P O R T F O L I O Photocopied Drawings of SectionsSections
ROBYN MACKENZIE 914559 STUDIO 25 - NINA TORY FOUNDATIONS OF DESIGN: REPRESENTATION
M1
MEASURED DRAWING OF A CROISSANT
Technical Croissant Drawing To create a technical drawing of a croissant the subject was initially photographed from a plan view and two elevation views to provide the foundation for the axonometric. The croissant sections were then cut and scanned to provide the cross-sections for the axonometric drawing. The photographs were utilized to create a series of final measured drawings using tracing paper, pencil renderings, and hatching. The drawings were then aligned adjacent to the plan.
Measured drawing of my croissant
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Axonometric of my croissant
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M2
NEW MARIO WORLD
The making of the new Mario world. My final Mario world collides the two separate worlds seamlessly down the center to create the sense of a dominant mountain range skyline. The more detailed world was placed in the foreground to prominently display the characteristics of the pipe, cloud, and vine. The back world includes more clouds to create an aura of mystery below Luigi. The hidden space within the axonometric is explored through a lake, a cave below the mountain range, transforming the land around the pipe into an island, and continuing the pipe through the ground.
Final Mario world with three detail views
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Setting up Axonometric. Beginning to project the back Mario world mountains at 45 degrees with the correct measurements given to me in the 20x20 reference image.
Adding Scaled Objects. Completing the sketch of my front Mario world and beginning to add the detailed objects. The size of the objects are translated into the projection to retain accuracy.
Combining Axonometrics. Overlaying the front and back Mario worlds and inking over the linework to create my fully composed Mario world.
Hand drawn line work of my Mario world
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Adding Detail. Adding detail to my inked fully composed Mario world including characters, coins, brick texture, and detailing on the trees and shrubs.
M3
PAPER LANDSCAPE
The making of new landscape Landslides cause bulky mass, such as rocks, to congregate at the bottom of a slope while leaving the top bare and raw. The bottom of the paper model has more enclosed 3D shapes in addition to fewer 2D panels to illustrate bulky mass caused by a landslide. The model transitions as it rises up the slope and the 3D panels begin to open up to imply a smaller contribution to the landslide. The top of the paper model consists of almost fully opened 3D panels and numerous 2D panels to illustrate the aftermath of the landslide. The arrows in the 2D panels point in the opposite direction to the 3D panels to exemplify the concept of regrowth and renewal after a landscape has become raw after a landslide.
Plan view of final landscape
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7 Detail view of landscape
Custom 3D Surface. Applying my three custom 3D panel shapes to my surface of Tasmania to ensure a transition from partially enclosed to mostly enclosed shapes.
Combining 2D and 3D. Overlaying my 2D surface and my 3D surface to create the desired effect of a landslide.
Custom 3D Shapes. My three custom shapes transitioning from partially enclosed to almost fully enclosed.
Detail view of pannelized landscape
Unrolled Panels. Unrolled 3D panels with tabs and annotations on them to assist in reconstructing the Rhino model out of paper.
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M4
INVISIBLE CITY
Trading CiTies 4: ersilia
Trading Cities 4: Ersilia Ersilia is a city of relationships as the inhabitants stretch string throughout the city to represent the different connections between residents. When the strings become so numerous that one can no long pass through them the inhabitants migrate and rebuild a new city elsewhere, consequently leaving behind an intricate spiderweb of strings to decay over time. The Isometric with notations illustrates Marco Polo’s journey with the inhabitants of Ersilia as they move between cities. The notations end with Marco Polo stumbling upon an old abandoned city and reminiscing about the decay of relationships and the passage of time. My interpretation of Ersilia centered around the use of light to illustrate time and symbolize the important aspects of the story. I used a rope texture to create heavily stylized columns to illustrate the chaotic but beautiful nature of Ersilia cities. I envisioned the city existing around 1900 -- where mass industrialization and fordism replaced traditional methods of creating. I wanted to retain the concept of using outdated methods like strings to illustrate relationships in a time where communication methods were evolving rapidly.
Key Slow Walking Fast Walking Glance/Stare Crowd Heaveness Lightness Anxiety 0
1m
2.5m
5m
Passing Time
Isometric view of Ersilia with notations
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Scene 1: Camping. This scene illustrates a family from Ersilia camping on a mountain overlooking the remains of their old city while envisioning their future. The objects in the foreground are a direct representation of camping, the woman and the ruins represents the journey from the old city, and the poles represent the future city. The light in the scene is dawning on the future city.
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Scene 2: Decay. This scene illuminates the decay of an abandoned city of Ersilia. I chose foliage objects to emphasise the overgrown city. As the scene recedes the city decays more illustrating the passage of time. The background contains tattered remains of strings while the foreground contains more intact string imagery.
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REFLECTION
The series of modules educated me on visual representation especially projection and perspective as a tool of communicating 3D objects. I learnt numerous techniques on how to transform a 2D image to a 3D representation through axonometric plotting, projection, 3D modelling, and physical model making. In the modules, I explored how representation could be expressed and understood the process behind final design products. The lectures and readings expanded my knowledge about the representation form assigned to each module, as I gained an understanding as to why the forms of representation are valuable and how they were developed throughout history.
My most dramatic skill gain was in the Adobe suite programs which, apart from Photoshop, I had rarely used before. I learnt how to assemble images in InDesign to create a cohesive journal at the end of each module as well as how to generate paths in Illustrator. I also learnt the importance of organization and time management skills as each module required a continuous stream of labour over several weeks to reduce stress near the due date. I was fortunate in having experience with 3D modelling programs before this course, however, I learnt numerous new skills from Rhino like panelling and rendering. In addition, I expanded my knowledge about printing and possible printing variations as all my prior design experience in high school consisted physical drawings or paintings.
In looking to further develop my module designs, my Mario would could have more exploration of unseen space – perhaps development of the below ground area. I could have also combined the worlds in a more interesting way instead of backing them onto each other without much creative integration.
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