Fodr Portfolio

Foundations of Design: Representation

Sem 1, 2018 PORTFOLIO

Olivia Loh 996079 Studio 10 - Anneke Prins

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TABLE OF CONTENTS: HOW TO DRAW A CROISSANT ............ 5-8 FLATNESS VS PROJECTION .................. 9-12 PATTERN VS SURFACE ....................... 13-16 FRAME VS FIELD ................................ 17 -21 REFLECTION ............................................. 23

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HOW TO DRAW A CROISSANT

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MEASURED DRAWING OF A CROISSANT

For this module, the aim was to learn drawing techniques, as well as, basic Photoshop skills and to gain an understanding of axonometric drawings. A photo stage was used to take photos of the croissant in plan and elevation, both long and short. The base and sections of the pastry were then scanned and formatted in a layout in A3, relative to the scanned plan to ensure the photos were 1:1 with the croissant. The photos were also brightened and colour adjusted to appear more appetising and appealing using Photoshop. Backgroung colours and shadows from the photos were also removed.

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Sketches of a croissant Drawings of the croissant were done in pencil and pen, employing techniques of gradual shading and cross-hatching.

The two elevations were done solely in pencil, whilst the plan and sections were a mixture of pencil and pen. To ensure the drawings were as dark as they needed to be, the general shape and lines of the croissant was traced, but most of the shading was done with trace paper on a blank sheet of white paper placed alongside the photo layout to use as reference.

The axonometric drawing, on the following page, was the most challenging, starting by using a grid over the section drawings.

Corresponding grids was then drawn at 45° on the plan of the croissant and used to transfer each section. The sections were then used to create an axonometric drawing of half of the croissant.

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Sections overlayed with grid & Axonometric Sketch and Finalised Drawing of a croissant

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FLATNESS VS PROJECTION

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NEW MARIO WORLD

In Module 2, two elevations of a Mario world were to be projected in axonometric and joined, creating a new world.

The 200mmx200mm elevations were positioned at a 45° angle and projected on tracing paper at two ends of a 200mmx200mm square base. The hidden space between the elevations could then be developed, along with the depth of objects in relation to one another. Pen was used over pencil to create clearer line work using a 0.1mm pen, and a 0.3mm pen for the cut lines.

Elevation 1

Keeping in theme with the Egyptian-desert theme of the elevations, hidden elements of tombs were used. Then to prevent the back elevation from being completely covered, bridges were used to join the elevations, which allowed sight of elements behind.

Elevation 2

Final Axonometric

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Initial Axonometric & Projection of the elevations using a grid method and the correct method.

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Final Pen Axonometric, Older Version of Axonometric & Colour test Multiple variations of the axonometric was drawn, each varying slightly in idea and detail, until the final version in the middle.

Once content with the design, the drawing was scanned and Adobe Illustrator was used to create smooth lines and digitally draw the axonometric, correcting any errors from the physical drawing. The colour palette of the original elevations was used to keep the theme, suiting the new world best, after various alternative colour tests. Shadows were also drawn in, to give a greater sense of depth and differentiation between block surfaces.

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PATTERN VS SURFACE

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PAPER LANDSCAPE

Being given a part of a Tasmanian landscape, the task was to model it using the program Rhino, considering both elevation and plan when creating visual interest and pattern. 100 modules were to populated the landscape, in a 10x10 grid. Five custom modules were made, all closed pyramids, varying in the number of pyramids per module and whether the pyramids faced inwards or outwards.

Attractor points were used to create and off-set grid, as well as create the pattern on the landscape, forming a dense area, from the dense four-pyramid modules. Multiple pattern variations were tested, before deciding on a simple pattern to complement the density of the modules.

Each module was then unrolled to create templates, forming nearly 150 pieces due to the complexity of the four-pyramid modules. The unrolls were then printed on A3 paper, cut, then traced onto ivory card. Once cut from the card, each piece was scored to create crisp lines, folded, and glued together forming a 594mmx594mm paper model.

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Close-up photography of final model in different lighting

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One A3 sheet of unrolls

Original landscape, Some digital tests & Final digital landscape

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FRAME VS FIELD

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TRADING CITIES 3: EUTROPIA Olivia Loh, 996079

Light / D

INVISIBLE CITY Trading Cities 3: Eutropia

The short story explores the idea of individuals moving from city to city, within Eutropia, when they grow tired of their lives and adopting a new life and persona in the next city.

Given the setting of the Old Quadrangle, the Quad was modelled on Rhino and different notational elements were mapped onto this stage. Different symbols were employed to represent different elements, with shading and different line weights to help differentiate elements, which was adjusted in Adobe Illustrator. Two perspectives were also Photoshopped to depict the story, shown on the following pages.

Crowds

Light / Dark

Light / Dark

Passage of Time

Passage of Time

Crowds / People

Crowds / People

Key

Perspective 2 People Light Mood Heavy Mood Light Space 1m

2.5m

5m

Movement Stare Glance

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Perspective 1

Perspective 1 Perspective 2

Perspective 1

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Camera Position

Camera Position

Perspective 2

Trading Cities 3: Eutropia

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Perspective 1: MERCURY This perspective depicts the god, Mercury, “to whom the city is sacred�, looking at a chessboard table with the city of Eutropia.

The aim was to depict Mercury almost as a player, arranging and moving the chess pieces, the citizens, around the board.

Dramatic lighting was employed to create a sense of grandeur which coupled with the light coloured walls, gave a sense of elegance and power.

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Perspective 2: CITY CENTRE This perspective aims to present the city centre of Eutropia, where people gather. Everyone’s eyes are blurred out to portray the idea that that role and character can be inhabited by anyone, representing the idea of the changing lives. The scene is also repeated and rotated in the background, illustrating the idea of all the different lives of the individuals.

Darker elements are used in this scene to depict the heavy mood of discontentment. Whilst the smoke and fog enhance the eerie feel of the paradoxical background.

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REFLECTION

Throughout the course of this subject, I’ve learnt various techniques and digital skills. I had done a lot of traditional art, working most confidently with pencil, though explored various other traditional mediums. However, never having worked digitally, digital work was completely new to me.

Module 1 was a nice way to ease into the subject, as I felt comfortable drawing with pencil and pen. My digital editing and formatting, however, let my work down, as it presented muddy and messy, which I have since fixed. It also taught me about axonometric drawing, which was new to me.

Because the digital work was the key problem in my work, I was determined to be cleaner for Module 2, which I found a lot of fun to do, quite enjoying physically drawing the axonometric. I gained a greater understanding of how elevations could be translated to something with depth. I was proud of the way I managed my time with this module, keeping up with studio, and completing the work four days prior to presentation. The work was successful with minor problems of colour and shadows, which have also since been adjusted.

For Module 3, I underestimated how long it would take me to complete the module, and ended up spending 3 days solely working on the model. My work paid off, but I felt that I could have handled the project much better by working both more effectively and efficiently to save time, without compromising the result and reducing sttress and sleep-deprivation.

Module 4 challenged my digital skills that I had learnt throughout the semester, but also taught me about notation and how it reads, along with different types of perspectives, which I had never learnt about. This module helped solidify the digital skills I had learnt throughout the subject, which I feel the work shows.

The key skill I have learnt throughout this subject is working efficiently and effectively, through time management and working smart. It has taught me a lot of different programs and skills in different methods of presenting and viewing a subject matter.

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