FOUNDATIONS OF DESIGN : REPRESENTATION, SEM 1, 2018
P O R T F O L I O
NATALIE ANG • 996016 • STUDIO 22 - TALIA STOCH
MODULE 1 HOW TO DRAW A CROISSANT
MEASURED DRAWING OF A CROISSANT How to measure a Croissant? The aim of this module was to measure a croissant and construct orthographic projection drawings by hand. To accurately depict the croissant and its sections, I utilised shading, dotting and hatching, which allowed me to add texture and depth to my drawings. Moreover, different ranges of B and H pencils were used to convey and depict the light and dark sections of the croissant. The scale is carefully maintained to the true size of the croissant throughout. Through this module, I was able to expand my knowledge and application of technical drawing conventions.
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MODULE 1 CROISSANT ORTHOGRAPHIC PROJECTION
CROSS SECTION A
SKETCH OF ELEVATION
82 mm
CROSS SECTION B
125.5 mm
C
SKETCH OF ELEVATION
B
A
SKETCH OF PLAN VIEW
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CROSS SECTION C
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MODULE 2 F L A T N E S S vs P R O J E C T I O N
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NEW MARIO WORLD The making of new Mario world. In this module, the aim was to construct an axonometric projection from two elevations of a Mario World. To show the difference between subjective and objective points of views, I included additional elements to the new Mario World which is not visible in the elevation illustrations. By doing this, I was able to explore both visible and invisible sections and depict the complexity of its structure in an exonometric view. Textures, pattern and shadows were also added to differentiate surfaces and depict varying depths.
Two original Mario World illustrations
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Drafting - Firstly, the top level was constructed. From the elevations, I marked the locations of objects and its measurements.
Tracing - Another layer of tracing paper was overlayed onto the draft of the two levels and the final world was traced.
Digital Rendering - The tracing paper was scanned and the linework was re-traced on Illustrator. Once the linework was done, I began to render elements of the drawing using the same colour scheme as the original illustrations.
Refinement - Gradient, pattern and textures were added. I also experimented with using brush strokes to give texture to the cascading waterfall.
Outline of the new Mario World
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MODULE 3 P A T T E R N vs S U R F A C E
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PAPER LANDSCAPE The making of new landscape The outcome of this module was to create a 3D panelled surface, using the 3D modelling software, Rhinoceros 5, that would be made into a paper model. The creation of my terrain involved the exploration of the concept of iteration. As such, each structure only differs from the other very slightly and minutely - whether it be in height or shape. This also allowed me to explore the development of relationships between the panels as opposed to unique and individual panels. Additionally, the aim was to also stay true to the terrain. Consequently, I mimicked the original topography and created a gradient of heights, where the tallest panel would correspond to the steepest part of the topography.
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Experimenting on Rhino (left) - Different shapes were made using bounding boxes and different terrains were formed, implementing the panels onto the terrain.
Final Custom Panels (bottom) - The chosen panels used and implemented onto the landscape.
Final Panellised Lanscape (right) - The finalised landscape chosen. Depicts very slight gradient of heights. The next step was to unroll the model into nets and templates.
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31
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Strip
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0
1
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1A
39
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34
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Templates of Unrolled Panels - Colour coded to ensure that the right panel was connected to the appropriate panels. The templates were then printed and scored using a pen knife. This allowed for sharp and neat fold lines. When gluing, clips were used to ensure the panels stayed in place whilst the glue was drying. I utilised PVA glue as it proved to be most effective when holding the strips together.
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0
12 15 3 38 8
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36 17
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Strip 10C 32
34 33
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31 27
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25 23
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Detail of the Model Notion of iteration is clearly portrayed
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MODULE 4 F R A M E vs F I E L D
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Hidden Cities 3: Marozia
INVISIBLE CITY
Natalie Ang, 996016
Hidden Cities 3 - Marozia This module follows Marco Polo’s journey in the city of Marozia. The result of this module were visual representations of his journey and movements through his explorations.
Polo’s Journey Through the use of notation, Polo’s movement is depicted in the story of Hidden Cities 3 : Marozia. When Polo first enters the city, a heavy mood has already been set - foreshadowing the nature of the city. Consequently, as he ventures further into the city and into the centre, his movements become slower as he navigates through the fog and crowds. However, as soon as Polo reaches the periphery of the city, a lighter mood immediately replaces the heavy mood. His movements become much lighter as a sense of freedom replaces the closed nature of the ‘old city’. Furthermore, the threshold changes from a hard cobblestone floor to a softer, eartheir floor. Thus, the notations illustrate not only Polo’s journey as he transitions from the old city of Marozia to the new, but the spatial qualities of the respective cities.
Key Movement Heavy Light Thresholds Time Glance Stare People Perspective 1 0
1m
2.5m
Perspective 2
5m
Openness Closedness
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Perspective 1 - Rat City The first view chosen for this perspective was looking into the centre of the old quad. My interpretation of this first city was one that was very unkept, overpopulated and infested with rats and mould. This view was chosen to depict a closed and dense space (due to the closeness to the centre of the quad) as I decided to reflect my interpretation of the city by taking on a marketplace concept. The business and crowded nature of a marketplace was used to reflect a city that was dirty and riddled with grime. The use of fog was included to depict a polluted and noxious environment.
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Perspective 2 - Swallow City The second view for perspective two is looking at the corner edge of the old quad. The diagonal perspective of this view creates a sense of spaciousness and vulnerability. The depiction of this city is meant to reflect a more liberal, free and open city. However, there are still some dark elements lingering around the edges to portray this ‘new’ city’s attempt to free itself from the filthy, obscene city that existed before. The free-spirited, carefree characters in this scene are meant to juxtapose against the closed, impersonal characters in the first perspective. Moreover, I have also incorporated two different thresholds in this scene : the hard cobblestone floor and soft, earthy grass floor. This aims to depict the city’s transition from the old city to the new city. Ultimately, the two perspectives were created with the intention of contrasting the ideas of openness and closed-ness, oppression and freedom, light and dark.
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REFLECTION By completing this subject, I have learnt numerous key skills and gained useful and insightful knowledge that are not only important now but for the years to come. Through the completion of all the modules, I have learnt various skills, such as drawing techniques and technical drawings such as orthographic and axonometric projections. Furthermore, I have gained more knowledge in my understanding of pattern, perspectives, projections, the concept of field and different conventions for the representation of three-dimensional objects. Collectively, it has expanded my knowledge and understanding of design, which in turn, has allowed me to experiment and apply these concepts to my design process. Many different types of skills were introduced throughout the semester and modules. A crucial skill set I gained was time-management, which was important to ensure that the final presentation is of the highest standard and quality. Time needed to be set aside for trial-and-error experimentations and test printing. Furthermore, I have acquired an understanding between physical and digital forms of work, and the relationship between objects and designs seen digitally and their physical model. I also expanded my knowledge and understanding of applications such as Photoshop, Illustrator and Rhino 3D. Finally, reflecting back onto my works, I believe that improvements can be made to all of them. Module 3, in my opinion, was not particularly successful due to my lack of time management which disallowed me to make prototypes and trial different experimentations of my panels. As such, the digital model of my terrain and the physical model were not consistent representations. It was through this model, I learnt that digital objects can be quite different to its physical form. Thus, if I could improve my work, I would set aside time to trial out different physical models of my panels. The amendments I made to improve my module have been done in Module 4. I have adjusted the light settings to show a starker contrast between the Rat City and Swallow City. I did this by adjusting ‘Levels’ on Photoshop to render my first perspective slightly darker, to portray a dark, decaying city, and render my second perspective slightly lighter, to depict the emergence of a more liberal city.
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