FoD:R
Foundations of Design : Representation Portfolio Hugo Marmara 996284 Mitchell Ransome Studio 06
CoNTENTS INTRoDUCTION
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MoDULE 1
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MoDULE 2
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MoDULE 3
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MoDULE 4
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REFLECTIoN
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INTRoDUCTION
As the semester has progressed Foundations of Design: Representation has provided me with a significant base from which to propel my future in design. As a subject it has lent me a new array of skills and techniques covering multiple facets of design. The lectures really enabled me to broaden my thinking in approaching new tasks and has aided my conceptual interpretation of information and the role of representation. Putting the lecture information into practice allowed me to consolidate the information I’d received, which I enjoyed immensely. Using a variety of representation techniques including orthogonal projection, model making, 2D vector-based drawing and 3D modelling broadened my tools and resources as a future designer enabling me to represent my work in a physical format. This application of newly learned concepts and techniques made me analyse tasks in a different light altering the outcome of my work entirely. Summarizing newly learned ideas and concepts this portfolio effectively displays a compilation of all my work this semester. To follow is an exhibition the final product of my 6 months in FoD:R and how I have chosen to represent the tasks that were set.
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MoDULE 1: HOW TO DRAW A CROISSANT
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ORTHOGRAPHIC REPRESENTATION In order to express the entirety of an item an orthographic layout can be used in conveying each surface of the object. The underside of the croissant and sections a, b and c (Figure 1) were all scanned using a scanner. Faces unable to be scanned such as the plan view, front elevation and side elevation (Figure 1) were all taken as photographs in a homemade photo stage constructed of A3 paper and lamps. In drawing the croissant, the photos and scans were run through photoshop and sketched by hand using 9H-9B pencils as well as 0.1,0.3 and 0.5mm fine liners on grease proof paper (Figure 2). Once traced, an axonometric image (Figure 3) of the croissant was constructed to represent the croissant’s 3 dimensional form furthering the audiences perception of the croissants depth and height.
Three scanned sections (bottom right), Photograph of side elevation (top right), Photograph of frontal elevation (bottom left), Photographed plan view (top left).
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MODULE 1 - HOW TO DRAW A CROISSANT 12/03/2018 AXONOMETRICS
Section a
Section b
Section c
Pen hatched plan view (top left),
An axonometric drawing was constructed
Pencil hatched side elevation (top right),
to represent the croissants 3-dimensional form.
Pencil hatched front elevation (bottom left),
Various stages of the process (left),
Pen outlined, and pencil shaded sections (bottom right)
are displayed alongside a template of each section (right).
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HUGO MARMARA
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PROJECTION OF 2D IMAGES The process of creating Module 2 required projecting two still images from an allocated Mario world and converging them into an axonometric projection. To do this I required a T square, set square and a pencil to effectively draw the straight lines and precise angles. This was necessary in creating an effective projection kept to correct scale and proportion.
Front Elevation
Back Elevation
In projecting what was given to us from an image or pictorial space created a varying array of new points and angles of view. This ultimately resulted in blank areas or “hidden spaces which we were to interpret how we liked. Our tute was assigned a collection of two tier still containing an upper and lower level. This meant for completing the process of drawing twice over to create both tiers.
To project the image onto my A3 tracing paper I used the Tsquare to rule vertical lines and ran the set square up and down itto create perpindicular lines.
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I then followed by placing the second image at the bottom right of my table and projecting that onto the first sketch on a second peice of tracing paper.
Both sketches were then laid on top of one another and traced over in a heavier 2B pencil.
First full sketch of the bottom tier
First full sketch of the top teir
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3D CONSTRUCTION Drawing from colours and textures seen in the provided Mario stills, a consistent style was employed throughout the Mario World to keep it in line with its roots. The clouds were introduced to help in differentiating between the upper and lower divisions in the level, as my initial design was difficult and confusing to read. This made for easier reception of what was floating and at was at ground level. Steel beams were added to provide the levels foundations and to continue the industrial theme seen in the smoke rising from the pipes. This example shows the exploration of this hidden space and how i chose to represent it. Pattern used in the brickwork helped to draw the eye to focal points in the world such as the path in the sky. This lead the observer on a journey or path through the level upon reading it. Shadow was used form coherent structures as well as allowing for an easier interpretation of objects shape. This is notable in the shadow upon the pipes and hills presenting a sense of shape and form. Final Mario World
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PROCESS The purpose of Module 3 was to create a unique model which effectively accentuated a given topography using computer programs which we would then translate into a physical model.
Assigned Topography
2D Panelling, Pattern: Triangular
Using Rhinoceros 5.0 various techniques of adding texture and pattern to a surface were explored. Using the paneling tools provided a unique topography was created. Plotting several modules and experimentation with the bounding box allowed for sufficient variation in modules from the valley of the topography and into the hills. The inspiration for the layout was drawn from the idea of flowers budding. Spanning outwards from the trough of the valley the modules, or “flowers”, blossom as they move towards the edges. This motif is reinforced in enclosed modules at the edge of the topography depicting how some bauds remain dormant and don’t bloom. This theme also helped in accentuated the peaks towards the edges of the topography allowing for a more dramatic effect.
Final Topography
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3D Panelling, Pattern: Pyramid 1
All 50 Nets containing two modules each
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APPLICATION In applying the designed topography from the Rhinoceros program onto a developable surface, allowed me to develop a more detailed understanding on the representation of buildings and products from a design to reality. The modules from the topography were unfolded into nets. They were then numbered and cleaned up on Adobe illustrator before being printed onto 300gsm ivory card. Once printed the nets were cut out scored and folded to assimilate to the design made on the computer. This was done on an A3 cutting board using an exact-o-knife. As each module was cut out they were put together using superglue. Using Locktight superglue worked well as it was a thicker more viscous glue containing cyanoacrylate for faster drying. This made the process of creating each module quicker and less fiddly in comparison to initial attempts using PVA glue.
This plan view highlights the “blosoming� of the modules as the stray from the
centre to the outer edges
Each module was then connected into its designated row, the rows were then all attached together to form the 10x10 grid of the topography. This shot shows the lines of the topography leading from the higher ground down into a valley
This angle exemplifies the hierarchy of modules
from closed to open.
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INVISIBLE CITY: Beersheba
EVALUATION: When viewed literally the story of Beersheba tells us that of this place there is both a celestial heaven laden will with jewels, gold and silver and a hell full of old socks, potato peels and human waste. In this vision of a perfect heaven as well as strong beliefs in salvation after death the wealthy are seen to be neglecting the reality of which the live in, the real Beersheba. As this neglect becomes more apparent and the wealthy continue to live their lavish introverted lives, a separation appears in the city, creating a real-life heaven and hell The poor who live in waste and filth are ignored by the royalty and nobles who live in gold and jewels and in doing so ironically removing the apparent mystery behind the celestial powers god by creating it themselves.
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Stairs create a threshold in putting the rich on a pedestal furthering the classes from eachother Inward facing arrows were used in both the rich and the vermin in comparing their introverted and self orientated traits.
In contrast to the rich the poor are shown to be looking outwards assessing thir environment
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1m
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Isonometic Linework of the Quad
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PERSPECTIVE 1 This perspective was chosen to tell the story of Beersheba to create a clear and defined threshold between the rich and the poor. This perspective provides a less formal “glance” position opposed to a “look” , amplifying the truthful nature of the scene. This perspective looking up to the rich establishes the position of the poor and reinforces the strict rigidity of the class system. This is optimized in the focal characters of the man and woman. The man reaching, to achieve his ascension into wealth while the woman is breaking away to remain what she believes to be free.
Final Perspective
Characters Rhino Constructed Perspective 18
PERSPECTIVE 2 This perspective arose as a point of contrast in juxtaposing the first perspective. As the scene is initially introduced looking up the stairs to those in the “higher� positions it makes sense to provide a comparison of the wealthy looking down on the poor. The use of rough and dirty materials within this scene helped to convey the poor conditions and squalor of the lower class. More textural features were used close to the lens to provide a better sense of depth as well as the slum backdrop to promote the cramped disorganized life.
Final Perspective
Characters Rhino Constructed Perspective 19
REFLECTIoN The seemingly recurring theme of “representation”, was thoroughly explored in this subject from the first project to the last. Module 1 explored the ideas surrounding orthographic representation, a new format to me which has broadened my knowledge of displaying 3-dimensional item in 2- dimensional form. This task enhanced drawing skills I didn’t know I had and gave me confidence heading into later Modules. Module 2 was an excellent progression from the croissant task as it expanded upon 3D representation techniques of an initially 2D format. The creative aspects of this task in filling the “hidden spaces” were very enjoyable but also made it more difficult. This module was edited in the making of the portfolio after advice was received form my tutor. I varied the line weights and colours to distinguish levels and further explored the industrial theme. Module 3 was a big leap. It taught me the true meaning of deadlines and time pressures. The process of converting computer aided designs onto a developable surface was really satisfying. Watching the topography fall into place would have to have been the best part but also proved extremely fiddly and time consuming. The final Module essentially rounded up all of the skills learnt rather effectively. Using Rhinoceros as well as the Adobe Suite, Module 4 finalised the practical aspect of FoDR rather nicely. The representation of written literature into a physical image was really enjoyable and seeing the varying interpretations of the same stories captured the individuality of representation and how subjective it can really be. All in all, this semester has taught me an enormous deal. From new methods of drawing to computer-based skills, FoDR has furthered me immensely in both my ability and my perception of design. I have really enjoyed the conceptual freedom and exploration that the tasks allowed for and really enjoyed applying lecture information to the tasks and the world around me. 20