FOD
S e m e s t e r O l i v e r
M c N a m a r a
9 1 0 8 4 4 S t u d i o H a n a
O n e
2 2 N i h i l
Contents Croissant
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Mario
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Surface
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Venice
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M1 C r ois s ant
3 Module 1. In order to approach the croissant I had to consider the layers upon which each component would reside and how each would interplay. The first layer focused upon observational drawing skills, once the photographs were taken a process of tracing began using fine 2H pencils initially working my way up to 2B once the shading required intensified. Each layer onwards from this worked to relate back to this initial representation, giving precedent to a consistency of scale and object detail through, depicted through different mediums and media. Media use included pencils and fine line pens, which transferred graphic information from layer to layer through use of trace paper. To finalise the concept the croissant was transformed, using a 45ยบ plane, to display an axonometric view, while remaining consistent in measurements and scale to allow for the final minimalist renders to form and real to life object in the realm of infinite space.
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PEN sketches from criossant scans. Then transition to axonometric projection
The conversion of cross sections to projected lines. I have now developed the ability to transition from 2D information to 3D projection. By placing the cross section data onto the 45ยบ axis I have been enabled the dimention of depth and volume to the sections, one step closer to recreating a dimentioned version of the original object. These are my explorations of the method of pen sketching. It taught me to be sparing with each stroke, plan how you want to approach the objects form and consider shading in a more minimalist approach. All of these considerations influenced my use of this medium, while supporting my artistic style
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MODULE 2.
My interrogation of the idea of ‘infinite space’ began with defining my flat images then working with them to open up the scene for new ideas. In this area of unexplored space I chose to implement characters and a road and a river to divide each original 2D scene. To achieve this all of the line work scanned from trace paper sketches then outlined in illustrator, placed at a low line weight, to then work with creating a dynamic world. This was made vivid through use of the gradient tool. Once all of the landscape and Mario world objects were enhanced I then focused attention to adding features. The river was the first element I added, which when placed in the middle fills a void of space to give the perception of depth as is falls away off the square world. While the road and characters are instead more grounded and display a clear connection to the world, which is also import to give the axonometric a sense of time through movement, in a method that creates infinite depth and space.
M2 Ma r io Wo r ld
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MArio world progress shots. covering projection using hand-drawn meothods.
2D Worlds. I have laid out both printed worlds, correct to the required dimensions. Each will now be taped down for projection lines to be taken from them and transferred to the trace paper.
Second World projection. Now using my T-square to ensure accuracy I have began adding the second world, on separate trace paper over the first. New space. Using all of my tools and equipment I have began to explore and create in the new space between world one and two.
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LINE DRAWING. Illustrator outlines with a white fill.
The line drawing of Mario world, refined in illustrator and adjusted to suit a lighter and more visually pleasing line weight.
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M3 S u r fa c e
MODULE 3.
The model I have come out with explores the notions of undulations in surface, pattern and shape through inspirations such as water. A flow on effect is created by the reduction in panel size in two corners, to the extent that they become 2D. This transitioning element is important in making a dynamic, motion embodying and surface. Each opening size also adjusts accordingly as the panel becomes taller it opens while away from the centre panels close up and sink into different forms. I was in a general sense seeking to present a 3D model that rose and fell like an ocean wave, while allowing more light to pass through wider sections and less to come past the transition to a denser 2D section for contrast. To couple these elements of light and water into a paper model was the fruition of the project.
11 Base surface. The base surface I was given has now been contoured, given a ten by ten grid and grid points, enabling 2D paneling methods to begin.
Process shots of the computer Processes. From methods 2D to 3D.
2D paneled surface. The rendered view of triangulated two dimensionally paneled surfaces. I have used a basic triangulation present to keep in line with the wave concept of the surface I was mapping.
Modules. These are all four of my 3D modules laid out in Rhino perspective view. All have been doubled as they needed to be meshed and triangulated to ensure no warping or distortion once they were paneled.
Final Render. Once I had successfully trialed my 3D panel concept in many iteration I came up with this final idea, which was transferred to nets then modeled by hand.
12 ASSEMBLY OF THE PAPER MODEL. CLOSE-up on the connections.
Complex joins. Here the image focuses upon the triangulated nets and how each were folded together to achieve the modules shown in Rhino.
View from below the paneled model. This detailed photograph illuminates my attention to detail in folding, gluing and joining the edges of the surface to recreate my computer model.
Assembly. This is an individual net in the process of being scored, folded and they constructed into a part of the surface.
Comparison of nets with or without tabs. The colour difference is to highlight the addition of tabs, and also to istinguish fold lines from cut lines.
Nets. From the digital information on Rhino I transferred the file to Ilustrator, where I then arranged them for print. This is one A2 document containing some of those nets, coloured in a light grey to reduce line visbility once printed
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CLOSE UP OF COMPLETED PANELS.
Close up on the detailed construction methods as well as net assembly showing how each piece interlocks to create the whole. The individual shapes and their joins become clearer
M 4 V enice
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MODULE 4.
The hidden city Berenice was what I sought to display through terms of architectural symbols and notation. Additionally giving insight into imaginary world where creatures, people and hidden truths inhabit a world of deceit and spite. Through this view (to the right) a general atmosphere is created around the space. Movement is located on both the left and right sides of the quadrangle shape, one side is the relaxed and free spirited movement of the upper class, compared with the efficient speed of the lower classes. The class regiment link with Calvino’s description of Berenice in a state of duality, freely displaying it’s unjust city while repressing the just. Moreover I explore these differences and the symbolic bridge between the worlds in my perspectival views in pages to come. These viewpoints are shown to originate from the red (view one) and purple (view two) triangulated shapes.
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FIRST VIEW OF BERENICE. Here is a view of the unjust city, Berenice. The rich and upper classes enjoy their faded glories, such as roses, ornate decorations and classical architecture, while being subtly undermined by dark undertones.
16 second VIEW OF BERENICE. The second view into Berenice, now focusing on the hidden just city. This is achieved through a focus on machinery images, barriers from the world and the symbolic movement of change through Apeliotes.
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Reflection These projects gave me a variety of insights into the inner workings of design methodology and practice. With the first module we spent time researching the works of Mirrales, who believed that each surface could be separated mathematically, deconstructed the reformed using orthographic projection. This method was the basis for our croissant task, which began as a 2D replication of image, but soon allowed us, with the aid of rulers and set-squares, to project up a 3D representation of our individual croissants. Learning these manual methods of projection, though use of ruling techniques, it allowed us to smoothly transition to a more in depth exploration with out Mario world designs. In this instance Le Corbusier became the stimuli for exploration of 3D space, as we contented with the form of objects in infinite space, while considering the artist’s notions of infinite time and space. This task began again with manual axonometric projection, but this quickly transferred to Illustrator where-by more life could be added to the scene through colour, characters and inventiveness when it came to the new space we created through projecting two worlds. In this folio I have developed the Mario world with an adjustment of certain colour pallets, adding more characters to fill out my expanding space between worlds. Further we transitioned once more in the next module using a 3D process, utilising the Rhino software to create our own unique patterned surface. I advanced my concept in this 3D space by incorporating water as my precedent, this allowed me to channel all my concepts to achieve this effect. Constructing a model from net format was a time consuming process but allowed me to quickly learn and new process of creating designs, from the 2D to 3D. I may have spent more time in this construction phase in order to ensure paper thicknesses where correct and durable and also allowing me to pay closer attention to details in careful construction. Finally we moved to a more singular view of perspective. We modeled the old quadrant located in Melbourne University, with a twist, we could alter its location and content to suit a story. The story was an interesting creative precedent, it allowed me to create object and characters that interact within a space, while they also tell a greater story from Italo Calvino’s ‘Invisible cities’. I was pleased with the end products of this module as they encapsulated the contrast within the story, each view encapsulates an aspect of Berenice my given city. Furthermore my architectural notations elevated this story to display the interconnectedness of these contraction views within the same city. The exploration of frame was a rather important angle to approach design as it gave way to a more open array of resource to take inspiration from, such as films, photography which contrast to other architectural precedents from previous modules. Overall my skill set increased as we trailed, tracing, projection, modeling, paneling, photo editing, digital illustrator therefore the subject allowed me to explore a huge rage of artist and design based techniques that I can utilise in the future.
//2017-BAcjelor of Design Oliver MCNamara Foundations of design//