PORTFOLIO
Foundations of Design: Representation Semester 1, 2017
Sam Delamotte 835414 Studio Class 9 Anneke Prins The University of Melbourne
The Contents ?
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MODULE ONE
MODULE TWO
MODULE THREE
MODULE FOUR
A range of drawing techniques to create an axnometric projection of a croissant.
Pairing of two 2D Mario worlds onto a singular plane to develop a new world.
Exploration of the relationship between 2D and 3D in representing a surface
Exploring interpretation andt perspective with consideration of notation.
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Module One
axonometric projection The croissant was measured using a combination of scans and scaling to create dimensions and reference points. This could then be reproduced onto a grid form, then projected on a 45 degree plane and collated to create the axo. This process combined shading, hatching, projection and drawing skills to produce the end result.
module one
how to draw a croissant [axonometric projection]
section a [grid layout]
section b [grid layout]
section c [grid layout]
section a [outline]
section b [outline]
section c [outline]
axonometric projection
axonometric projection overlay
Module Two ?
new mario world The main consideration for this design played on the concept of Mario’s ethnicity. The sinking city of Venice was chosen as the setting for this projection. The use of the city attempts to communicate the relationship between characters and their landscape. This also briefly experiments with the plane on which Mario moves, shifting constantly throughout the world.
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PROJECTING THE WORLDS The development of the two worlds was done via axonometric projections of the 2D world. The image was aligned on a 45Ëš plane to the drawing and projected vertically. COLLATION OF THE WORLDS The two worlds were projected parallel against the square guidelines to create a single world.
CHARACTER DEVELOPMENT
AXO DRAWING The concept of Venice is communicated in a variation of both subtle and discernible features. The waterways through the design mocks the idea of the city sinking, whereas the structural base represents the log base that Venice is built upon. This is paired with the use of bay windows, bridges and canals to communicate the theme.
In order to form the interactive space in a more identifiable environment, a scale model of Mario was drawn and then inserted into the world.
Module Three terrain modeling Experimentation with physical modeling and forming a relationship between the 2D and 3D world was introduced through development of a terrain model. Said relationship was explored through production of 3D and 2D modules onto a contoured plane (terrain) in variations to represent the contour. These forms were placed throughout the terrain in a way which allowed the 3D to show peaks where the 2D represented troughs and areas of decreased gradation.
TERRAIN MODEL The contoured plane demonstrating surface to represent with 2D and 3D forms.
MODULES Varying 2D and 3D modules which were used to demonstrated the space.
REFLECTED PLAN The model was assembled through a series of shapes which were developed on a digital modeling program Rhino. Using commands within the program, these nets were developed and tabs added to create both smooth lines and to join the forms. This was then assembled using a range of adhesives and folds in a way which represented this contour through malleable materials.
DIGITAL FORM FINAL RESULT The digital product demonstrating the relationship between the two dimensions.
Module Four insivible city Invisible Cities by Italo Calvino plays with the concept of implication via description of scenery and landscape in an covert representation of Venice, Italy. The selected story describes movement throughout this ‘unknown’ location and interaction with the landscape as an initally euphoric mindset which soon becomes washed with reptition. This notation has been communicated throughout a simple setting to denote the decline of exploration.
PERSPECTIVE ONE This first perspective plays with the idea of adventure and spectacle through the use of imagery and saturation. As the story describes a deep appreciation for the scenery and finer details of the city, this is communicated through the heavy decoration and prominent finishes.
PERSPECTIVE TWO The second perspective is an exact contradiction to the first. As the narrator spend more time within the city, the appreciation is quickly whitewashed by repetition and exposure. This is represented through a complete lack of visual stimulation and heavy shadowing. On the contrary, the introduction of the child seen admiring the singular, largely ignored statue represents the final piece of the story, stating ‘Many are the cities like Phyllis, which elude the gaze of all, except the man who catches them by surprise.’
Reflection
The content provided throughout lectures and the four modules themselves, helped gain very necessary understanding of design techniques and processes. Beginning the experience with little-to-no understanding and exposure to design in this form, the process was quickly understood via use of examples and content which provoked thought. The introduction of themes such as axonometric and perspectival drawing gave further insight into the process and assembly of multidimensional drawing. Readings such as Krauss, Allen and Iwamoto assisted in forming these designs in a logical and practical means which would properly communicate the concept behind them. The development of design skills has been exponential throughout the process of designing these models. As the first two modules required a great deal of hand drawn design and skills and application, there has been significant progression of such. This ranges from projection techniques to shading, hatching and line-works. The third module required significant mastery of digital programs such as Rhino to form the model and subsequently, the nets which would create the final product. There was also a degree of inclusion of Illustrator to modify linked files. This was then followed by a heavy concentration on model making, use of different tools and understanding of different forms of adhesives. The understanding of the model making, paired with the Iwamoto reading allowed for further understanding of the built environment and communication of design to a physical model. The final module further built on the development of skills in module three, with extended use of the Adobe suite and some more insight into command within Rhino. This also formed an understanding of the use of notation and relationship between reality and expectation. The first two modules were quite a learning curve in terms of technique and expectation. The composition of work and, more generally, design techniques, required a much greater degree of understanding. Some significant areas lacked focus in the first module such as communication of work and perfection of drawing techniques. Within the second modules, considerations for colour decisions and adherence with identifiable themes was a main issue. As well as this, accurate and precise projection of elements is required to form consistency and coherence. The colour pallet for this module was modified for the final presentation. The most successful module was the third. With a greater understanding of requirements and techniques, a great deal of time was placed in developing a model that was both aesthetically pleasing and that clearly communicated the conceptual design.