T H O M A S
M A R T I N I E L L O
FOUNDATIONS OF DESIGN: REPRESENTATION PORTFOLIO
THOMAS MARTINIELLO Foundations of Design: Representation SEMESTER ONE, 2017 STUDIO 2 - BROOKE 843 955
05 HOW TO DRAW A CROISSANT
13 PATTERN VS. SURFACE
09 FRAME VS. FIELD
19 FLATNESS VS. PROJECTION
22 REFLECTION
3.
M01: MEASURED DRAWING OF A CROISSANT HOW TO MEASURE A CROISSANT Within this module we developed fundamental drawing skills in both technique and drawing projections. The process of drawing my croissant involved photographing the elevations and scanning the base of the croissant. I then cut the croissant to make sections and scanned the sections as this enabled the scale to be maintained. Hatching was overlaid using a variation of pencil types (4H, 2H, 2B and 4B) on tracing paper. Finally using the scanned section images I was able to create an axonometric perspective of the croissant by using a grid and points. The images were then scanned and enhanced using Photoshop. The techniques I have learned from this task include how to create a photo stage using 2 lights and a white backdrop, as well as photo editing in Photoshop. I also learned hand drawing skills including hatching as well as how and when to use different pencil types.
5.
7.
M02: NEW MARIO WORLD THE MAKING OF A NEW MARIO WORLD Within this module we developed our skills in axonometric projection as well as our technical and digital drawing skills. Within my Mario world I attempted to create a path in which Mario would take to explore the world. This is how I approached linking the two separate worlds to make my new world. The world I created used different terrains such as rivers and hills to add dynamic and interest. I explored hidden space within my axonometric by creating new ‘micro’ scenes. Hidden space within the world was an aspect which could be completely re-invented as it was not viable the in 2d projection. To do this is used characters, small pathways and gaps between towers for Mario to explore and follow.
9.
?
DRAWING EQUIPMENT
? ?
HAND DRAWING IN PROGRESS
FINAL MARIO WORLD
FINAL HAND DRAWN AXONOMETRIC
HAND DRAWN WORLD
DIGITAL WORLD
11.
M03: PAPER LANDSCAPE THE MAKING OF NEW LANDSCAPE Within this module we learned how manipulate 3D geometries using paneling tools to achieve various effects on 2D paper models. My paper model demonstrates the change in terrain and it reflects the uneven and natural landscape. Within the model there is a distinctively high and low point with variations in typography between the two. The iteration of shapes chosen reflects how the landscape twists and undulates as it is a natural land form. Differentiation was made using surface and pattern within the 2D and 3D panels. The 2D panels were inserted at low points to exaggerate the variation in height over the model. The thick paper used has also forced the surface to bend and manipulate the geometries in order to replicate the rises and falls within the typography. Overall I am trying to achieve a natural looking landscape which flows and undulates through the use of surface and pattern. I believe that this was successful as the paper landscape has created its own interesting geometries and typographies within the one whole panel.
13.
LANDSCAPE
PANELING GRID POINTS FINAL PAPER MODEL
FOUNDATION SHAPE
3D PANELING GRID
ITERATION TWO
COMBINED 2D AND 3D GRID
ITERATION THREE
PANEL WITH LINE WORK
PLAN VIEW OF PAPER MODEL WITH 2D LINE OVERLAY
15.
MOMENTS CAPTURED WITHIN THE PAPER LANDSCAPE
17.
M04:
INVISIBLE
CITY
CITIES AND NAMES 4: CLARICE In my interpretation the city is one which fell into disrepair and disaster. The citizens were in hiding as the city they once knew collapsed around them. The story then goes onto the rebuilding of a new city and how people were rushing around the old city, transferring parts into the new. Within my project I am trying to show the juxtaposition between the old and new cities. The first is dark and dirty as the city is falling to pieces, whereas the second is light and orderly as it is the new evolved city. The back corner is the point from which the citizens of Clarice emerge to find the crumbing city. They are scrambling over each other and looking everywhere within the shadows. They move as does time and with them they take objects from the old city. They pass thresholds into the new and from there the space becomes lighter and the pace of walking slows. The new city is more orderly with smaller groups walking slowly. People’s stares and glances are curated to the objects of the new city. People enter and exit passing through new thresholds which mark the re-born Clarice.
19.
Key Perspective 1
Crowds
Perspective 2
Movement
(small to large)
(slow to fast)
1m
2.5m
ISOMETRIC MOVEMENT MAP WITH ANNOTATIONS
5m
Passage of Time
Stare
Movement of Objects
Glance
Threshold
Heavy Mood
Light to Dark
Light Mood
This scene represents the dilapidated and ruined city of which Clarice used to be. I have chosen heavy shadowing and dark characters to convey the feeling of darkness and the uncleanliness of the city. Fallen and broken objects such as columns and funerary urns can be seen scattered around the city creating a sense of chaos. Textures such as mold on the ceiling and dilapidated stone work add to the notion of the city falling apart. People were used in the scene to represent the confusion and panic as they rush around the old city.
PERSPECTIVE ONE
This scene represents the new city of Clarice which is not like the old, however it has had elements repurposed from the old city. The scene is a lot lighter as well as being less cluttered and more symmetrical. The same objects such as the urns and column capitals can be seen in this scene however they have been re-purposed to fit the new city. They are on display as a reminder of what the old Clarice once was. The people in the scene are also scarce and lighter conveying a sense of calm compared to the previous scene.
PERSPECTIVE TWO
21.
REFLECTION STATEMENT LOOKING BACK AT THE FOUR MODULES / 01 Throughout these projects I learned different means in which objects, surfaces, scenes and views can be represented. For example the laying out of the croissant in module 01 and using points from the sections to recreate the croissant in 3D by hand. This was a new form of representation which I had not used before. Furthermore, using paneling tools as a method to recreate and represent the given landscape. I really enjoyed exploring these techniques as well as being introduced to real world applications of them throughout the lectures.
/ 02 Throughout the semester I gained skills in Photoshop as I had never used the software before. I also furthered my skill set in Rhinoceros 3D with the paneling tools plug-in. In addition to this I improved and added to my hand drawing technical skill set with techniques such as hatching and knowing the difference between pencil types. Overall this semester has been very beneficial in improving both my technical and digital design drawing skills. They have both complimented each other and I have found it valuable to understand how a skill is used and undertaken by hand, before allowing technology to assist me.
/ 03 The least successful model for me was module 02. Reflecting on the work now I would have liked to have emphasised the use of shadow more within my world. I would also explore the hidden space above and below my world in more detail if I was to do it again. I feel that I could improve by focusing on making the smaller details more refined rather than trying to add more into the world. Reviewing my work I decided to made amendments to module 01, removing the hand written annotations and typing them instead. I also edited the final drawings further in Photoshop to remove marks in the background, as well as adjust the contrast to bring out the line work and hatching. Further to this I adjusted the images of module 04 by adjusting the brightness levels and contrast to help improve their clarity.