Portfolio

PoRTFoLIo Foundations of Design : Representation Semester 1 2017 Tsunenori Murata 867634 Studio 11 Junhan Foong

People often misunderstand my art-style as being lazy. Maybe I am not yet able to communicate with the abilities I have at the moment, or I will never be able to accomplish the goal of depicting with simplicity. This portfolio is where this struggle becomes visible.

The photograph on the left shows the beach in Wadaura, a small town where I was born.

Everytime when I come back to this town, I stand at the beach and see the never ending sky and ocean. The reason is apparent. It is because there is nothing restricting me.

No restriction, just simple, plain blue openness. This feeling defines my art style and it is evident in all of my works, or at least that is what I think.

Through out the sememster I have given myself one theme to work on, which is ‘How far I can defy Instructions and yet achieve the given goal’. It was a challenge to myself to see how far I can achieve the goals, demanded by the subject, with using my own style and interpretation.

My works are heavily reliant on the viewer’s imagination. The work does not define itself, so open your mind and create your own stories.

Please enjoy.

Tsunenori Murata

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HOW TO DRAW A CROISSANT? Orthographic Projection: - Take photographs of croissant’s elevation and plan view.

- Cut Croissant in equal halves along the short length to make 3 cuts.

- Photocopy the sections.

- Using tracing paper, trace over the photograph of elevation and plan.

- Make 2 traces of two views, one with hatching with pen and other with pencil shading.

- Scan the traces and combine the images in Photoshop. Align each traces to match each other.

Axonometric Projection: - Draw 10x10 mm grids over sections from Orthographic projection.

- Mark intersecting points.

- Rotate the plan view of base of croissant 45 degree, then draw vertical lines, with spacing of 10 mm, where the cut sections are.

- Using the vertical lines as a base create grids, and transfer the intersection points from the sections.

- Connect the dots to create the outline of the section.

Aligning photographs and scanned images had to be done precisely in order to get the axonometric projection as perfect as possible. Small error in orthographic projection lead to a big difference in size when making the axonometric projection. The error might have occured during the photo shoot, where the croissant had to be aligned perfectly parallel to the camera lens. Additionally, combination of camera lens and camera sensor size resulted in making a warp, often happen with wide lenses. This might have altered the dimention of croissant.

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FLATNESS VS. PROJECTION About this work: This is an axonometric drawing which was constructed from two screenshots of the actual game. The theme of this work’s design is diorama. My aim was to create drawing of a painting of mario world with mario figurines on top of the ‘painted paper’. I used vivid colours for the figurines and desaturated colours for the mario world painting. This does not only helps creating watercolour texture but as well as plastic texture which helps distinguishing the figurines from the mario world.

I mainly focused on applying the textures and creating the depth in the drawing. When transforming 2D image into 3D hidden empty spaces come in existance. To fill in the empty spaces I carefully merged the two mario worlds so that one world will fill in the other.

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PATTERN VS. SURFACE

The landscape to work from. This will be the base of the 3D 3D objects used :Bottom face is a square and triangle, model. square, octagon is used for the face on top.

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About this work: The theme of the design is geometric shapes creating organic 3D objects. All three shapes have a square as the base. Triangle, square, and octagon are used as top surfaces and are rotated to create twisted figures. When loft is applied in Rhino 3D (application), it automatically creates smooth organic shapes.

The centre object; has a heptagon on top, placed at the center, and is the tallest among the other 3D objects. Meaning that this object is the main object in this model. Even the curve attractor was used to emphasize this idea (objects gets shorter towards the centre.) 2D panels are also placed so that empty space is concentrated towards the center.

Designing in Rhino 3D Tools used: Panel 3D Custom Variable -Curve Attractors using a circle parallel to the center panels Second paneling Grid offset - Curve Attractors : Away (same attractor curve used) - Min Height 10 mm, Max Height 59.4 mm Panel 2D - Tribasic

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FRAME VS. FIELD

A passage extracted from the book “Invisible Cities” by Italo Calvino, is represented through 3D modeling Old Quad with symbols to show Marco Polo’s, the protagonist, action. The passage of Isaura, city of thousand wells, can be separated into two parts; first half with description of landscape and the other half with description of the two religions in the city of Isaura.

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About this work: I imagined as if the passage was a narrative that was spoken inside Marco Polo’s head while he obserbed the city. I minimized his movement and walking pace to show how analytical he is while he observes around the city. His movement lines up exacly with the passage where at the begining he observes the city in circle then stops near the opening and sees the landscape. As he walks through the city, his imagination and reality overlaps. Thus resulting in seeing hands and hand print of ‘gods’ that can be seen on the perspectives. Perspective 2 focuses on the terrified feeling that Marco Polo must have experienced by seeing his imaginary hands reaching out from the ground. To depict this emotion, I placed arrow representing stare and hands to tell that he is on the ground surprized. I also have made the tone of perspective 2 darker than the perspective 1 to create frightning atmosphere.

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The LandScape To match with the old quad’s design I used pen illustration of people from 12~13th century. All the wells are chosen to match the perspective, thus the styles varies. But it adds a characteristic to the city and also depicts the story well since the city of Isaura is ‘city of the thousand wells’ and it’s not nessacery built in the same style. The glowing hand in the foreground adds a mysterious sense in the scene. It implies that there is some ‘living creature’ underground.

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The Religion Perspective (pers) 2 is a continuation of the 1st pers. The mysterious hand in pers 1 is explained here. I specifically designed this view to have an empty space in the center so that the viewers can easily notice the clinging hand. But I didnt wanted viewers to notice it immediately. I intentionally placed a bucket with strong highlight to direct viewers attention away from the hand.

The hand represents the ‘gods’ that appears in the description of religion in the passage. It is a representation of Marco Polo’s imagination, thus it only appears in the corner of his eye.

It shows how he unconsciously connects the religion with the city as he observes around.

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REFLECTION

As for basic things I learned through out the semester, I leanred how to make axonometric projection in module 1. From modeule 2, it made me realize again that when transforming 2D object to 3D it will bring out the hidden empty spaces. I think the most challenging hurdle was getting used to Rhino 3D. However I had a fun time using the app which I would have never used if I didn’t take this subject. Through using Rhino 3D and experiencing tiny bit of 3D modeling, my appreciation towards architectural designers increased an enormous amount.

I feel that Module 1 was not successful. I didn’t know what was expected from the students in this subject at the beginning. As a result I finished the module being confused.

I learned from this module that I had to think beforehand about what was expected and what sort of end result was demanded in this subject.

If I have time, I would like to redo my Landscape model from module 3. I would have used thinner paper and spent more time building with precision since Ivory card wasn’t suitable for building complex models. If I was given a chance to do this module again from the beginning, I would make the 3D model more comlex.

Overall, it was a good experience. I learned so much about finishing tasks as early as possible. It also allowed me to fix minor mistakes and bring my works little closer to perfection.

I would like to thank my tutor and friends for the supports through out the semester

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