Folio

Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO Monique Hillier

914836 Studio 01 - Emmanuel Cohen

Measured Drawing Of A Croissant How to measure a Croissant?

I learnt how to draw an object in an accurate way through axonometric projections. First we took a clear photo using a photo stage, and then we traced the outline of the images and sketched on top to keep accurate dimensions and detail. I also learnt how to communicate through using different line weights for section cuts, shading and outlines.

Through this task I developed my skills in hatching in fine liner as well as with pencil using different gradations.

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New Mario world

The making of new Mario world.

I aimed to explore the hidden space by creating a greater sense of three-dimensionality through using colour gradients and shadows. I have also made this scene more lifelike through effects such as the sand’s grain texture, detail such as bubbles, and the water’s surface. Staying true to the video game theme, I intended to create a narrative through adding “bad” characters such as the jelly fish or shark that would potentially “kill” the Mario character and end the game.

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Process I chose to address the design challenge of adding the two 2d screenshots together by elevating one on a sand platform and adding multiple different pathways between the two; the slide or the stairs, which would lead safely to the level below, and the ladder, which would lead into the shark’s jaws and “kill” the Mario character. I created my own sea creature characters to maintain a beach-like theme within the scene.

Making 3D. Objects were drawn at a 45 degree angle and made 3D by using vertical lines to show depth. Depths varied between each type of object.

Initial Drawing. Using a T-square and a 45 degree angle ruler, lines were drawn onto tracing paper and heights of objects were measured to maintain dimesions of objects for accurate transferral.

Old Mario World. My first time using Illustrator, I did not yet know how to use effects such as texturisation or gradients, therefore my world looked very flat and quite plain.

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PAPER LANDSCAPE The making of new landscape I wanted my landscape to closely mimic a real landscape such as houses on a hill, with the flat panels representing grass, the pointed panels representing rocks or trees and the tallest panels representing houses. I wanted to maintain the angular theme by separating the 3D and the 2D in a diagonal line, creating two large triangles. I have created differentiation through using 3 different types of custom 3D panels, which created an interesting variation but keeps in line with the triangular theme. I think my pattern is successful because each one is quite distinctly different from the other.

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This photo shows a clearer difference between the two pyramid forms in my landscape: the regular pyramid and the slanted pyramid. The effect i was trying to achieve within the whole model was a gradual increase from flat to tall forms.

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The prototypes of my first two customised shapes. As these were irregular shapes, I wanted to check that they would have the effect i wanted. These test shapes appeared to be sucessful.

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Setting Points. As previously mentioned, I wanted the effect of my landscape to gradually move from flat to 3D. I chose to set my points so that they were at the lowest points in the middle of the model, because it would work well with the diagonal threshold of 2D to 3D.

Pattern 1. Initial digital creation of my irregular 3D custom pattern.

Pattern 2. Initial digital creation of my irregular 3D custom pattern. This shape was a great deal more complex and I found it very challenging to unroll accurately.

Final Digital Landscape. Testing the desired effect of my landscape.

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Invisible city

PERINTHIA The main themes I tried to communicate were of hope and despair. I aimed to create a stark contrast between the light and optimistic beginning of the story and the dark, haunting ending. In this first drawing i hope to communicate how Marco Polo moved around and reacted to what he saw. I have shown him first looking and the astronomers, then walking up next to them, suggesting him having a conversation with them and showing curiosity. He then steps aside and looks into the second perspective, his gaze going across the passage of time, and sees the town having grown, but become something terrifying and dark. He stays in this last position because he is scared to go into this horrorfilled city.

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For my first scene i focused on the beginning of the story. I used Rennaisance style images as they are an italian art syle of the 14th-16th century, the period when Marco polo lived and wrote “Livres des merveilles du monde�, and this suits the setting of the story. I wanted this scene to be idealistic and dreamy because the astronomers are envisioning and romanticising the idea of the city they would creare by looking at astrology and the heavens. The shadows are from the early morning sun and the overall colour is quite light because i wanted to reflect the hope for the city and symbolise a new beginning. Symbols such as angels, God and the cross refer to the Roman Catholic religion, and the planets, compass and stars symbolise anstronomy. I aimed to encapsulate the visions and thoughts of the astronomers in

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For my second scene i focused on the period in the future when the city grew and developed but turned wrong and frightening. The colour of this scene is dark are there are horror like elements such as rats, cobwebs, screaming people and graffiti to create an eerie aesthetic. The story mentions that cripples, fat men and bearded ladies who roam the strees, all of which are included. I have used vintage photos instead of paintings to symbolise a movement forward in time periodsand generations. The ominous devil looks over the scene at the top now, not a god, to show how the astronomers were wrong and the horiffic city reflected what was up in the ‘heavens’. I have put a wall and a street in the background to show have the city has been built up over time, instead of original, bare landscape. I improved this scene by adding shadows.

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The inspiration for my first rennaisance style scene and my second vintage horror film-like scene. I looked into old films and artworks to inspire how i would collage my scenes and create a certain aesthetic.

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REFLECTION

With no history in design, I learnt a great deal from these projects.

From module 1 and 2 I learnt different ways of depicting objects in an accurate, measurable way. The lectures helped me immensely because it was important for me to understand the logic and reasoning behind these techniques before I could master them. I amended module 1 by adding the correct measurements and titles, re-perfecting the fine liner plan drawing and re-drawing the axonometric so it more accurately resembled the croissant. My first axonometric failed because I had 2 of my croissant sections photocopied in the wrong orientation, which have now I fixed. Module 2 was very challenging for me but I learnt how to use Illustrator as well as InDesign for the folio as I had not used these before.

In doing this final folio, I further improved to aesthetic of the Mario world by eliminating the flatness of the original work through gradients, textures and shadows which I learnt through research. From module 3 and 4 I learnt how to use rhino which was initially very challenging but I now find it much simpler. I felt that my module 3 work was the least successful of them all, not because of my 3D designs which I found to be successful, but because of how I stuck the model together without a spine. I took better photos of the model to more clearly demonstrate its effect. I would next time improve this by using clips to hold the drying flaps together instead of holding them with my hands. I felt that my module 4 work was the most successful as I have had experience with Photoshop therefore I did not struggle with the task and enjoyed creating a narrative within design limitations.

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