Jornal final issue

Foundations of Design : REPRESENTATION, SEM1, 2017 M2 JOURNAL - FLATNESS vs PROJECTION Alana Brown

915496 Emmanuel Cohen, Studio 24

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WEEK 3 READING: LEGER, LE CORBUSIER, AND PURISM

Question 1: What is Pictorial Space according to Le Corbusier?

Pictorial space is very subjective and is dependent on the artist. According to Le Corbusier “Pictorial space is that which cannot be entered or circulated through; it is irremediably space viewed from a distance, and it is therefore eternally resigned to frontality.” Pictorial space is constructed as to achieve full impact one must view the piece from a frontal perspective and at a distance. In this way Pictorial space can be compared with a picture, as it requires frontal viewpoint and also as it cannot be entered.

Question 2: The Flatness of Le Corbusier’s painting’s are attributable to two properties. What are they?

And what are these pitted against?

The flatness of Le Corbusier’s painting is accredited to both colour and framework. The use of colour, specifically black contrast with white, or a colour of high value, within a drawing is often used to create a sense of depth and perceptive. The contrast highlights the shadows to then accentuate the surface of the image and creating a sense of a third dimension. Hence, the use of black to make the image have a sense of a third dimension is contrastingly used in Le Corbusier’s paintings; using no shades, or black to enhance the flatness of an image. Similarly, framework is also important in creating flatness of an image. Textures, shapes, and lines are used to create perspective; however, Le Corbusier represents them in a manner that enhances flatness.

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MARIO’S WORLD

Image of which the foreground of the projection was based on

Image of which the background of the projection was based on

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1ST MARIO’S WORLD

Uncombined Mario world of the front and back projection in a 2B pencil. Projection lines and guides are visible in assistance with perspective and scale.

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COMBINED MARIO’S WORLD

Combined Mario worlds in pen and scanned. The two words where linked by the accumulating cylindrical mounds and flowing water. Lines where drawn with a 0.2 pen.

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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?

Perspective space is a record of what already exists and is constructed with a fixed individualistic view that is related to a single point, permitting the use of vanishing points. Conversely, projection is a construct of a view of which does not exist and is created in relation to the subjects’ true spatial dimensions. This enables the image to have infinite vanishing points, unlike that of perspective space.

Question 2: Where did Axonometric projection first arise, and why? (Maximum 100 words) Axonometric projection was first used for military purposes. As a result of the accuracy and pragmatism of the projection, it was used to predict and calculate three dimensional trajectories of artillery projections. Axonometric projection was then adapted by artists and architects of the early 20th century.

These artists were compelled by the urge to extend traditional art and its way of interpreting the world to produce new and different worlds. This projection allowed them to work within mathematics to create a corresponding relationship with lines and shapes to the original dimensions.

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ILLUSTRATED MARIO’S NEW WORLD

The color pallet was produced by taking samples from the original image. Colors where then added in gradient to create a sense of depth within the space. Clouds and mist where then layered and the opacity reduced to produce perspective within space.

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APPENDIX

The above photo depicts my first attempt at the Mario World from the background perspective. This attempt experimented with more cylindrical mounds, and was scraped as I was unable to fit within the confined space.

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The completed projection drawing of both the fore ground and background, now completed with more geometrical mounds in replacement of the cylindrical mounds.

Completed drawing of the combined Mario world and an exploration of what was below the surface.

Colour swatches made within Adobe illustrator to insure the colour pallet remained precise. Tones where also taken from an image of water to accurately colour the water with the Mario World. Some of the textures used within the piece are also evident.

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