Journal module 2

1-11 Foundations of Design : REPRESENTATION, SEM1, 2017 M2 JOURNAL - FLATNESS vs PROJECTION Monique Hillier

(914836) Emmanuel Cohen, Studio 1

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WEEK 3 READING: Leger, le corbusier and purism

Mario’s world

Question 1: What is Pictorial Space according to Le Corbusier? (Maximum 100 words) Le Corbusier understands pictorial space to be areas that ‘cannot be entered’1, only to be viewed as spaces of emptiness or recession. He creates this perceived space through the composition of his artworks - how the objects are placed in relation to one another. His thoughtful use of colour also creates the contrast between pictured objects and this sense of empty space. He also utilizes texture to create depth within his pictured objects. These techniques works together to trick the human eye that there is empty space in the artwork, where what is really being observed is a flat canvas.

Question 2: The flatness of Le Corbusier’s paintings are attributable to two properties. What are they?

And what are these pitted against?(Maximum 100 words) Le Corbusier achieves a quality of flatness about his paintings through two means:

1. Rosalind Krauss, “Leger, Le Corbusier, and Purism,” Artforum 4 (1972): 51-53.

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1st Mario’s world

Combined Mario’s world

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WEEK 4 READING: axonometric projection

Illustrated Mario’s new world

Question 1: Explain the difference between Pictoral (in this case perspectival) space and Projection?

(Maximum 100 words)

Hint: How Detailed does the drawing need to be?

Insert your answer here....

Consider the shape, character and landscape of the scene only. We are only interested in the form and z; you do not need to be concerned with the shadow and pattern of the images.

Question 2: Where did Axonometric projection first arise, and why? (Maximum 100 words) Needed for military precision and cannons, keeps the measurements. Before this, the mathematician used projections with calculations.

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APPENDIX

The mario world was first re-drawn at a 45 degree angle while preserving the same dimensions and composition as the original drawing. The two were then placed within a box, and additional surfaces and characters were sketched on. The final copy was then carefully traced in fineliner and then scanned into the computer. The T-square and set square were constantly used to maintain parellel 45 degree projections of depth and straigh lines.

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