Portfoilo

Foundations of Design : Representation

PORTFOLIO Alana Brown, 915496, Studio 07, Emmanuel Cohen

MODULE 1 - HOW TO DRAW A CROISSANT? The focus of this module was to illustrate a three-dimensional object on a two-dimensional plan. This is otherwise known as orthographic projection. The subject of this piece was a croissant which has been depicted in various ways throughout this project. Firstly, orthographic photos and scans where taken, then drawn using tracing paper, and finally an axonometric drawing was completed.

ORTHOGRAPHIC PHOTOS The photos detailed below showcase the subject from all angles of perspective. The croissant is depicted in both a plan view and an elevation viewpoint. This allows the viewer to obtain a sense of the original form of the croissant on a two-dimensional surface. Sections of the croissant where also taken to provide an insight into the internal structure.

3

ORTHOGRAPHIC DRAWINGS Using the orthographic photos, the below drawings were composed.

In this section I focused on using various shades to create an illusion of perspective. The contrasts of both negative and positive space allowed me to recreate the surface texture of the croissant; using lighter shades to enhance the foreground, and darker shades to indicate depth. I then using Photoshop was able to enhance this shading to produce a two-dimensional drawing that gives a sense of the three-dimensional object.

4

AXONOMETRIC PROJECTION Using the cut sections I was able create an axonometric projection of the croissant. Through this process the subject was rotated to showcase it from another perspective. Consequently, this created a sense of a third-dimension. The surface of the croissant was then rendered using shade to create the impression of perspective and depth.

5

MODULE 2 - FLATNESS VS PROJECTION The concept of the module centres on the idea of taking a two-dimensional image and translating onto a perceived three-dimensional plane. This was accomplished through axonometric projection.

Axonometric projection visually describes the original image in correspondence with its true spatial dimensions.

6

FOREGROUND

BACKGROUND

Image of which the foreground of the projection was based on

Image of which the background of the projection was based on

7

PROJECTION OF MARIO WORLDS From these two images an axonometric projection was constructed relative to height and width. The depth, however, was up to interpretation.

At the beginning of the process I struggles in visualising the world and found it very difficult to construct. Whilst drawing the projection, however, I then developed a greater understanding of the objective, nevertheless it did take multiple attempts. In my first attempt I struggled with depth, specifically when I made the domed mounds cylindrical. I then opted for the mounds to be more geometric to allow for the worlds to combine cohesively.

To combine the world together addition mounds where included as well as the introduction of flowing water. My intentions where to make the world to appear as a mountain suspended in the sky. This therefore was my inspiration for the rocky cliff face depicted in the underneath of the world.

Once the drawing was completed it was scanned and subsequently traced on Adobe Illustrator.

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.

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.

8

Combined Mario worlds

MARIO WORLD

The image was then coloured with gradient to enhance the illusion of a third dimension. 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.

To further conceptualise the idea of a floating mountain, mist was added to the waterfall to give the idea of water floating into air.

Throughout this process I have extended my knowledge in relation to the concept of an axonometric and have improved my ability to visualise a two-dimensional elevation in a three-dimensional form.

9

MODULE 3 - PATTERN VS SURFACE The concept of space and pattern and how they can interconnect and relate to each other are explored throughout this model. When something occurs once in a design it can be defined as a variable. When something occurs twice it can be defined as a coincidence. However, when something occurs three or more times, it can be recognised as a pattern. Pattern is repetition which is developed in this instance through ordered geometries. The use of simple geometries brings a sense of placement and direction to a space whilst also creating movement and flow. The system comes together and pattern emerges though iteration.

Two points on a plan produces a line. Lines are then extended to make a surface. Surfaces can then be combined to yield a volume and volumes can then in turn create complex geometries. The element of surface to this module brings a sense of logic to create developable surfaces. A geometric surface can be panelised into fragments to form foldable rigid geometrics.

Through projecting simple geometries onto a physical space an amazing form is produced using multiple components to make more cohesive.

10

DIGITAL PANELISED LANDSCAPE

The panelised landscape was firstly designed digitally before producing the physical model. There were multiple attempts using various geometries and attractor points until the final design was produced using simple geometries to produce a complex form. The geometries incorporated within the design are displayed to the right. Overall a patterned surface was digitally created that was also developable.

module 1

module 2

11

module 3

PHOTOS OF PANELISED LANDSCAPE

Plan Veiw

Close up of Details

12

PHOTO OF PANELISED LANDSCAPE

13

MODULE 4 - FRAME VS FIELD Throughout this module the idea of frame vs field was explored. Frames are the main source of information for a structure used in digital constructions. It allows the viewer to understand the creators work away from the author through the use of notations. Field provides the audience with a sense of the aesthetics of the space. ​

14

CONTINUOUS CITIES 1 - LEONIA Using the text, Continuous Cities 1: Leonia a narrative was constructed and depicted in an isometric and two perspectives.

15

THE OLD QUAD MODEL The bases of this design was The Old Quad at Melbourne University. A to scale three-dimensional model was created use Rhino and then used to produce an orthographic drawing. The modelling techniques that were used in this process were completed with the set goal of creating a two-dimensional image that was perfectly to scale. Therefore, the model is not developable.

The model was then altered to fit into the narrative created by the prescribed text. The narrative I received focus largely on rubbish. My model is therefore inspired by the gradient of a mountain of rubbish and organic movement rather then orthogonal lines.

16

ISOMETRIC The isometric aspect of this model represents frame. From the notation one can see where the camera positions where set up on each end of the model, where a singular or group of people are located, and the light mood of fun where the groups are occurring. More abstract notions are also represented in the key like the transition of time. The transition of time is used to show that how throughout time within the narrative the amount of rubbish grows. This is also physically noted in the scale of the model enlarging. The narrative is also reflected in the stare. The arrow is facing towards to outskirts as the narrative discusses surrounding cities. Movement is also denoted. A thinner arrow is used to represent speed as he walks through the centre of the model, as the story does not mention much about the inside of the city, the pace then slows around the perimeter of the model so Marco can look to the distance.

17

PERSPECTIVE 1 The main focus of the storey was rubbish; therefore, rubbish is incorporated into every aspect of the two perspectives; The characters are made from rubbish, the textures where selected for their grit, the background is rubbish and rubbish it also incorporated into the scene. The background also has a city in reference to the surrounding cities that are mentioned within the storey. Within the storey specific items such as unmated shoes, calendars of bygone years, withered flowers were mentioned and also subtlety incorporated into the scene.

18

PERSPECTIVE 2

19

REFLECTION Throughout the process of this course I have learnt an array of new skills and knowledge that will greatly assist as I continue in the Bachelor of Design.

In Module One I acquired the rudimentary concepts of representational design, depicting a two-dimensional form from numerous vantage points to produce a sense of the original object’s three-dimensional construction. The process introduced new terminology such as plan, elevation, sections as well as axonometric projection – of which the basic notions were familiarized. The module allowed myself to explore and learn basic photoshop techniques, which have been utilised throughout the semester, as well as photography skills and how to display work both aesthetically and clearly.

Module Two expanded upon the idea of creating an illusionistic three-dimensional projection from a conventional two-dimensional image. The project explored the process of axonometric projection more in more depth allowing for a greater understanding of representation, and how to present a three-dimensional image within a twodimensional material. Throughout this task I learnt how to use both Adobe Illustrator and InDesign.

Module Three focused on model making by firstly digitally producing a developable model that was then physically constructed. This allowed me to heighten my model making abilities, as well as, learn how to use developable software such as Rhino. The idea of surface was demonstrated within the provide terrane which was articulated with an iterated pattern to produce the result.

Within Module Four the idea of how to present a concept or narrative through both frame and field was explored. Firstly, my digital developing skill in Rhino were further advanced in the process of creating the model and making alterations to reflect the narrative. Through the isometric I was able to learn how to portray a narrative through notations, and through the perspective I portrayed the narrative visually.

These contrasting means of representation have taught me how to convey an idea to an audience. Also, as a result of the perspectives I further my knowledge of photoshop.

Overall, this course has given me an insight into design, and will provide a foundation for the continuation of my learning.

20