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: n g i s e D f o s n o i t a d , n Foun o i t a t n e s e r Rep 7 1 0 2 , 1 r e t s e Sem O I L O F PORT LLI ICCARE C E T T E NICOL 911349 son oke Gib o r B 3 Studio 1

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PHOTOGRAPHING AND EDITING A CROISSANT Photographing and editing the croissant images using Pohotshop was one of the first activities that we did in this subject. Using the photo stage in the Melbourne School of Design (MSD) allowed for almost perfect lighting, showing off and highlighting the many curves of the unique croissant.

These images were then ehanced in Photoshop, mainly through adjusting things such as levels, brightness and contrast.

Photo of plan view (above).

Images before enhancement (above).

Photos of elevation (above).

2 MODULE 1: CROISSANT

MEASURED DRAWINGS AND CROSS-SECTIONING A CROISSANT

Axonometric cross-sections (or, alternatively, ‘croiss-sections’) were made (above) from cutting the croissant in three locations (as seen below). This process was very measured and precise in order for the three-dimensional representation (below) to appear as accurate as possible.

Measured drawings of the views of elevation of the croissant (above).

3 MODULE 1: CROISSANT

CREATING A NEW MARIO WORLD

Recreating a three-dimensional Mario world from two two-dimensional images was indeed an interesting task. It allowed for plenty of creativity and imagination. In my final piece (right), I explored the hidden spaces through texturing and also creating a hole and lava trap in between the two worlds I was given.

The textures used in my new Mario world.

4 MODULE 2: MARIO WORLD

CREATING A NEW MARIO WORLD: THE PROCESS

The two-dimensional images that I was given from an old Mario game. These two images formed the base structure of my design before adding colour and texture, and helped mould the final world’s colour palette, characters and and objects.

The final drawn image of my Mario world before retracing it into Illustrator and implementing colour, texture and life into the design.

The images to the right dip into what the process was like for me, having never done anything of the kind before. Starting with setting up the images to make sure the drawings were accurately projected (left image), and then scanning them into the computer to be retraced and given life (middle image). The state of my bedroom floor was all too messy (right image) for the entirety of this module.

5 MODULE 2: MARIO WORLD

MODELLED PAPER LANDSCAPE Given nothing more than a two dimensional, uneven terrain from Tasmania, creating a landscape with paper was a task that had a complex process to it.

Mixing both two-dimensional and three-dimensional panels together gave the landscape a unique feel and an added sense of creativity.

My design (right) was inspired

by Plasma Studio’s Greenhouse, which is located in China and only accessible by boat. It also focuses on one main, large Greenhouse, surrounded by rough yet somewhat flat grass. These elements are seen in my design, as the three-dimensional panels have one major sector, separated by two-dimensional panels. It also offers the sense of isolation, thus recreating the sense it is hard to get to. The Greenhouse is also situated on uneven land, which is also represented in my design through the varying heights of the threedimensional pyramids.

6 MODULE 3: PAPER LANDSCAPE

The final panels, unrolled and printed to then be used in the model making process.

A zoomed-in look at some of the finer details of the panels, glued together with super glue and made using 160gsm paper.

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A few protoype three-dimensional panels before beginning the final model.

MODULE 3: PAPER LANDSCAPE

PAPER LANDSCAPE: THE DIGITAL PROCESS

2d-panelling. Early stages of the digital process on Rhino was to create 2d triangular patterns out of our given terrain.

3d-panelling. Creating 3d panels out of the entire terrain to give it depth and height.

As previously stated, we were given simply a two-dimensional surface to work with and were expected to build up our design until it eventually became the three-dimensional paper model.

This means that a large digital process was required before getting into the model-making aspect of the module.

It was important to be able to graphically and digitally repesent the final model (see above image) in order to accurately represent it using paper.

Much of the digital process was done using Rhinoceros 5, a powerful and advanced program which allowed for panelling three-dimensional surfaces from two-dimensional ones.

Final touches before printing were then made using Illustrator.

Merging 2d and 3d. Both the 2d and 3d panelled surfaces were then merged together to create a 50/50 mix.

Unrolling surfaces. These surfaces were then unrolled for printing. They were then cut out, folded and glued together to represent the digital landscape.

8 MODULE 3: PAPER LANDSCAPE

INVISIBLE CITY

The final module involved creating and representing an old, imaginative story digitally.

Using symbols and an isometric view, we were able to recreate a description of a city, using our own interpretations.

My story was quite literal, offering up many objects and two fairly distinct scenes.

I used this to reperesnt my story using one path, starting with a heavy mood whereby in the city of Clarice, survivors emerged to see their city somewhat in ruins, emphasising some of the more literal objects through using my own created symbol.

Then, after a time jump of a few years, we fall in to the city which has now lost its character, but is much better off economically speaking.

9 MODULE 4: OLD QUAD CITY

INVISIBLE CITY: OLD QUAD PERSPECTIVES (MADE USING RHINO AND PHOTOSHOP)

Perspective 1

Perspective 2

My first perspective (above) shows the first handful of survivors re-emerging from their huts and small homes to see the city of Clarice in ruins, described by author Italo Calvino as having ‘collapsing beams’ and ‘shifts of the terrain’.

Furthermore, Calvino describes the survivors as ‘rummaging, gnawing ... collecting and patching like nesting birds’.

This is what I have represented above.

My second perspective (above) demonstrates the ‘sumptuous, butterfly-Clarice’, which is the second scene in the story. It is described as feeling ‘alien at heart’ despite its newfound wealth, with new people and materials flocking into the city. Calvino notes that the old Clarice lives on, which is demonstrated through the cracked and ruined pillars and the urn from perspective one still in the background, through it is being ignored.

10 MODULE 4: OLD QUAD CITY

INVISIBLE CITY: THE DIGITAL PROCESS

This module again required a lot of digital processing. The perspective drawings, once recreating the entire Old Quad using Rhino, needed characters that were found online and then grayscaled and had the background removed from them (see left).

They were then inserted first into Rhino and then back into Photoshop in order to create accurate perspectival representations.

In order to create the isometric story, three-dimensional objects were added onto the surface on Rhino (see left) one by one before then being copied over into Illustrator, where they were colourised and neatened.

11 MODULE 4: OLD QUAD CITY

FOUNDATIONS OF DESIGN: REPRESENTATION - REFLECTION Throughout this semester, I was constantly learning things in this subject. It would be fair to say that I had little to no past experience with a portfoliobased subject, and every module offered up new scenarios, ideas and ways for me to express creativity. Though I did not learn too much from the lectures as they were not entirely relevant to my major, I still found them useful, especially when a project was due the following day.

Amongst learning things such as drawing techniques (perspective and axonometric), information through each week’s reading, Photoshop, Illustrator and Rhino skills, the main thing I learnt was the importance of time management and patience. Many of the projects required a process whereby it was necessary to work ongoingly over a period of time - it would have been almost impossible to leave them to the last few days. The projects also required many trials and tests, as well as having tedious aspects to them (such as tracing every line on Illustrator in the Mario module and gluing each piece together in the model making module) which meant that it was important to have patience.

A lot of my modules were far from perfect, partly due to lack of time and also lack of experience and knowledge. However, there has been an attempt to improve on them, as I have made a few small changes to module 3 and module 4 (less yellow images for the former and changing the background and the disproportionate rug in the perspectives for the latter).

Overall, I did enjoy this subject, however it was a lot of work and was often quite confusing as this is a new subject and the instructions are still being modified.

12 FINAL REFLECTION