D E S I G N V I S U A L I S AT I O N DIGITAL TECHNIQUES
Hugo Marmara 996284
About me:
Education:
2018 - 2020 2015 - 2017
UoM - Bachelor of Design Camberwell High School
Experience:
Contents:
2017
Dennis Family Homes
2019
Humanitarian Design Internship
2020
Indigenous Engineering and Design
04 Left Overs
I am currently in my third year of university, studying a major in Landscape Architecture, with aspirations for a career in Urban Design. I have completed a “Towards Practice” specialisation within my degree, that has equipped me with skills for engaging with workplace and real world practices. I hold a strong passion for community driven projects and empathetic design, with experience working at the Laurie Baker Centre in India and with the indigenous communities of Budj Bim. I believe these real world experiences have allowed me to really put my designs skills into perspective while still fostering an ability to think laterally in a dynamic environment.
Skills & Workflow: 11 The Mind of an Artist Rhino Grasshopper
21 Is There Anybody in There?
Unreal AutoCAD 3DS Max
27 Reflection
Vray Arnold
29 Bibliography
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I love camping and travel which is where I devote a majority of my time, energy and money, when outside of university. While being a recreational passtime, I have learned a lot about interacting with d ifferent people and cultures that I never would’ve met otherwise. It has made me a more well rounded person and gifted me with inspiration in many of my designs.
Adobe Suite
The following portfolio is a summary of my work specifically within design visualisation. It celebrates the skills and techniques I have discovered and explored over my final
LEFT-OVERS...
The clutter that crowds our desks, drawers and shelves can shine an interesting, intimate view into our personality and lifestyle, bringing with them a clutter of subjective memories, experiences and uses. These objects, seemingly left over and cast away, can begin to accumulate to paint a more complete image. As this accumulation spirals it becomes expansive and overwhelming, presenting us with an excess of information that can confuse and disorientate. It is through choosing to focus on the details or looking at the bigger picture that can drastically alter one’s perception of what is in front of them.
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INSPIRATION
99 Cent - Andreas Gursky (1999)
A TIme and a Place - Darren Jones (2011)
Borrowing elements of neoplasticism, the use of framing, colour and angles in Gursky’s photography captures this element of the sublime. A seemingly never ending array of stuff and things that can seem overwhelming upclose but ordered from a distance.
At a glance this cluster of personal objects seems ordinary enough. However, as your gaze wanders the bizarre elements reveal themselves. Through still life conventions Jones has explored the how story of these everyday objects can be revealed through composition.
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Coffee Boss Can
Unused Prescription
The Last Tomato
The Junk Drawer
This coffee boss can sits on my desk at home in a growing collection of left-overs. A momento of my travels, the can now sits sorrounded by pens and markers I no longer use.
Left-over medication from some tooth pains I had in 2017, this prescription now resides in my bathroom draw below an accumulating pile of junk and toiletries.
In the darkest corner of the fruit bowl sits this old tomato, growing wrinkly and sad. As this module has progressed the tomato has continued to grow wrinklier and sadder.
Whether it be in the kitchen or by the front door, a house isnt a home until it has a draw full of junk. Digging into this draw I pulled out a big red rubber band and a AA battery.
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FINAL RENDER In my scene lights played a strong role in the composition I had in mind. Amidst the accumulation of left over items I wanted to leave details that would be noticed the longer one looked at the image. I tried to create an emphasis on the “everyday” items of the medicine, batteries and rubber band. In doing so the “bizarre” details of the rotting tomato and the Japanese coffee are noted after the intial glance. This was further explored using diagonal lines with accents of colour at common vertices. The rubber bands bright red and its elastic bend help aim the viewers gaze towards the tomato and the can. Through aligning sight lines with the horizon running in the background theres a clear linearity however the framing and angle of the camera appears disorrientating. This is in hope to give the sense of a larger picture. The cropping of edges alludes to more leftovers lying just beyond the frame. Causing the spectator to question the bigger picture while still considering the details of what is seen...
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THE MIND OF AN ARTIST Inspired by Pink Floyds 1979 album “The Wall�, this render details the narrative of an artist trapped with in the four walls of his own mind. This theme of entrapment is explored through cues of a prison environment as seen in the door, bed, desk and window, further reinforced by eerie sterile light coming from beyond the window and door. The crow bar on the shelf sits at the junction of these eerie lights, representing the artists desire to escape, with his previous attempts scarring the back most wall; the door left ajar suggests that someone has come and gone.
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INSPIRATION Through film
Waynes World (1992)
Synechdoche New York (2008)
The Blues Brother (1980)
Trainspotting (1996)
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The Holy Mountain (1973)
THE WALL (1982)
All of these films lend spatial, thematic and musical influences to my scene however “The Wall” encapsulates my ideas best. Following the psychotic breakdown of rockstar Pink Floyd, the film depicts a chronological reccount of Pink’s life so far detailing the metaphorical erection and destruction of the walls he has sorrounded himself with. I believe Pink represents my perfect “arrogant artist”. As this film unfolds with its musical accompaniment the selfishness and self loathing of PInk become more and more apparent.
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B.B King The Magnetic Fields Bjork
INSPIRATION
Pink Floyd
Yes
Bob Dylan
Through music
Herbie Hancock Daniel Johnston Joni Mitchell
Clara Rockmore
Radiohead 13
Billy Joel
The Beach Boys Lou Reed
The Flaming Lips
STORYBOARD For the Arrogant Artist
This storyboard details what is to proceed the scene, as the artist begins to break “the wall” he has sorrounded himself with. 1. Presented with a narrow, claustrophobic scene the viewer is made to feel trapped or imprisoned. 2. “Ordinary” details unveil information about the artist who inhabits this space. 3. “Bizarre” objects then begin to depict a distraught and problematic personality. 4. The camera dolly’s out (similar to trainspotting scene) further elongating the space, suffocating the viewer. 5. The metaphorical wall is broken revealing the temporary existence of this one moment in the artists life; as a stage prop. 6. Multiple scenes/sets of the artists life are then revealed in a large wharehouse space. Lights flicker and cut off.
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A warm rug contrasts with the cold scene
Long narrow space gives a suffocating enclosed experience
Steel frame prison bed alludes to the theme of isolation mirroring the bars on the windows. Bars from the bed and window then give off shadows across the scene
Re-use of the blue enamel treated steel alludes to a commercial prison environment The junction where the two sources of light meet. Here sits the crowbar representing the artists desire to esape.
Big steel door reinforces enclosure and prison motif. Cold concrete floors again informs the prison environment
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The door ajar then spills light across the room
Crack in the wall where he has tried to “escape� Light sources on the desk highlight poor habits
Cigarette burns on the desks edge
VIGNETTE 1
VIGNETTE 2
VIGNETTE 3
This vignette champions the prop of the crowbar at the junction of door and window light. These lights play an important role in creating hiearchy in the scene.
A view from beyond the scene, alluding to what may lay outside. This shot informs the audience of the musician and his practice.
The last vignette uses figure ground to highlight the darker corners of the artists mind, while reinforcing these opposing sources of light.
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FINAL SCENE
RENDER
COMPOSITION
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POST - PRODUCTION
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IS THERE ANYBODY IN THERE?
Using Pink Floyd’s track “Is There Anybody Out There?” from their album The Wall, a foundation was created to base a 1 minute animation. From this I was able to derive my lighting camera and compostional decisions to accurately portray my narrative alongside the music. Exploring the themes of isolation, abandonment and imprisonment, I examine the breaking of the walls this artist has created. Exposing the arrogance of the artists for the shallow emptiness it really is.
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INSPIRATION Through practice
Film Noir: Stranger on the Third Floor (1940)
Film Noir: Citizen Kane (1941)
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Stage & Setting: Theatre Sets
Stage & Setting: Synechdoche New York (2008)
LOOKING FROM BELOW
ORDINARY
BIZARRE
}
TRANSITION
FADE INTO SCENE
OPENING CREDITS
CLOSING CREDITS
IS THERE ANYBODY OUT THERE - PINK FLOYD (1979)
ZOOM OUT OF SCENE
BREAK THE WALL 00:00
00:49
00:08
00:56
STORYBOARD
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LOOKING FROM ABOVE
KEY SHOTS
SHOT 1
SHOT 2
SHOT 3
Lighting:
Lighting:
Lighting:
Camera:
Camera:
Composition:
Composition:
In this shot lighting played a crucial role, as I was trying to portray this junction of light from “The Mind of an Artist�, without the context of viewing the entire scene. I acheived this through the opening of the jarred door light and the eventual flicker of the window light, this reinforces the importance of this moment.
Camera:
The dollying of the camera to zoom out was a technique i used twice in this animation, inspired by similar shots in Trainspotting. The shots are disorientating and effective at portraying this sense of uneasiness within the artist.
Composition:
Composing this scene it was imprtant to keep a perspective from the bottom looking up, as this beginning scene is supposed to be grounded within the room. This is later juxtaposed with shots from above later on.
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This shot celebrates some of the stranger happening on the desk, with the use of a desk light and ambient screen light from the computer. This includes the ash tray and overflowing cigarette buts, prescription medicine and a can of coffee boss as a little easter egg from previous assignments. Again using a the dollying shot to zoom out of the scene and eventually into the breaking of the wall. I aligned the timing of the shot with the audio track, so the dolly leading up to the breaking of the wall builds suspense.
Juxtaposing the previous scene it was important I kept the perspective from above looking down and also at an awkward height, this way we are no longer viewing the scene from a remotely human perspective, building up to the climbing camera angle as the wall is broken. A new source of light as the focal point.
This shot celebrates some of the stranger happening on the desk, with the use of a desk light and ambient screen light from the computer. This includes the ash tray and overflowing cigarette buts, prescription medicine and a can of coffee boss as a little easter egg from previous assignments. Again using a the dollying shot to zoom out of the scene and eventually into the breaking of the wall. I aligned the timing of the shot with the audio track, so the dolly leading up to the breaking of the wall builds suspense.
Juxtaposing the previous scene it was important I kept the perspective from above looking down and also at an awkward height, this way we are no longer viewing the scene from a remotely human perspective, building up to the climbing camera angle as the wall is broken. A new source of light as the focal point.
MOVIE BANNER Using lyrics from the succeeding track in the album “Comfortably Numb”, the title juxtaposes the lyric of “Is There Anybody Out There?”. Use of light and shadow has remained a focal element of the poster design. The instagram format is utilised in translating this transitional stage of breaking the wall from the film into the banner.
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REFLECTION Over the past semester I’ve had a lot of fun with this project and really enjoyed exploring my character and his narrative. I’ve watched a lot of familiar and new films and listened to some great music along the way, which have all bit by bit informed the end result. Ive really taken a lot out of this semester and feel much more confident in the 3DSmax workspace. My skills in composition, I feel, are developing quickly and have actually found myself analysing lighting and composition in film, art and photgraphy as well as generally in the world around me. I hope to continue refining these new skills in the future, whether it be at uni, in the workplace, or in my own time. I would like to thank all the staff and tutors for managing to pull of such a successful semester given the circumstances.
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BIBLIOGRAPHY
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