Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO Theodore J C Lehrer 832748 Studio 23 - Gumji Kang
Index: Module 1 - How to Draw a Croissant
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Module 2 - Flatness Vs. Projection
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Module 3 - Pattern Vs. Surface
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Module 4 - Frame Vs. Field
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How to Draw a Croissant - M1
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114mm
35mm
Process: • After purchasing the Croissant, several photos were taken of the subject from a range of angles such as plan and elevation. This also included a scan of the underside of the croissant, illustrated above. • Next the croissant was cut into three section. These too were scanned along their cross section • From here all the images were imported into Photoshop and were composed in an orderly manner for printing at 1:1 scale • Once printed each of the views were traced using a range of thicknesses in pens to illustrate cross sections, detailing and outlines • Lastly using gradients in pencils, these tracings were duplicated to represent the different grades of shade, depth and colour in the object.
From this module I learnt the proper techniques of adjusting line weight, drawing in an orthogonal manner and uses of shading, rendering and crosshatching. I found it useful learn correct terminology and notations to assist in the presentation of my ideas clearly.
Axonometric Perspectives of Croissant
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Flatness vs Projection - M2
06 The making of new Mario world. Module 2 was focused on projection and axonomextic alignment of a 2D design. My world was based on two sections of a 2D Mario world, chosen at random, from a snow themed world. My initial design was a hand-drawn using different line weights. I then scanned the image, placed it illustrator and began tracing all the pen outline through the use of vector curves, ensuring 45° and 90° to ensure proper axonometric alignment. After this came the task of colouring all the elements of this piece.
Final drawing of Mario World
Colour Colour, I felt, was a key aspect of the design of this project. Throughout the process of making the final piece in illustrator sampling colours from the initial 2D worlds and other Mario sources was utilised in order to achieve a desirable and accurate colour scheme.
More than often this involved a bit of trial and error in attempting to find the right colours that satisfied both being an accurate representation of originality and looking on a broader perspective
Final digitalrendering of Mario World
Lava: Here I was playing around with the idea of creating lava that would pour out of the cross-section of the mountain, this involved a decent amount of mucking around with different colour schemes.
Colour Picking: Utilising the Digital Colour Meter program I was able to source accurate colours from an array of sources, in particular, that of the original 2D world.
Characters: From online sources and provided images I was able to accurately redesign characters in Axonometric perspective to make them accurate in the 3D world.
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Pattern vs Space - M3
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The Task: The basis of this task was to translate a piece of land from the Tasmainain forests into a representation of that landscape through architectural and design means. This was achieved through the utilisation of paneling, a method of construction and design where structures are broken down into basic geometric shapes and figures. There was a great emphasis placed on the development of this landscape beyond its rather flat dimension, represented through 3-dimentional geometric shapes constructed from polygons. This ultimately resulted in a more lively landscape that placed importance on the natural structure of the land but also on how it could be interpreted.
Wire frame of Final Landscape
Trials of 2D custom panels
Render of Final Landscape
Process: For Module 3 Rhinoceros was used to digitally construct the piece. Through a range of new skills and techniques learnt though the workshops and tutorials I was able to construct a 594 x 594mm terrain to form my piece. I utilised Rhino’s Paneling Tools feature which enabled me to create a variety of 2D and 3D panels, varying in size, height and shape in order to create the organic mountainous design I wanted. My use of 2D panels was focused less on the content of the panels and more so on the pattern or environment they created. Deriving their form from sewing and crochet designs I was earlier introduced to, I focused my pattern on a sense of geometric composition and symmetry. This was done intentionally to counter the organic free-flowing nature or the 3D panels. Once completed with the digital model I proceeded to unrolling with the use of tabs. This left me with a more manageable format to physically construct my landscape.
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Example of Crochet insporation
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Sample of unfolding and tabs from landscape
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Frame vs Field - M4
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The Story: The city of Cecilia within the tale of Invisible Cities is one a journey through space and time. The tale illustrates Marco Polo and his interactions with a young Sheppard early in his life but later encountering him has an elderly man. The story is one of confusion and repetition, depicting a city once of glory and wonder being left to rot and expand indefinitely into a concrete jungle. The story goes on to talk about the juxtaposition of this metropolis and how the people with in it move and interact with each other and the landscape. I believe that the story is attempting to send a message on mass construction and capitalistic structures that inevitably become chaotic and out of hand. It depicts a reality distant from that of the truth, however, is attempting to show how easy a society can become detached from morals and standards, becoming engulfed in mass production and consumerism. This is further represented from the detachment from nature.
Interpretation: I created my world based on the idea that entering this world, younger more naive people would be easily deceived and hidden from the truth. Upon entering the city, Marco Polo’s initial perspective would be one of illustrious beauty, represented by clean polished walls and wide open spaces. The reality however is that of chaos and disarray within this once beautiful city. This is depicted through overgrown vines and rough-textured walls whilst feeling constricted and cramped.
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Reflection
In retrospect, I feel that I have learnt countless skills throughout these projects in both the physical sense and from an educational perspective. I have come to realise that part of these skills involves being careful and tedious but not focusing too long on the smallest minutia that can lead to getting carried away. Through these processes I have also had the pleasure of learning programs such as Rhino and InDesign which I have realised are essential parts of the architectural and design work-flow. I have come to discover that through platforms such as 3D design, my scope of what is achievable and how my concepts come to fruition has gained a whole new perspective. This has allowed me broaden my perspective of thought and open my mind to new ideas of what it means to design and how it can be achieved and in turn, physically represented. Having the ability to learn from in-depth workshops, oneon-one conversations in tutorials and working along side my peers, I have found the learning experience on of pleasure and great reward. I now feel quiet confident with these tools of design but also programs such as Illustrator and Photoshop which I previously had knowledge on but found myself utilising them with a whole new perspective. Although encountering many issues and errors along the way I have found that it is only through these mistakes that I am able to grow and expand my knowledge as a designer.