Foundations of Design: Representation Semester 1, 2018
PORTFOLIO
HOW TO DRAW A CROISSANT? MODULE ONE
From the interactions with a croissant to pencils and pens to cameras, scanners and software programs (Photoshop & Indesign), this module proved to be that offered many learning opportunities. From photographing and scanning my croissant and cutting it into sections, I then completed sketches of my croissant with hatching techniques, and I also explored other techniques ways to show the lighter and darker areas of the croissant with flowing line drawings with a 0.1 and 0.3 fineliner. I found the creation of the axonometric drawing to be very interesting. Using the scan of the bottom of the croissant and scans of the sections, drawing a 10x10 cm grid allowed me to create the drawing and show the croissant to be standing.
showing the real and the represented. sketches and explorative pen drawing based upon the photos taken of the croissant. 3
sketches of croissant: top view and side view. cut section and isomentric line drawing.
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FLATNESS VS PROJECTION MODULE TWO
My final Mario World contains a balance of shapes and lines, with the fanning of the pyramids on the edges and centre of the world creating a sloping interest in the landscape, to the tall, cylinder pipes that draw the eye up along the world. The block work gives the world a structural, geomtric formality, which is broken with the use of more pipes. I opted for bright colours, focusing upon the vibrant orange of my world, and used the water as a feature within the landscape.
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studying the two images to start skecting ideas for world. line drawing of mario world in fineliner.
line drawing of mario world in fineliner.
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FLATNESS VS PROJECTION MODULE THREE
When one thinks of a pattern one thinks of the ordering of a repeating colour or shape, hence when thinking about how I would design my own terrain, I wanted to keep this idea of simplicity in design. Using two squarebased pyramids, each sloping slightly and two squarebased pyramids that each had their tops cut off, offering insight into the formation of the shape, I wanted the shapes to be able to blend into each other while creating gradual movement. I was not looking for complexities in shapes, but rather how simple repetition can be embraced. This was also influenced by the lecture given by Donald Bates, in week 6, where he explained the idea behind using simple geometry to create the reoccurring pattern on Federation Square.
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My modelled terrains showing the diversity the 3D shapes. I admired the way that my cube-topped-pyramids ressembled an aerial view of courtyard houses, as I believed this strongly connects to the way humans shape their environment with built structures, along with how my own model combines structure with a terrain.
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Digital terrains showing the rhythm between the change of shapes (left), and also the rise of the terrain (right). Here shown is also my four shapes. I liked the idea of being able to appreciate the cube -like structure on top of a pyramid, allowing one to see inside the structure and give variance in formations, The two pyramids also allowed me to create direction focus and movement across my terrain.
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FRAMEVS FIELD MODULE FOUR
INVISIBLE CITIES 2: ZENOBIA Sylvia Marshall 996269
The most prominent sense of Zenobia that I felt within the first paragraph was an overwhelming feeling of chaos and cluster. The description of the bamboo and zinc houses was confusing at first: the complete juxtaposition of materials of the natural and metal. There seemed to me to be many geometries within the description of the city- many objects all crossing and jumbled into each other. From these thoughts I was able to come to some major themes: the idea of Oriental influence and the conceptual imagery of modern art.
Key Heavymood mood Heavy
Fishermen and fishing and the eating of fish reminded me of the origins of Venice - being a fisherman village, but this also connected with Japanese fishermen. Zenobia is a city that is not restrained, it has grown organically.
Light mood Light mood Large Step Glance Regular Step Stare Small Step Showing Difficult dark Step-to light space ww Floating City Signobjects 0
1m
2.5m
5m
Physical Link Characters Perspective One Perspective Two Line of focus and movement of Marco Polo
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Perspective one features a guitar man in the very front, acting as a symbol of the bohemia of this world, meanwhile, next to him is featured the cover of Invisible Cities, stuck onto a pillar like a poster. Water colour flowers are featured within the scene, a way of showing the Romanticism of the old city, while Doge’s Palace fills the background, reminding one of the original city that Marco Polo was writing about. Based upon the text and its description of the houses being of “bamboo and zinc, I placed a Japanese lattern box in the centre of the columns. Using the box shape as a base, I placed a sculpture by Paolozzi, St Sebastian III, upon it. The sculpture is representative of the ideas of the different layers and various heights in Zenobia, thus I was constantly bought to the imagery of modern art and layering of cubism, hence I thought that this sculpture was able to capture this idea of the layering and provide a visual representation of the city in an objectual scale. The fish upon the ground and the Japanese lady follow along these ideas created based upon the bamboo, which bought me to think about how the context of the city could range from European to Oriental. Marco Polo speaks of the fish poles that lie around the city, hence, I was bought to the idea of Japanese culture again. The floating objects are once again a play upon the idea of modernism and layering.
Perpective one: The Guitar Man and Japamese Lady with swimming fish.
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Perspective two utilises many of these same ideas and themes. I gave this perspective a differing background as I wanted to give the sense that one is moving through the city and seeing different parts. I used linoprints by MC Escher and once again placed sculptures by Isabelle Bonte throughout the perspective as a did for perspective one. Bonte’s work was able to capture the essence of Zenobia, a city of many layers and much movement. I wanted my perspectives to show hidden meaning, while being able to show the aspects of the text in an abstracted way. The flat man of perspective two, as I call him, is one of my own drawings, along with the guitar man in perspective obne, and also the floating line shapes and flowers. The flat man in particular is a rebellion against what was expected in this module, and I wanted to escape the realism that was placed in other versions of this module. The theme of modern art helped me to propel my ideas and represent the city in a way that I imagined. For me, Marco Polo’s own description of Zenobia was abstract. In perspective two I also added the image of the floating city, a way to confuse the real perspective of the city, combined with the drawings of Escher, demanding what the true limits of the frame are.
Perspective two: Flatman and Floating Shapes.
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Processes of design have thoroughly been explores through each of these projects. Many different formats of representation were used, including text, paper, printed and digital. This has exposed me to the processes of thought and creation in relation to the end products. The connections between the instructions given and the freedom for a personal interpretation meant that every task awakened new thoughts and ideas for how to comprehend the modules. These modules have taught me the importance of persistance and fasination for what I am creating. The lectures would create a basis of interest for the projects I was about to endeavour on, giving insight and inspiration for the varying facets of the modules and the ideas surrounding them. The skills of how to show ideas, present these ideas and tackle the process of moving between many different programs, and often from computer to paper, and vise versa, proved to be challenging at times but also truly eye-opening to the processes involved in design. Through each of the modules I was able to express my own creativity, while also following the instructions given and reach the expectations held. Within all of my works there was an indepth level of thought, showing my own perception of the tasks and thoughts on design and representation.
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