Foundations of Design : REPRESENTATION, SEM1, 2017 M2 JOURNAL - FLATNESS vs PROJECTION RACHAEL LI
(912103) Brooke Gibson, Studio 2
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WEEK 3 READING: LEGER, LE CORBUSIER AND PURISM. KRAUSS, ROSALIND 1972. Question 1: What is Pictorial Space according to Le Corbusier? (Maximum 100 words) A pictorial space according to him is a flat surface of rigid frontality that denies any circulatory or holistic observation of subject matter on the plane or the ability to rotate to see it from all perspective. It’s one that cannot be entered or circulated through. It will always remain as a space in distance and is eternally resigned to frontality only.
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)
2 principles consist of: -Pure extension of flatness that is represented with crisp contoursed shapes that never breaks rank with the picture’s frontality. This suggests that one of the facets of his shapes has been turned into one with sense of depth. -Constellation of object wedge together in insistent continuity of edges They are pitted against the use of black, texture creating contrast. Le Corbusier has synthesised a three dimensional space which invaded the flat picture planes with the deployment of black. Patches of flat black was used to either register the silhouette of an object or to emblematise the cast shadow. Black applied to the shapes provides implication of depth in his flat painting.
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MARIO’S WORLD
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1ST MARIO’S WORLD
World 1(left) was drawn with everything being projected backward (the closest objects on 2D plane will be positioned closer and further
This is where the new Mario world (2-10) originates from, consisting of two separate worlds each drawn to the scale of 200 x 200 mm.
objects will recede), this forms the front visage of the new world.
World 2(right) was drawn with everything being projected forward (the closest objects on the 2D image will recede to the back and the further objects will be positioned forward) , this forms the rear side of the new world.
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COMBINED MARIO’S WORLD
This 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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WEEK 4 READING: AXONOMETRIC PROJECTION: NEW GEOMETRIES AND OLD ORIGINS. Question 1: Explain the difference between Pictoral (in this case perspectival) space and Projection? (Maximum 100 words) A projection is defined by employing/utilising vanishing points, converging projectors and picture planes. As a result, the flat picture plane is rendered with technical methods to a space that is extensive and open. Projection manifest multiplication of views whereby viewers can be distanced from the picture plane and view the object from the side, above or below. On the other hand, perspectivival limits spaces and has confined it to a finite and closed flat picture plane. It depended on a single point of view, devoid of motion/passing of time. This is due to the absence of vanishing point.
Question 2: Where did Axonometric projection first arise, and why? (Maximum 100 words) Axonometric projection first arose at the early twentieth century when a group of revolutionary, avantgarde artists wanted to go beyond art’s traditional role of interpreting the world to imagine an art capable of constructing new worlds emerged out of projection rather than replying on flat pictorial space. It first occured in military context where it was originally used to chart the three-dimensional trajectories of artiliery projectiles.
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ILLUSTRATED MARIO’S NEW WORLD Combined 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. 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.
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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APPENDIX
Illustrating a realistic bubble was a challenging aspect as I have to capture the translucency of the surface and create the glow which indicates the direction of the light source at the same time. Firstly, I created a circle defining the outline of the bubble and a cresent shape showing its positive curvature. Gradient was applied to the crescent shape to enhance the curve nature of spherical shape.
Next, another layer of the bubble was created by rendering the transparency of the initial shape using adjustment of gaussian blur under effect tab. The edge of the cicle became less consipicuous hence resulting in a more realistic representation of the bubble with the effect of light splashed against its surface.
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Secondly, apart from changing the direction of the gradient by adjusting the degrees, there is a tool called ‘gradient tool’ that allowed free manipulation of the distribution of tint and shade. By rotating and shifting the scale on top of the object, the direction of the gradient can be adjusted so that it appears evenly distributed along the edge of the bubble. Hence achieving the visual effect of a smooth surface and edge. It has become more obvious to discern where the brightest lighting culminates in.
In order to depict the effect of light on the bubble, several points on the bubble must be highlighted with the lightest colour. This shows where the surface is exposed to and reflects light .
APPENDIX
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.
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.
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 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.
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