Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO Tina Luo
756481 Studio 17 - Carl Areskoug
MEASURED DRAWING OF A CROISSANT
How to measure a Croissant?
For Module 1, we started off with drawing
the basic outline of the croissant with a light pencil and traced over it with fineliner to define the unique features. The hatchings that were completed for the top, elevations and front view were drawn on tracing paper and a combination of 0.1 and 0.2 fineliner along with HB,2B,4B,6B, and 8B pencils were used to do the shading.
I found that with a combination of pencil and
fineliner, it allowed more flexibility with the hatching, as the pencil could introduce a softer and gentler coverage, while the fineliner clearly promoted the edges.
For the axonometric, we made a grid of points
to draw the edges of the croissant, and utilised the heights and widths of our individual croissants to draw the 3D version at a 45 degree angle.
Figure 1. Shaded versions of top, front and side elevations.
Figure 2. Scanned versions of top, front and side elevations.
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Axonometric
The axonometric was created by using the section cuts to outline what the shape of
each section would be like in 3D. A 10x10 cm grid was plotted for most of the sections and dots were made at the points where it intersected with the grid lines. A T-square was then used to draw perpendicular lines and dots connected to make the outer shape of the section cut.
With this module, I learnt how to draw things in proportion and also how to shade/
complete hatching in order to show shadow and light. I also learnt about how to label and organise my drawings in an aesthetic and balanced way when presenting.
Figure 3. Outlines of top, front, side elevations and section cuts.
Outlines
Firstly, we had to measure the precise widths, lengths and depths of our croissants,
and draw their top, front and side outlines. We also cut our croissants in half and then, split the half into thirds, so that the section cuts could be seen and traced.
The section cuts were drawn next to the top outline, in line with the measurement
marks we made where we cut the croissant. Some difficulties met were when the croissant decomposed over the three weeks we were working on module 1, and therefore the section cuts became a bit flatter in real life compared to the photos taken.
Figure 4. Axonometric drawing of the croissant through the use of section cuts, scanned and cleaned through Photoshop.
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NEW MARIO WORLD
The making of new Mario world
For Module 2, we had to complete a design of the space
between two separate Mario worlds, in axonometric form. We started off with two pictures of 200x200 mm of flat 2D Mario worlds. My two Mario worlds had many hills in the background, and a few pipes, with small blob-like characters on an elevated platform.
Due to one of the Mario pictures being lower than the other in
Figure 5. First Mario World - the image above
terms of height, I decided that the concept for my Mario world would
shows the upper half of the Mario 3D world.
be one where Mario reaches a goal by going from a lower area to the
There are varying levels of hills, and an elevat-
higher platform. The concept was Mario reaching Luigi’s egg as the
ed platform.
end prize, by being elevated through the many platforms that were placed around above the mysterious ocean of hills. My items and characters included things such as flags for starting and ending, items to boost speed and power, obstacles such as spikes on the ground, and also normal Mario characters, like the flower.
Most of the work was completed on Illustrator with the pen
and fill tools, and things to improve on would be in the shading and cleaner outlining. The potential to have a more varied and interesting middle ground was also recognised and will be implemented in future works.
Figure 6. Second Mario world - lower Mario world. There are a few tunnels, however, the background is quite bare.
Figure 7. Two Mario worlds combined.
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The first half of two combined Ma-
rio worlds completed. The two 200x200 mm sheets were placed at a 45 degrees angle and measured by a T-square for accuracy. My Mario world was quite tall, around about 18cm so it filled up an A2 sheet, and barel y fit into an A3.
A HB was used for most of the lighter
outlines, and fineliner for the final putting together.
Figure 8. Pencil projections of Mario world.
After completing the meshing of the
two worlds, I went over the outlines with fineliner on tracing paper. It was then scanned and edited on Photoshop to clean up the darker lines and messier outlines. The levels were adjusted to provide a whiter background and cleaner surface to work on in Illustrator.
Figure 9. Fineliner outlines of the projections Figure 10. Scanned and cleaned version of combined Mario world.-
of Mario world.
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NEW MARIO WORLD: APPENDIX AND NOTES
Figure 11. First draft of the Mario world, half completed.
Figure 12. Small details lost after scanning; fineliner
Figure 13. Filling and shading in colours over the outlines
Setting up the workspace, Mario world 2D at a 45 de-
turned out to not be dark enough to show through,
in Illustrator. Different layers created for each object.
gree angle with T-square and set of B pencils.
especially when scanning with tracing paper.
Figure 14. Inspiration for the obstacles
Figure 15. Flower, bllet and mush-
and characters for the Mario world.
rooms were chosen from this image for the characters in the Mario world.
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PAPER LANDSCAPE The making of new landscape
My paper landscape was primarily based on
attempting to find shapes that would fold together well and connect through a triangular base. I created variation through lengthening the height of the middle of the grid and also creating different shapes such as arrows (triangular), hexagons, and square based pyramids. The difficulty with my design for the paper landscape was that individually, the shapes fit together quite well, however due to the different bases (triangular and square), my attempt of connecting unique shapes did not work out as expected and some bases ended up with gaps in between.
The concept I was aiming for was the 2D panelised
surfaces in between the 3D to be like a flat map for a festival area. The hexagons and square pyramids represented the marquees, the arrows are the stalls, and 2D spaces are the paths.
Overall, the type of surface and theme I was trying
to create was one that would utilise different shapes to create variation rather than the original surface, because the topography I recevied was quite flat from the beginning.
Figure 16. A paper landscape composed of hexagonal, square based pyramid, and rhombus shapes, folded from nets of 160gsm white matte paper.
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Topography of Tasmania in Rhino - rendered version;
this is the base that I started off with. We began by plotting grid points onto this .
After trialling different shapes and objects, I ended
up with the above example as a trial product. One of the square based objects was unrealistic to make so I tried another.
Figure 17. Paper landscape connected through tape, and glue, and clipped together to dry, made with 160gsm paper.
One of the most difficult parts about this project was that some of the individual shapes did not connect together, so it was extremely time
consuming to create each individual net for each block. I found creating the objects to be the most interesting part of Module 3, as it required me to think about what kind of shapes and concepts I wanted to create, and also what shapes would be able to connect together well. Due to time con
Final Rhino model with colours differentiating each
net and object. Most of square based objects connected but most others due to their shape, did not.
straints however, trial and error for what shapes could and could not work ended up taking a while, and in the end, I worked with the shapes that I had.
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PAPER LANDSCAPE: APPENDIX AND NOTES
When creating the objects for my
paper landscape, I started off with a triangular 2D panel base and extruded shapes according to the height and width of the triangles based off of that. Afterwards, using the cap command I closed off some of the shapes such as the hexagon to make solid 3D shapes. Figure 18. Shaded black and white version of the grid, without 2D panelling second trial.
In order to reduce and eliminate
as many of the gaps as possible between the triangular shapes and square 2D panels, I decided on manually creating triangular tabs for each object so that they would be able to stick to the sides of the square panels.
Figure 19. Coloured and netted version of Figure 20. First trial version of 3D panels without removing objects for 2D panels. Curvature of the map is shown, however it
the final map, with 3D and 2D panelling
can also be noted that the square based shapes are not connected and seem unrealistic to make.
confirmed.
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INVISIBLE CITY: OLIVIA Cities and Signs 5: Olivia
The city of Olivia is one with two different faces;
a cty that is divided between the light and the dark, the rich, extravagant and noble versus the poorer, industrial commoners. Through my work, I attempt to address the contrast between the two sides by creating a symbol (the droplet), which represents the divide between the rich and poor but also symbolises the canal which cuts through the city - a symbol of balance, flow, but also division.
Marco Polo starts off in the bottom left corner,
crossing through a light and spacious area which represents the palace perspective (P1), and as indicated by the large steps and light symbols, he is in area which is quite peaceful, enjoyable and not crowded. As Marco Polo heads to the right into the outside world, he talks about the Olivia that is covered in soot and grease, bustling and swarmed by hordes of travellers and traders across the river into the other darker side of the city.
I attempted to clearly show the division of time,
space and mood between the two areas very clearly with the spacing between symbols and the divide of the river. As the viewer follows the notated isometric, from the bottom left corner at P1 to perspective 2 where Marco Polo is observing the other side of the city, they can see that it follows the order of events in the written narrative.
Figure 21. Notated version of isometric with all symbols placed within to show Marco Polo’s movement throughout the city of Olivia.
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“Light Little World”: Perspective One
The theme I decided to create for
Perspective 1 was to try and depict the extravagance of the Olivia as described by Marco Polo in the narrative. He describes “fringed cushions on the seats by the mullioned windows”, letting the reader imagine a grandeous and elegant palace scene where luxury is boundless.
I used marble to represent luxury
and extravange for the pillars and arches, and added in scenery of a canal with a Venetian themed city in the background to give off the impression that the nobles were separated from the commoners by the divide of the water.
Nobles are happily talking to each
other and enjoying themselves in the afternoon (as indicated by the shadows of light) and have the luxury of keeping whatever pets they desire, be it dogs or peacocks. I chose to present this scene with noble ladies because it gave the perspective a more elegant, softer and lighter atmosphere.
Overall, I think that Perspective 1
was the more successful of the two perspec-
Figure 22 . First perspective of Marco Polo’s travels in the city of Olivia; a frontal gaze down the hallway of the noble area in the town, depicting a wealthy and fortuitous atmosphere
tives.
along the banks of a water based city. Textures and levels edited on Photoshop and characters traced and cleaned using Illustrator and Photoshop.
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“The Other Side”: Perspective Two
Perspective two’s concept was the
theme of the other - representing the other side of Olivia. Marco Polo describes the nights and outskirts where men and women are like sleepwalkers and the common folk which is the darker side of Olivia. He mentions to the reader to never take things at face value, and how the elegance of one side of the city only serves to perpetuate the other.
I chose a nighttime scene present-
ing a girl rowing a canoe slowly through the canal - the divide between light and dark, rich and poor. In the narrative, the ladies who ride the canoes represent the freespirited and refined Olivia, however, it also reminds us that the city is not as beautiful as it seems. The girl who rides the canoe is looks sombre which contrasts with the tranquility of the background presenting the scene as one of conflict rather than peace.
The buildings and textures of the
dock are wood and granite, which is a far cry from the rich marble of Perspective 1, reminding the viewer of the contrast between
Figure 23. Second perspective of Marco Polo’s travels; the observation of the canal and people who live in the darker side of Olivia. Textures and levels edited on Photoshop and
the two worlds.
characters traced and cleaned using Illustrator and Photoshop.
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INVISIBLE CITY: APPENDIX AND NOTES
Figure 24. Perspective 1 in ghosted view captured on Rhino. Palace scene chosen for
Figure 25. Perspective 1 in rendered view captured on Rhino with sunlight command
this view because it projects a long hallway down through multiple columns and arches
turned on for shadows, and characters and objects added in. Windows and back-
and also has multiple windows to “show� sunlight and depict background scenery.
ground scenery added in Photoshop.
Figure 26. Perspective 2 in ghosted view captured on Rhino. Canoe scene chosen
Figure 27. Perspective 2 in rendered view captured on Rhino with sunlight command
for this view due to the arches providing a wide enough perpective to act as canal
turned on for shadows. Simple objects added in this scene and the rest were added on
entrances and multiple arches show background scenery clearly. It has a big enough
Photoshop. Levels were changed on Photoshop, and the use of the multiply command
space to depict the nature and water of the city.
were used to change it to a night scene.
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REFLECTION
Throughout all of these projects, I have learnt about orthographic projections and how to think in the process of
I attempted to fix up the Rhino model of the 3D surface as much as possible to hide the gaps in be-
design (Module 1) and the differences between subjective and objective views and how axonometric creates an objective
tween shapes in Module 3. Module 4 had a few issues with the second perspective being a bit too
view in a Mario world (Module 2). Furthermore, we were able to create physical models and learn about developable
dark when printed out, and I fixed it by adjusting the levels of colour and also hue and saturation on
surfaces that would and given examples from real life (e.g. Federation Square) in Module 3, and finished off with looking at
Photoshop afterwards. I also believe that to enhance my concept of contrast between the rich and
movement and perspective through notation in Module 4.
poor (light and dark) in M4’s city, I could have chosen a different scene to base my second per-
From Module 1, I learnt how to label and correctly measure objects when presenting, and how to organise my work in
spective on, such as a market scene with trailers and common folk.
an aesthetically pleasing and balanced way. The methods of hatching were also taught and how to create hierarchy within a
diagram. The different perspectives of drawing, such as orthographic projections and axonometric were also learnt. In Module
produce works, but also time management skills and organisation for the future. In addition, I think
2, instructions on how to use Photoshop and Illustrator to colour and fill in the Mario world were learnt, and also on how to
this subject has helped me improve my creativity and broadened my thinking of what design could
clean up pictures. I didn’t have much experience with any of the Adobe programs before, but now I have learnt how to use
mean.
Overall, I think from ARCH10001 I have not only learnt practical skills of how to design and
most of the things in the toolbar and also how to use some specialised functions. For Module 3, we learnt about how to create 3D models on Rhino and the concepts of folding and how it can be used to create developable surfaces. From this, I learned how to create nets to make physical objects and models that could connect together. Finally, Module 4, we learnt about how to model the Old Quadrangle at Melbourne University using Rhino yet again, and reinforcing the skills we learnt in the previous model while also introducing the concept of notations. Module 4 taught me many skills especially in Photoshop, on how to clean up an image and edit it to blend into a background, creating a “story scene”. I thought M2 and M4 were the most helpful for me, because it included teaching about programs that could appear in all types of industries, from engineering to architecture, and any other place that would involve design.
I think that each of the modules could have been improved in different ways. For M1, more work on the hatching
and focussing of where the shadow and light would highlight the features of the croissant, in addition to improving the presentation of the croissant would have been better for that module. Module 2 needed care with the outlines and colouring of the world, but also adding a few more elements to the middle ground to make it a lot more interesting. For Module 3, it would have been a better choice to go with a base that could easily fold and connect with other bases easily, instead of choosing difficult shapes that were unstable.
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