’ and ‘Perspective as Symbolic Form’. Another important element to a representation is hierarchy. In order for a viewer to see an image the way it is intended, a composer must consider what the most important features are and how to convey this. In architectural drawings this is done through line weights, however other tools such as size, shading, layering, transparency and colour can be used. Whilst all of these modules were time consuming, which was a lesson in itself, for planning, time management and when to focus on the bigger picture rather than minute details. I found the most difficult factor within every module was my limited of my ability to execute all my ideas to the quality I wanted to deliver, due to my lack experience with technical skills. As I developed new idea later on in the project these required modification of earlier elements and sometimes the loss of many hours of work. I think I can Improve on this by an ongoing development of technical skills and better planning and idea development at the beginning of a project. Despite a need for further knowledge and experience, I did learn a wide range of new skills throughout the duration of this subject. Including hand drawing skills with architectural tools and accuracy as well as etching. Along with a greater knowledge of Photoshop and Illustrator and a basic understanding and experience of a wide variety of tools and capabilities of Rhino.
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