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Brooke Gibson Studio 02
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Rachael Li
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PORTFOLIO
MODULE
1 Page 3-5 How to draw a croissant?
MODULE 2
CONTENT
Page 6-9 Flatness vs Projection
MODULE 3 Page 10-15 Pattern vs Surface
MODULE 4
Page 16-20 Frame vs Field
2
01
MEASURED DRAWING OF A CROISSANT T
he start of this project involved taking photo of the croissant with the camera alligned with the flat surface of photo stage for each angle. This was important as most subtle variation on the angle will result in the inconsistency of the measurement later on as some may be longer/ shorter than it actually is. The measurement facillitated the construction of axonometric projection as the length and width of croissant section cuts will be transformed into a grid. The grid of the 3 sections will be transfered onto axonometric plane with the use of 45° set squares.
3
Axonometric drawing
A fter obtaining exactitude or at least consistency with the measurement
of the sections, they are overlaid with grids of 10 mm x 10mm. This allowed me to transfer the sections onto axonometric plane to construct half of my original croissant. The use of T-square and set square is crucial to ensure the accuracy of the projection. The outline of the croissant needed to be rotated 45° and aligned with the set square. Then the same grids are drawn with 45° vertical lines to allow the 3 section drawings to be transfered to 3 dimensional drawings.
4
T o create the darker shades, the lines need to be more dense, and this is enhanced by adding layers
of overlapping/ multi-directional lines. Accordingly, the lighter shades are created with lines that are more sparsely arranged. Apart from creating layers of line, the direction of the lines is also very important as it helps to trace the contours of the croissant. As for my particular croissant, there are many layers of crust which creates many crease and the croissant is also curved at the tip; so I need to follow the direction of those crease by gradually altering the angle of the line ( creating the roundness). This method also gives indication of light source on round surface especially, when light shines onto the round surface it creates shadow on the adjacent side. A combination of 2B, 4B and HB pencils as well as fineliners (for cross-hatching) were used to achieve the intended effect. Overall, my techniques of cross-hatching has imporved, since the lines are more defined than simply shading (smudging), I need to pay more attention to the arrangement and direction of lines.
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02
NEW MARIO WORLD
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A
C
This shows the working process of one of the two worlds. The page is positioned at 45 degree to the T-square assisted by the use of 45 degree set square. The base accords to the measurement of 200mm by 200mm.
ombined Mario world demonstrates the rendition of two separate world that were pictorially isolated and how the objects translated from two different picture planes interacts with the other, hence creating or eliminating spaces. The use of colour manipulate the entire picture plane by transforming it into a 3D perspectival. The variation of the same primary colour (such as adding tint or darker values) can create the shade which can enhance the tonality of the object and as a result produce 3D quality. The different combination of colour and gradation of tones also create gradient that could be generated with illustrator palette. The gradient that creates shading is what differentiates shapes from form. A shape is 2D and form is 3D. When I overlaid the two worlds on top of each other, some parts collided and needed to be omitted. I attempted to group the objects that appear to be on the same level together in order to create a sense of unity in the composition. I also tried to render the original square base platform and interpolated it with descending stairs. This creates levelling in my projection by arranging the objects in height order from tallest to shortest.
B
This way, the entire drawing doesn’t look dull and flat. This creates variety in the drawing but at the same time counterposed by the strict form of the objects/layout of the objects. So this achieves balance in the drawing.
This is the working process of the second world. Some guidelines are apparent demonstrating the process of transforming 2D image into axonometric 3D projections. The guideline set reference points that indicates the position of each object in relations to the others. This also ensures the width of the axonometric projection is kept consistent with the true width on the 2D pictorial representation.
The hidden space opens up to many possibilities and is subject to limitless interpretation. I added many new elements that were not visible in the original world. The revelation of the hidden space allow the viewer to be able to rotate the platform and see from multiple perspective. Also the position of each object in relation to the other are made palpable. This also made the direction of light more obvious with the use of shadows and shades.
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D
C The base of world should always be aligned with the 45 degree set square to ensure the accuracy of constructing an axonometric drawing. By shifting the set square up and down, each line is constructed in accordance to 45 degree rule and creating a space similar to bird’s eye view allowing all the previously hidden space to be palpable and subject to interpretation.
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The earliest draft of the combined world. Some details from the original worlds were omitted as they are either too large to fit the page or hidden behind other objects. The objects were traced with fineliners (0.1 for the objects and 0.4 for the sections cut edge. The characters were added but constructed in an angle that is consistent with the axonomtric perspective. I first added outer rectangular framework to the place of my characters to help me ascertain the correct angle of them, and later on, I drew in the figures accordingly with curvatures and compressions of certain body parts. Compression of the characters was necessary in order to exhibit the correct proportion and vantage point that they would be viewed from.
T
his is a rendition of the flat pictoral representation transformed into 3D form revealing the hidden space that was filled with new elements. The stairs installed supporting the objects on the side of the world are able to enhance the sense of levelling/status in the overall drawing. The use of empty space can balance out the clustter of objects in the drawing achieving a sense of unity in the composition. The black and white illustration provides a clearer view of the strict layout of the objects. This was a experimentation with perpsective that redefines the previously flat picture plane of the world and representing it in multidimensional realm. In a sense, this enables a near hollistic observation of the mario world and breaks the rigidity of flat 2D pictorial space. To clean up the previously messy handrawing requires adjustments of levels, curves, brightness and contrast; each area must be also specifically selected again to tidy up the uneveness in the pen mark values.
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03
PAPER LANDSCAPE
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I
The making of new landscape
created differentiation through surface by varying the forms and height of the panels. I intended to create a streamline-like pattern whereby the eye moves from one corner of the panel and follows a diagonal line to reach the ‘apex’ in my model (ie. the pyramidal section which also appears to be elevated than the rest). Although each modules are of varying shapes, the general trend is that each of them will have their pointed vertices directed at the ‘apex’ (the higher part of the panel). The variation of patterns ranging from 2D to 3D yield the visual effect of directional flow towards the ‘apex’ of the model. After I started the folding process, one of my trials was integrating tabs as patterns into my panels. Instead of eliminating them from the model I decided to incorporate them in some of my model fragments to add varation to 2D surface. The diamond shape panel appeared with a different pattern with the tabs when viewed from above. However I soon realised that when they are too many of them it can detract from the clarity of the overall pattern of the model.
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d
b
The gluing process demonstrates the closely interlocking panels strengthened by folding the adjoining tabs in one direction.
A close up of the elevated ‘apex’ of my model. After combining each section of modules, the elevation and height became more consipicuous which coincides with the digital model and the original topography given.
a
c
I intended to create a streamline-like pattern whereby the eye moves from one corner of the panel and follows a diagonal line to reach the ‘apex’ in my model (ie. the pyramid section which also appeares to be elevated than the rest). Although each modules are of varying shapes, the general trend is that each of them will have their pointed vertices directed at the ‘apex’ (the higher part of the panel).
The photo taken from this angle intends to show the
curvatures in the terrain ranging from the apex to the lower diagonal point. Under this lighting, the 2D patterns becomes more visible and forms slight elevation that looks like smooth transitions from lowest to the tallest part of the model.
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T
hrough trialing with a variety of method to render different 3D forms, a myriad of modules can be made by combining different geometric shapes consists of mainly square and triangles. Furthermore, by rotating the same shapes and lofting them with different directional edge can yield greater flexibilty in the prototypes.
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M
y unrolled surfaces are colour coded as it is able to assist me to find the corresponding 3D sectino on my panel. As there are both the 3D and 2D elements in my model and given the comlexity of some of my 3D surfaces, it was less complicate to unroll the 2D separately rather than joining it with the 3D before unrolling
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This shows the partial colour coding system I used to locate each of my modules. It is also evident in this screen capture that I attempted various customised 2D patterns before deciding on a final one. Unfortunately the inital trial of complex customised 2D patterns were not surfaces hence could not be unrolled.
In order to create the diagonal layout (characterised by rays of modules spreading outward) I used added a curve line which acts as my curve attractor for 3D custom variable setting. This way the modules are not set out in linear roles. This allowed further patternation achieved in the end.
My 3D model prototype. I varied the top opening of the each model to create the overall effect of gradually decreasing size of opening. The prototypes modules were selected in this order when inputting using the Panel3DGrid Custom Variable to enhance the overall appearance of the levellings and hierarchy.
The end result with customised 2D patterns added.
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Cities & Names 4: ClariCe
Clarice The two scene exist concurrently in the same period of time, the passage of time change marks the day and night difference where the night reveals the hidden dark side of the city reminding it of its past. I have given emphasis to the movement of Marco Polo in particular to document his reaction towards his surrounding and hence reflecting the utter difference in the two perspectives. Marco Polo enters from perspective 1 with his movement being hasty, uncertain shown with the faster pace, small steps pacing back and forth. The difficult steps represented by undulating arrows shows that he is always bending down trying to avoid hitting things and reflects that he is in a state of panic in the dark. All these reflect his terrified, and depressed mood. The wind symbol that I have added shows the wind to be stronger in a building of ruin stated with gaps and holes allowing wind to penetrate. In the other, perspective the wind is less strong as the interior is well furnished and mostly enclosed with small window openings. As Marco Polo proceeds to the scene depicted in perpective 2, his mood lightens with feelings of relief. Therefore his walks in moderated pace with lighter steps. The direction of his movement is also more streamlined and regular comparing to the confusing circulation in perspective 1. The number of people start to increase as he walks closer to the other scene showing the place flourishing and being repopulated. Marco Polo’s travel involves many contemplation of his surrounding and conversing with inhabitants and survivors.
INVISIBLE CITY
Key Glance
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Contemplation (inspection) Regular View Faster pace Moderate pace Heavy mood (depressed) Light mood (relieved)
Heavy step Light step Small steps pacing back and forth
Crowd/people 0
1m
2.5m
5m
Light and dark
Perspective 1
Perspective 2
Camera
Difficult Step (crouching and bending) Strong wind Breeze Passage of time: day and night
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PERSPECTIVE 01
I have chosen objects that will encapsulate the decadence/ downfall of a city after being emptied by plagues and became a ghost town before being populated by survivors that emerged from the basements and lairs. To represent the devastating condition of the abandoned city, I have included included broken objects that coincides with the story description: collapsing columns, cornices, capitals as well as statues in deteriorated state. The ceilings and walls look like they have been eroded by weathering and lacking maintenance. The glimpse of light that shines through the ceiling shows the poor state of the architecture as parts of it has collapsed and has holes in them. The other aspect is the repurpose of objects that were purely ornamental in the city’s glorious times. For example, the marble funerary urns becomes pots for the people to plant basils. Another key aspect that I have incorporate, which best captures the story is the use of shadows cast by the broken free standing statue. In this perspective, its own shadow is somewhat blocked by other obstruction, the shadow of the statue that existed in the glorious days (perspective 2) is perceived instead. This indicates that the city has not lost its former splendour despite the disastrous incidence but also in a way foreshadows the flourish and opulence that is to come.
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PERSPECTIVE 02
This perspective marks the revival of the city after experiencing the tormented past. The objects show the burgeoning of the city transformed into one of joyous and sumptuous abode for many more new inhabitants. It seems that the old Clarice is starting to take place again. Again, the use of the shadow cast by the statue (visible as shadow in perspective 1) articulates the idea that despite the pride in its newly obtained wealth, the city is still at heart incongruous, alien to its old identity. While preserving its former beauty through encasing its artefacts (funerary urn) inside glass bell set on velvet cushion, the city will always be reminded of its dark history and will live under the shadow of its fragmentary existence. In order to demonstrate the ever-changing Clarice but being constantly reminded of its past, the other perspective is not visible in this one as they don’t overlap, it doesn’t mean that the two perspective are of different periods of time, they exist concurrently (this can be seen through the poor girl begging the wealthy man in the background, the same girl can be seen in perspective 1 but not showing who she is facing). Hence this suggests that my two perspective are not set in two different period of times but rather in the same time but perspective 2 shows the glamour that is perceived under daylight and perspective 1 reveals the dark, ugly side of the city hidden under daylight but revealed at night time when the direction of the light changes.
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Initial modelling base
T 01
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02
his module begins with creating a model base on the Old Quad in rhino to be used as the setting of my scenes. I have adjusted the perspective1 so that it will focus on one aspect of the story only without overlapping with the other perspective. This perspective is designed to capture the decadence of the city as part of its tormented history. Perspective 2 frames a wholly different aspect of the story of Clarice --- the glory and prosperity of the ever evolving city, that after succumbing to its downfall, has experienced rebirth with its splendor restored again.
Upon reflection, the key aspect that I have gained a deeper understanding in is the notion of three dimensionality interacting with flat planes throughout the four modules. I have learnt to apply the principles of different types of perspective in my own works. Started with the axonometric projections in which vertical and horizontal lines must strictly adhere to 45° axis in order to construct accurate projections of the two dimensional image. This was incorporated more proficiently and with complexity in the Mario world construction. Moreover, my knowledge of the three dimensional shapes was enhanced through putting into practice the principles of deriving surfaces from lines and transforming them to volumes. The idea of the distinction between developable and non-developable surfaces became more apparent when I operate d Rhino. By converting forms into meshes, it allowed more flexibility to render the phases but at the same time making it possible to be folded physically. The lecture on patterns introduced the ways that they can be created with the interactions of gemoetry. The composition (arrangement and direction) of them can inform density, distance, content and topology. By understanding the construction of frame as spatial and temporal bounding of a set of interactive message, I have learnt the importance of framing in architectural works as vehicle to construct particular setting by omitting certain details. This was practiced in my module 4 as I needed to create two separate space in one setting.
Throughout the modules, my skills of using photoshop, illustrator and indesign have improved when using them for photo editing and constructing shapes. I also learnt to use Rhino to create 3D models which is the challenging aspect for my throughout the subject. Also, my skills in 3D drawings have improved through exploration of different types of perspective drawings. The skill set gained this semester will definitely equip me in handling architectural aspects later on. In my opinion, I think module 3 still require a lot of improvement as it was my first time using Rhino and I experienced some difficulty while creating the panels. Moreover this module was where I realised the seriousness of poor time management as I spent a long time fixing the digital part on Rhino and left very little time for physical assembling. The variation in the topography could also be made more obvious if I have better grasp of Rhino.
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REFLECTION