Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO Stephanie Markerink 914884 Studio 24 - Vaughan Cockburn
MODU L E ONE the c ro i s s a nt
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MEASURED DRAWING OF A CROISSANT
How to measure a Croissant? Within this module we covered the process of axonometric drawing. This process begun with the scanning of a croissant to ensure the exact scale of the croissant could be kept. After experimentation with different drawing techniques, including hatching and smudging with varying pen thicknesses, several drawings of the croissant’s evelations and cross-sections were completed. Through the introduction of new drawing techniques, I have learnt the capacities of different drawing tools as well as opportunities for technical representation.
The complexity came with the introduction of the axonometric drawing skill. Using the front elevation and the section drawings previously completed, the axonometric drawings were constructed on a 45degree angled piece of trace paper. This stage brought the most challenge and although my first attempt at the axonometric wasn’t a failure, I completed a second set of drawings to soldify the new skills and produce a better result.
Overall this module broadened my understanding of the possibilities in drawing and introduced me to the process of axonometric drawing.
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MODU L E T WO m a ri o wo rl d
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NEW MARIO WORLD
The making of new Mario world. The construction of the digital axonometric Mario world brought a challenging excitement to my design process. My design was aimed at looking into the possibilities of hidden space and the density of thematic character that is created through layering.
I chose to employ both Mario Bros and Mario Kart to create a very explicit amalgamation of characters and themes within my work. This concept was extended more subtley in the perspective of excitement in the scene. The axonometric view allows total coverage of all action in the hidden space, I created action behind the scenes (including mario kart jumping, fire balls, and a below ground evil lair) to encourage the viewer consider what could be lerking behind the 2D perspective.
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Perspective Drawing.
One,
Axonometric
The design process begun with the amalgamation of two 2D perspectives into one axonometric drawing. After initially using an 2H pencil to project the Mario features, the lines were given clarity with a 0.1 and 0.05 fineliner outline. I chose to begin my drawings quite primitively, reducing the detail of the scene into prisms and blocks of space.
Initial Development of Character. This image shows the progression of my drawings from the basic blocking of the elements in prisms to the introduction of character detail. To ensure the character detail progressed with accuracy I experimented with sketches over the top of the original block axonometric drawing.
Making Characters from Blocks. Once the sketches of the character details were realised, I placed a new A3 sheet of trace paper over the original geometric axonometric drawing and added the character details. This was one of the most time consuming sections of the design process because this was the last stage before I would scan and digitally edit/create the mario graphics. This image shows the end of the physical drawing stage of the design process. Although on evalution of work the below ground area was expanded at a later stage, this drawing shows the primitive development of characters and thematic ideas before it was transfered to a digital construction in Illustrator.
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MODU L E T HREE the te rra i n
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PAPER LANDSCAPE
The making of new landscape My paper model I wanted to explore how simple geometric
shapes
could
combine
to
create
something more complex on a broader scale. If one pulled a single unit away from the latter, it would seem insubstantial. However, it is with the power of numbers that produces a more confrontational effect. I chose to enhance this effect through the layout of the units as physically close together. This attempt at an extrusion of a powerful effect has, I believe, been successful as the visually solid and bold design supports. In addition I wanted to explore the capacity of the manipulation of an essentially 2D material (paper) into a strong 3D model. The strength of the paper doesn’t lie in the weight but in the simplistic yet repetitively strong pattern and the undulating surface of the terrain.
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2D PANNELING. This figure shows my decision to combine simple geometric shapes to create a new and interesting pattern. I wanted to create a sense of rhythm and motion in my pattern to allow the eye to move with ease over the surface of the terrain.
UNIT DESIGN. As I experimented with the construction of the modular unit, I found myself intrigued by how the interplay and amalgamation of triangles created a new and interesting form. This notion informed by final 3D unit. In this figure, I was finalising the design by creating variations in openings using the trim command.
3D PANNELING. This figure shows a progress shot of my use of Paneling Tools to create a Custom 3D Variable Grid. I decided to have a blunt contrast to showcase the ability for forms to create a visual sense of strength while also having ‘holes’ of hidden 2D space within the force of the 3D forms.
Construction. Once the scoring and cutting was finished, I used both PVA and UHU Adhesive glue to construct the shapes. To ensure the gluing process was a quick one I used bull dog clips to holds the joins. This also enabled a more stable hold and an increase in durability of the finished model.
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MODU L E F OU R the c i ty o f va l d ra d a
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INVISIBLE CITY THE CITY OF VALDRADA My representation of Valdrada was symbolically presented with a focus on how the reflection of an action heightens the emotions of a scene. ‘At times the mirror increases a thing’s value, at times denies it - the two Valdradas live for each other but there is no love between them’. This quote holds the conceptual boundaries of the story. I wanted to represent this juxtaposition between the inverted reflections, showing the ramifications of the mirror depending on the action. Marco Polo’s path is symetrical to follow the theme of reflection the is present throughout the story. He has two perspectives that are inverted juxtapositions of each other. Polo quickens and slows his pace based on the level of level of excitement and the desire to move away from a scene. These ideas will be further progressed in the addition of characters and textures. Overall, the two perspectives link with Maro Polo’s symmetrical path through the space to symbolically elucidate the complex connection between the two Valdradas.
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Perspective One. In this perspective I chose to focus on the dark side of Valdrada. The composition is symmetrical with inverted images rippling out to the edges. Through a utilisation of visual symbolisms a grim ambience is evoked. For example the ground of the city is a mirror that has broken to symbolise the how the corrupt action of murder has been caught in the reflection. In addition the column has been textured with the painting ‘Geurnica’ by Picasso. This fits the idea of how trauma and chaos is captured in a reflection, or, in a painting. Overall this perspective is presented with clarity to convey the idea that in a moment of regretful violence of hate the guilt is augmented and forever captured in the mirrors reflection.
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Perspective Two. This perspective creates chaos in a lively, rambunctious atmosphere. The scene harnesses the excitement, lust and love that is evident in Marco Polo’s tale of Valdrada. Loosely inspired by the Moulin Rouge, I created an upbeat scene with dancers, lovers, trapez artists, and art. However, unlike the first perspective there the reflected images and figures are lost in the crowd of other’s images and figures. Thus creating an seductive sense of intriuge to explore the scene and find each pair. In addition there are symbolic elements featured including the ground as a painting by Leonid Afremov of the Moulin Rouge. He employs an excitable use of texture with brisk strokes and flourishes. Visually and contextually this contributes to the enticing and festive chaos that Marco Polo describes.
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REF EL EC T I ON
The modules within Foundations of Design: Representation encompassed a broad spectrum of valuable representational skills, techniques and methods. The cleverly chosen assessments allowed short bursts of focus on a new skill or program that then fluidly transferred into the lectures of the week. The first module not only taught me how to create axonometric drawings but also gave a fresh perspective on the possibilities of drawing with new techniques and equipment clarification. The lectures brought insight into orthographic space and the possibility for design to be sparked from something seemingly insignificant, like a croissant. The second module’s lectures aroused a new perspective of the possibilities of space and how perspective can hinder or benefit the cause of representation. This concept, as well as the boosted Illustrator digital skills regarding vectors and pixels gained from the assessment, expanded my thinking and encouraged me to further consider the relationship between 2D and 3D within architecture, art and life. The completion of this assessment was at a below average standard. Having missed studios from sickness I was unknowingly underprepared. However, upon evaluation I have recreated the Mario world with development of thematic detail. Module three brought focus to pattern and its relationship to surface. The discussion of parametric architecture in the lectures directly influenced the conceptual design of my terrain. However conceptually interesting this module was, it had challenges. The skills learnt from Rhino were beneficial but the extensive breadth of their capacity was confronting. My time management was pushed in this project and thus the final presentation was again at a below-average standard. However, I have altered my previous work and added professionalism to its presentation. The creative freedom within Module Four was inspiring. The lectures discussing how perspective is manipulated within cinema to evoke particular responses was intriguing. With further study into the suggested films I found interest in the power of perspective and I channeled this into the layout of my perspectives, as they both aimed at evoking juxtaposing emotions from the same story. From this module I gained skills in perspectival thinking, Rhino technical construction and cinematic power. Overall, Foundations of Design: Representation brought challenges that were inevitably beneficial and upon reflection the faults have been mended. The clever structure of this subject enabled a broad set of skills to be absorbed and personally I feel conceptually enlightened, with a extended set of design skills and techniques.
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