Foundations of Design : REPRESENTATION, SEM1, 2017 M2 JOURNAL - FLATNESS vs PROJECTION Oliver McNamara (910844) Hannah Nihill Studio 22
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WEEK 3 READING: TITLE OF READING
Question 1: What is Pictorial Space according to Le Corbusier? (Maximum 100 words) Le Corbusier explains space in relation to his construction of simple geometric shapes. All 3D drawing or works no matter how complex do not exceed the limitations of the 2D, but Corbusier does enhance the visual effect of form through his careful choice of shape that elevates the interior aspect to his artwork. While his sense of pictorial space is also explore through the frames or window in which he displays this information. These viewpoints give an “insight into the space”, reveal hidden details and/or depth overall underpinning his aim as a designer.
Question 2: The Flatness of Le Corbusier’s painting’s are attributable to two properties. What are they? And what are these pitted against?(Maximum 100 words) In Le Corbusier’s works their flatness is characterised by their frontality and rotation. The objects appear to emphasise the facade and draw attention to the front as if to create a 2D aspect to the space. They maintain a raw geometric form through use of line and shape. Corbusier flattens his works in this ordered fashion, creating his stylistic touch. Although this ‘flatness’ as it is commonly labeled it juxtaposed with the rotation and sense of movement the artwork creates though the creation of his shapes. His objects themselves cannot avoid creating depth; unbalanced lines mimic movement in space, conflicting within the work that makes it so interesting.
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Le Corbusier’s Secret Laboratory
Mario’s world These are the two selected Mario worlds for this Flatness and Projection Module. Some key details I will accurately project are the grassy land, pipes, bricks and hills. In order to do this my drawing space will be fixed and accurate to ensure measurements and object sizing are true to the image.
Mario world 3
Mario world 12
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1st Mario’s world
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First projection from the 2D mario world. Each line was drawn up and placed on the axonometric plane and angled at 45Âş like a cavalier style drawing. Done with 2H leads for easy erasing, particulary useful for projection lines.
Combined Mario’s world
The two worlds have been combined and projected onto the same 20x20 plane. Here I have added small creative details including a fire Mario character, a mushroom a road and a river through the centre of the projected world.
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WEEK 4 READING: TITLE OF READING
Question 1: Explain the difference between Pictoral (in this case perspectival) space and Projection? (Maximum 100 words) The creation of pictorial space is quite limited, in that it is restrained to the medium (i.e. canvas, paper) and cannot fully create the notion of 3D space in relation to the human ability to see space. The perspectival view is also limited in the fact that it contains finite space that ends. Projection is the construction of depth through rational means. In its fundamental stages of drawing using projection creates an infinite plane at which objects can be formed purely from the imagination.
Question 2: Where did Axonometric projection first arise, and why? (Maximum 100 words) In history the drawings were first created for military purposes to map out tragectories for ballistics, but it later lead to modernist architects and artist to popularise the method. The term axonometric first arose in modernist times in the works of Lissitzky, which pushed the boundaries of 3D construction methods. It allowed a mathematical angle to 3D perspective, which obeyed geometrical laws but also allowed artists and designers to create spaces of infinite possibility. Lissitzky combines shape and line on a 45º plane using only parallel lines; hence these lines would never touch creating a space that’s limitless. The movement through space is relative to time and as space increases to does time. This pushed the boundaries of perspective to allow artists more creative freedoms to illustrate creative worlds.
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Lissitzky’s Bauhaus frontality
Illustrated Mario’s new world Both worlds have now been combined and traced in illustrator. Vector shapes have been coloured with gradients. The vector shapes do not loose quality and creates clear line detail at any scale. To improve the visual display I have used gradients, colours and shapes arranged to create a vibrant and pleasurable Mario world. The gradients create depth through shadowing and give a greater 3D aspect to the axonometric projection. While the colours and imaginative characters enhance the imaginative aspect to the image, to create a moving and dynamic space. Overall attaining the goals of axonometric projection to create things on an infinite plan.
The full completed, coloured and detail axonometric. With characters inspired from the original game. Colour and shape bring to life an imaginative display of the 2D world, while still retaining it’s measurable qualities.
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Illustrated Mario’s Grey scale
A variant of my Mario world with all colour removed. It allows for a focus on the drawings detail, line and shape. The grey scale version removes the artistic nature and allows for a clear view of line work and compositional details. I have place a horizontally flipped version of the drawing in negative to highlight different aspects in each drawing. Black figure on the right highlights shape, while white figure on the left highlights line each giving the viewer a alternate insight into the fundamentals of the illustration.
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APPENDIX
Equipment for Axonometric projection layed out on my working space.
The two Mario world images printed 20mm by 20mm. Underneath is the first projection. To the right is my first attempt at combining the worlds. This lead to reflection and the decision to remove some cloud structure in order to open up the axonometric space to fully unitilse the infinite plane.
Step by Step: Here are some stage photos from my process of turning the 2D images into 3D projections (or axonometric views) I followed the recommended process, from projecting one world to two then combining both on a single sheet of trace paper in fine line pen. This was then transferred onto computer for rendering
Overlaying the second piece tracepaper, now projecting second world.
The equipment used includes: 45ยบ ruler, Pencils (H, 2H, 4H), Fine line pens (0.3 and 0.4), T-square, Rubbers and Masking tape.
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