Summer 2019 - Graphic Communication Reference Guide by David Karle

Summer 2019 Arch 4/5/897 Graphic Communication Faculty: David Karle, Associate Professor of Architecture University of Nebraska College of Architecture

University of Nebraska-Lincoln College of Architecture 232 Architecture Hall Lincoln, NE 68588-0107 (402) 472-7943 http://architecture.unl.edu Summer 2019 Focusing on software tools for representation (Photoshop, Illustrator, InDesign) this class will provide a comprehensive approach to the mechanics and fundamentals behind print related design for environmental designers. All Rights Reserved. No part of this publication may be reproduced in any manner whatsoever without permission in writing from the University of Nebraska - Lincoln, College of Architecture. The mission for the Architecture program is to provide the educational foundation for articulate, intellectually aware, self-realizing architecture professionals capable of performing effectively in evolving design disciplines.

Graphic Portfolio

Graphic Study

114

Graphic Investigation

This course will demonstrate critical working strategies of all three Adobe creative suit programs with the goal of preparing students for their individual disciplinary studio tasks. Basic fundamentals will be investigated, synthesized, and utilized through a series of teaching methods including: lectures, charrettes, field trips, and project assignments. Students will work on three phases during the course. Phase one “Representation” illustrates and records various drawing method. Phase two “Drawing Investigation” researches a known representation method. Phase three “Portfolio Review” will update one current portfolio layout. The drawing methods identified and learned will apply to all three programs and students are expected to demonstrate basic building blocks from phase one and document step-by-step process in phase two.

Gabby Argamosa

Jessica Brennan

Mathew Drummond

Tanner Lloyd

Kinley McGowan

Andrew OttingCrandall

Jesus Perez-Cortez

Mohammad Qutb Aldeen

Manuel Ruiz

Phillip Smith

Portfolio 6

This phase revisited and updated a project layout in a personal portfolio.

Portfolio Review: Gabby Argamosa Jessica Brennan Mathew Drummond Tanner Lloyd Kinley McGowan Andrew Otting-Crandall Jesus Perez-Cortez Mohammad Qutb Aldeen Manuel Ruiz Phillip Smith

Portfolio

Portfolio 8

Portfolio Review Gabriella Argamosa

Student Reflection

The portfolio assignment was vital in paving the appropriate way of starting architecture portfolios. In the past, I had little to no skills regarding graphic organization and representation of my work. The only way I was able to curate my first portfolio was to use what I have seen online, and many of them were based on graphic design portfolios. Now, I can recognize what sets the difference between portfolios and continue on the right track with aid of the efficient ways and tools. This foundation will be used to set up my undergraduate portfolio that can be used for internship applications and other future references.

Student Technique

Description: Portfolio for academic and professional opportunities Instrument: Adobe InDesign, Adobe Illustrator, Adobe Photoshop, and Rhino Resource Material: 2nd year application portfolio and 2nd year fall studio work

Source: Holl, Steven. Steven Holl Written in Water. Basel: MĂźller, 2002.

Portfolio

1.0 To adjust document layout, click on “Properties” panel > Adjust Layout.

Portfolio

1.1 Set document size to 8.5” x 11” and change orientation if needed.

1.2 Set top, outside, and bottom margins to 0.5 in. Then set inside margin to 0.75 in. 1.3 Set each bleed to 0.125 in. Observation/Conclusion: This sets the custom settings to each page, making each page unified.

2.0 Before setting up grid/guides, create layers by clicking on the “Layers” panel. 2.1 Set up a layer for the grid/guide, graphics, text, and other content that may be included. 2.2 Select the layer with the grid/guides and lock the remaining layers. Observation/Conclusion: This sets the layers to serve as a foundation for document organization.

3.0 To set up grid/guides, click on the “Pages” panel. 3.1 Double-click on the pages beside “A-Master” to enable master page. 3.2 Drag down guidelines to places where text boxes or images should be located. 3.3 To click out of the master page, double-click on one of the regular pages. Observation/Conclusion: This sets the grid/guides to be in all pages.

4.0 To set page numbers, click on the master page. 4.1 Insert a text box (T) to desired location of numbers on the pages.

4.3 Double-click on a regular page to exit out of master page. Observation/Conclusion: This simply sets the page numbers to pages.

5.0 To insert graphics, make sure the corresponding layer is selected. 5.1 Select “Rectangle Frame” tool (F) to create an empty rectangle and locate it to the active space for graphics. 5.2 Select the rectangle and click on the dropdown “File” > Place to insert content. 5.3 To edit content, right-click to adjust settings. Observation/Conclusion: This allows the active spaces for graphics and text to correspond to the grid.

6.0 To set up text hierarchy and organization, insert a text box (T). 6.1 With the text box selected, click on the dropdown “Type” > Character Styles. 6.2 Click on the “Properties” panel to select font and adjust tracking to desired settings. 6.3 Repeat same steps for Paragraph Styles. Observation/Conclusion: This sets text boxes to be easily changed as a whole throughout document instead of individually.

Portfolio

4.2 Select the drop down “Type” on top of the screen, then click Insert Special Character> Markers > Current Page Number.

Student Work: Before

Intent / Audience: Faculty Review

Gabriella Argamosa Design Portfolio University of Nebraska-Lincoln

Instrument: Adobe InDesign, Adobe Illustrator, Adobe Photoshop

2017-2018

Font(s): Century Gothic

CONTOURING

Beginning

THE SHELDON

With the first exercises assigned outside of class, I learned how contouring can completely refine and bring a drawing to life. My contour skills expanded as I continued to draw loosely with the help of quick gesture drawings along with experimenting with cross and blind contours, and many more.

For one of my final projects, I formed a small drawing series of the Sheldon Museum of Art. The process relied on planning and picking out different views to access the best representations.

Terminal PATH TO CAMPUS

SHADING

As for my other final project, I focused on the Love Library and surrounding buildings. The process consisted of getting accurate proportions of the library to picking a side of the College of Business Administration as a complement to creating a pathway to campus.

Along with contouring, the importance of shading was emphasized. I represented that importance with the help of charcoal drawing tools. In this way, I learned how to channel the hierarchy between negative and positive spaces.

Process Sketches

ARGAMOSA | 2

ARGAMOSA | 3

3D Printing

The Future of THE FUTURE OF STUFF

Design Thinking

Size: 8.5” x 11”

Design Drawing

Process Sketch

For the semester, my section was assigned to work on projects that dealt with the “future of stuff”. As for my team, we wanted to explore the emerging role of 3D modeling and printing. Eventually, we saw its momentum to push for a new innovative take on everyday life. With this in mind, we started by pursuing its possible part in education only to find out that it is already being implemented in that area.

Then, we dug deeper and found a compelling question: Can 3D printing replace mass production? This led the way to our final presentation where we proposed a system that answered yes to the question. Backed by research indicating positive and beneficial results, we constructed an algorithm website that helped businesses pick the best 3D printer that suits their needs. Next, we developed a factory, called “New Age Printing (NAP)”, that showcased the efficient business of 3D printing. Lastly, we organized a service that NAP provided its clients to help them transition to the world of the 3D technology.

ARGAMOSA | 4

Design Making

Reflection: The portfolio was an arrangement of accumulated work during the first year program. With this amount of content, the layout is congested and also highlights an imbalance of graphics and text.

ARGAMOSA | 5

The Labyrinth

My first final projects were a result of fundamental design language. This project focused on pushing out the 3D qualities of 2D compositions. So in turn, the process consisted of many different ways to deliver design intent. Also, the whole process tested my craft skills as I learned many ways to maneuver and polish my designs.

The Foundation Face The Cube My design intent wrapped around the idea of my biggest plane puncturing the top face of my model and stopping right before it hits the bottom. This plane proved vital for it set up the purposes for the other planes protruding the cube. They all worked together to emphasize space that opens to each other through small openings. Lastly, the rockite model was very successful in tilting the cube around to reveal major openings.

Axon Rendered View

Longitudinal Section 1/2”=1’0”

ARGAMOSA | 6

THE NARRATIVE Located along the Long Beach boardwalk, my final design serves as a passageway to endless summer gatherings. As passersby saunter out and about, they eventually take notice how my threshold leads into a venue courtyard. My design opens the courtyard with an opening at different heights that shows the shape of my module mirroring each other. In this way, guests are either welcomed to the quick glance of the courtyard itself or to the bay of seating on the other side. This bay of seating duplicates a little replica of an amphitheater where people can sit down to watch the festivities going on inside the venue. Or, they can even peek over their backs and out to the opening to catch an Section C 1/2”=1’0” overlook of the beach. ARGAMOSA | 7

West Elevation 1/8”=1’0”

South Elevation 1/8”=1’0” Exploded Structure

ABOUT As the Gothic Arcade paved my Rhinoceros knowledge, I moved on to model the Ontario Celebration Zone North Pavilion by Hariri Pontarini Architects, which is located in Toronto, Canada. Throughout the project, the air giant provided an easy access for circulation, so it granted an opportunity for a quick circulation/flow diagram. Also, its unusual shape provided a unique challenge in modeling as it got me thinking ot how the skin and structure combined together.

Circulation/Flow Diagram

A B

Plan 1/8”=1’0”

Site Plan 1”=100’

Coming down to the final project, I decided to try the simple approach. To start the project, I found a module that resembled an “L” shape. Throughout the project, I found an ample of ways to play and stretch with my module. I did this by experimenting with scale and extrusions. In the end, my design was very successful in providing functional seating.

Plan 1/2”=1’0”

Ontario Celebration Zone North Pavilion Hariri Pontarini Architects

Design Computers

Portfolio

Resource Material: 2nd year application portfolio

ARGAMOSA | 8

Rendered Section Perspective

Section A:AA 1/8”=1’0”

Section B:BB 1/8”=1’0” ARGAMOSA | 9

Student Work: After

Intent / Audience: Internship opportunities and academic reference Instrument: Adobe InDesign, Adobe Illustrator, Adobe Photoshop

Fall 2018 | Arch 210

H I D E AWAY

Resource Material: 2nd year fall studio work

Woods Park, Lincoln, NE

Portfolio

Reflection: The new portfolio layout is notably lighter due to the visual pace created by the appropriate balance of graphics and text. Proper alignments also contributed to the composition of the whole.

What’s Inside and Outside The design explores the concept of nesting. With the intention of secluding bathers from the outside world with the combination of nature and materiality, detached enclosures are produced. Each enclosed bath offers a variety of activity within. In contrast, each pocket of space is linked to one another through pathways that optimize and encompass the entire bathhouse.

Size: 8.5” x 11” 1

Font(s): Europa and Minion Pro

OUTDOOR TENNIS COURTS

POOL HOUSE

CHANGING ROOMS

POOL HOUSE

LOCK

ERS

BATHROOM

LOCKERS

SHOWERS

LOBBY

LOCKER ROOM

COLD BATH

TERRACE

HOT BATH DN

WARM BATH

The Versatility of Nesting

Weaving Through the Space

Nesting not only offers a concept but provides a firm strategy as well. The strategy initiates the foundation for the building’s juxtaposition and surroundings and each bath’s structure. From this process, relationships weave through one another to create alignments.

The plan extends to all three of the baths to depict a suggested and straightforward pathway to ensure bathers do not miss any of the baths. As the space progress from the left to right, it also progresses in a vertical fashion where bathers are resolved to climbing from underground to different levels on the ground plane.

(top) Site plan shows different alignments directed by a projected grid. (middle) exploded axons of each bath shows nesting within each bath’s structure.

Atmosphere

Levels

Not only do the baths differ in temperature but also through the gravity of the materiality. Concrete, wood, and glass define each space based on the amount of their presence.

Despite the depiction of all three baths in one plan, each bath is located on different levels. From the locker room, the bather first explores the cold bath, which resides underground. From this level, the bather comes up to the surface and up to the highest point where the hot bath rest. With little elevation from the ground, the bather continues to the ground plane and into the warm bath.

(top) The exterior material blends with the trees, allowing the building to be hidden. (middle) From cold bath, to hot, and finally, warm bath, bathers discover different light qualities. (bottom) programs paired in sequential order of circulation with blue fills indicating the baths.

(top) North elevation corresponding to the exterior facade to the (left). (middle) Section A depicts the level of the hot bath. (bottom) Section B depicts the levels of the cold and warm baths.

Portfolio 14

Portfolio Review

Jessica Brennan

Student Reflection

Developing this portfolio gave me a chance to curate my art in a style relatively new to me. Portfolios in my past have been substantially less professional than this and having an opportunity to foucs on this portfolio as a piece itself instead of a collection of my other pieces has been incredibly helpful. It expanded the calliber at which I present my work and changed the tone of how others will view these pieces. It has also taken away future time spent organizing a new portfolio every time I make something new. Having this strong template will allow me to grow with this portfolio as my professional career continues to progress and evolve.

Student Technique

Description: The portfolio will be used for presentations to potential employees. Instrument: Adobe InDesign, Adobe Photoshop, Adobe Illustrator Resource Material: Artwork made from 2017-2019.

Source: Photo taken by Jessica Brennan

Portfolio

1.0 Open Illustrator and create an artboard large enough to organize all your spreads. 1.1 Choose a page dimension and create the number of spreads you’ll need.

Portfolio

1.2 Organize the spreads into sections.

1.3 Order your sections to make a strong flow for the reader. Observation / Conclusion: This steps helps visualize potential problems with section sizes and overall flow of the book. 2.0 Using the Storyboard from step 1, create boxes that represent graphics and text boxes. 2.1 Organize the text boxes and graphics on each page as a rough grid. 2.2 Look at the weight of the overall book and aim to make a balanced flow. Observation / Conclusion: This allows you to see how pages will interact on a large scale to help make decisions easier on a page by page basis. 3.0 Open up InDesign and add pages in the “pages” tab until you have the correct amount for your book. 3.1 Select the master pages in the “pages” tab. 3.2 Under layout, select Margins and Columns. 3.3 Set all margins to 0.25 except for the inside one, which should be 0.75 to account for binding. Observation / Conclusion: This step is a crucial foundation for making your pages look like they belong in the same book. 4.0 While remaining on your master pages in the Margins and Columns tab, direct your focus to the columns option. 4.1 Reference your storyboard to decide where your grid lines should go. 4.2 This option will give you equally spaced columns. If you wish to make columns that do not adhere to this format, click on the ruler on each side of the artboard and drag onto the page. Observation / Conclusion: This allows a more detailed reassurance of synchronicity from page to page. Although pages will be different, they should all adhere to this structure.

5.0 Select the Rectangle Frame tool in the left tool bar. 5.1 Reference your storyboard and being to flush out details based on your grid lines.

5.3 Look over the new detailed plan of your flow and make changes as necessary. Observation / Conclusion: This is further rendering of an overall structure that will organize your book in a way that will make it easy to add new projects quickly in the future. 6.0 Open finder and begin adding in the graphics 6.1 Make sure all images are clear and cropped appropriately. 6.2 Do not change the size of the graphic’s box. It is important to keep them the same size to show consistently. 6.3 Revisit your overall layout in pages to see if the graphics flow from page to page. Observation / Conclusion: This is important before you start adding text to make future steps easier. 7.0 Then add text into your text boxes. 7.1 Choose a font from the font panel. If you do not find a worthy one, download one from the Adobe Font Kits. 7.2 Change font size to an appropriate number based on page size and if the text is a headline, body text or page numbers. Observation / Conclusion: This step is just about getting all of your pieces and data on the page to prepare for organizing it to your grid more specifically in the next steps. 8.0 Under the Window tab go to Object & Layout, then select Align. 8.1 Start by choosing your width between text boxes. Choose two you want to start with. Use the bottom section of options to select “Use Spacing” and use the button to the left. 8.2 Repeat with special groups of text and group them together. 8.3 If you have multiple groups of text on the page, after they are grouped separately, repeat the process and modify the space between each of the groups. Make sure all boxes are justified. Observation / Conclusion: This ensures that all spacing is exact and precise, giving your book a polished, professional feel.

Portfolio

5.2 Create text boxes and indicated spaces for each graphic you have in mind to vizualize your active space.

Student Work: Before

Intent / Audience: Apprenticeship at a Tattoo Shop Instrument: InDesign

Portfolio

Resource Material: Artistic work.

Reflection: The portfolio was a full bleed spread of each drawing. Size: 8.5”x11” Font(s): No text.

Student Work: After

Intent / Audience: Apprenticeship at a Tattoo Shop. Instrument: InDesign, Photoshop

Reflection: The portfolio became a more professional curation of my artwork. There are now dignified spots for analysis and explanations as well as details about materials, time frames, and dates. Size: 8.5â&#x20AC;? x 11â&#x20AC;? Font(s): Minion Pro, Forma DJR Micro (Light, Italic)

Portfolio

Resource Material: Artistic work.

Portfolio 20

Portfolio Review Mathew Drummond

Student Reflection

The creation of the portfolio highlighted the importance of representation to effectively communicate to an audience with little to none verbal communication. By understanding the importance of representation, this impacted the images that I would choose and what is the level of hierarchy needed between each image. Another impact the portfolio had was the importance of efficiency and organization with the selection of material. With the realization of how important efficiency and organization is, I was able to streamline the creation of my portfolio. Even though I had created enough content to be used during studio presentations, the challenge at hand was, which image benefits my project the most? From the creation of this portfolio, I learned the importance of hierarchy through representation and how to successfully communicate to an audience that I identified as a potential employer.

Student Technique

Description: The portfolio will be used for project hire consideration, showcasing work, and a catalog of my work for future reference and organization. Instrument: Adobe InDesign, Adobe Photoshop, Adobe Illustrator Resource Material: Academic work from the spring studio of year 4 of a 4 year undergraduate program. As well as the fall studio of year 1 of a 2 year graduate program.

Source: Render Done by Mathew Drummond

Portfolio

1.0 Open up InDesign for the purpose of creating a storyboard.

Portfolio

1.1 Write down the projects that are available for the portfolio.

1.2 Within the document create rectangles that represent page dimension and start to create hierarchy within the projects. 1.3 Add text to those rectangles stating what will be on each spread. Observation / Conclusion: This will dictate the amount of pages needed for the purpose of creating a portfolio. 2.0 Select File > New > Document to create a new portfolio. 2.1 Set page dimension to 6 5/8” x 10 3/16”. 2.2 Set the margin, top to .375”, bottom to .5”, inside to .75”, and outside to .375”. 2.3 Set the bleed to be .125” for all four category. Observation / Conclusion: Creates a document for purpose of a portfolio. 3.0 Right-click on the pages tab to create a new master page and set the name to General Layout 1 and click OK. 3.1 Click on the ruler off the page to drag down a grid line. Set that grid line to 6.7031. 3.2 Repeat the step again, this time setting the grid line to 7.0658. Observation / Conclusion: By doing this you create a base line and a hanging line that helps organize your images.

4.0 Select the Rectangle Frame Tool and drag from the top right corner of the bleed line towards the bottom right corner of the base grid line. 4.1 Using the Rectangle Frame Tool, create a square that is set to 2.62” x 2.62” and align the bottom left corner of the rectangle to the bottom left of margin on the page. 4.2 Copy the rectangle and paste it aligned to the bottom right of the margin. Repeat again on the next page for a total of three boxes. Observation / Conclusion: Doing this creates a framework for your images.

5.0 Select the Type Tool and draw a box that is 2.27” x 1.16”.

5.2 Within the menu set the name in general to Description. 5.3 Click on Basic Character Format and set the font family to Bell MT and font style to Italic and font size to 9. Then click OK and select the text box and apply the Description style. Observation / Conclusion: A shortcut has been created that allows the user to set a text box. 6.0 Select the Type Tool and draw a box that is .23” x .07”. 6.1 Move the box to the bottom left of the page. 6.2 Double click the box to bring up the typing prompt. Once the prompt appears go to Type > Insert Special Character > Markers > Current Page Number. Observation / Conclusion: Apply a page number to the left side of the page.

7.0 Click the pages tab on the right and right click General Layout 1. Once selected, click Duplicate Master Spread “General Page 1”. 7.1 Rename this layout to General Layout 2. 7.2 On the new master page add a new grid line at 4.875” and another grid line at 5”. Observation / Conclusion: Creates a new layout that can be applied to the portfolio. 8.0 Align the bottom of the top Rectangle frame to the new base grid line. 8.1 Select the Rectangle Frame Tool again and create a new box that is 1.7” x 1.7”. 8.2 Copy the box 2 more times and space them equally between the two sets of grid lines. Observation / Conclusion: Adds more options for imagery, which is consistent with General Layout 1.

Portfolio

5.1 Click on Paragraph Styles tab and create a new style.

9.0 Click on Layers and create a new layer titled â&#x20AC;&#x153;Active Zoneâ&#x20AC;? 9.1 Select the Rectangle Tool and draw two boxes that cover the frames.

Portfolio

9.2 Select the two boxes and set the color to C=100, M=0, Y=0, K=0.

9.3 Then drop the Opacity to 50%. Observation / Conclusion: Creates an understanding of what zones hold imagery and where the eye looks. 10.0 select the layer called Active Zone. 10.1 Create three rectangles from the Rectangle Tool and cover the frames. 10.2 Select the three boxes and set the color to C=100, M=0, Y=0, K=0. 10.3 Then drop the Opacity to 50%. Observation / Conclusion: Highlights the zones that hold imagery and shows what is consistent between spreads.

Portfolio

Student Work: Before

Intent / Audience: Internship consideration at Architecture or Design firm.

Portfolio

Instrument: InDesign, Illustrator, Photoshop

Resource Material: Spring semester of 4th year in the undergraduate program. Reflection: The portfolio was an arrangement of completed work that followed a simple layout, utilizing the yale binding technique. Size: 6 1/4â&#x20AC;? x 9 1/4â&#x20AC;? Font(s): Agency FB

Student Work: After

Intent / Audience: Conceptualizing style and layout organization for future use as a hard copy for potential internship at an architecture or design firm.

Resource Material: Spring semester of 4th year in the undergraduate program. Reflection: The portfolio become a more deliberately composed organization of drawings previously developed for board use. Size: 6 5/8â&#x20AC;? x 10 3/16â&#x20AC;? Font(s): Corbel & Bell MT

Portfolio

Instrument: InDesign, Illustrator, Photoshop

Student Work: Before

Intent / Audience: Internship consideration at Architecture or Design firm.

Portfolio

Instrument: InDesign, Illustrator, Photoshop

Resource Material: Fall semester of 1st year in the graduate program. Reflection: The portfolio was an arrangement of completed work that followed a simple layout, utilizing the yale binding technique. Size: 6 1/4â&#x20AC;? x 9 1/4â&#x20AC;? Font(s): Agency FB

Student Work: After

Intent / Audience: Conceptualizing style and layout organization for future use as a hard copy for potential internship at an architecture or design firm.

Resource Material: Fall semester of 1st year in the graduate program. Reflection: The portfolio become a more deliberately composed organization of drawings previously developed for studio use. Size: 6 5/8â&#x20AC;? x 10 3/16â&#x20AC;? Font(s): Corbel & Bell MT

Portfolio

Instrument: InDesign, Illustrator, Photoshop

Portfolio 30

Portfolio Review Tanner Lloyd

Student Reflection

Creating this portfolio taught me a lot about the importance of the layout particularly the grid system that is used and how the pages will look when put together in a spread. Consistently sticking with a grid through out your portfolio will make the pages easier to navigate and understand. Another point of importance is making sure you have quality content to put in the portfolio, this means high and low quality JPEGâ&#x20AC;&#x2122;s and PDFâ&#x20AC;&#x2122;s and a multitude of pictures from your models. During this project I have not only grasped a better understanding of graphic layouts but I have also advanced my skills in InDesign.

Student Technique

Description: The portfolio will be used for graduate school application showcasing the work I have accomplished at the University of Nebraska Lincoln Instrument: Adobe InDesign, Adobe Photoshop, Adobe Illustrator, Rhino, and physical modeling Resource Material: Academic work from years 1 and 2 of the undergraduate program

Portfolio

1.0 Open InDesign and create a new document 1.1 Set the page to 8.5” x 11” in landscape

Portfolio

Observation / Conclusion: This gives you a general page that you can copy repeatedly to make your portfolio

2.0 First create a master page 2.1 Under the Layout bar click “Margins and Columns” 2.2 Set the margins to 0.75” except for the inside margin, set that at 1” Observation / Conclusion: These margins allow for a generous border along all edges and ensures minimal loss in the gutter

3.0 Select the master page you created to edit it 3.1 While in the master page start dragging guide lines from the rulers on the edges of the workspace window 3.2 Align guidelines to places where text boxes or images should be located Observation / Conclusion: This gives you the same guides across all you pages so they will run together smoothly 4.0 Select a regular page in your new portfolio 4.1 Right click and set the master page you created to this page 4.2 Use the rectangle tool to create black boxes where you wish for images to go 4.3 Use the rectangle tool to create grey boxes where you wish for text to go Observation / Conclusion: This allows you to plan out your portfolio to give you an idea of how long it will be

5.0 Create subtitles using text boxes 5.1 In the top left corner pick out a sans serif font for titles

Observation / Conclusion: Picking the right font and size can make your portfolio look more professional

Portfolio

5.2 later use the same tab to pick a serif font for the body of the narrative on each spread

6.0 Select a black box and click File>Place and find the image you want in that box 6.1 Resize the image so it fits the active space you created with the black rectangle 6.2 Continue this process until you have no more black squares 6.3 Fill in the gray boxes with the correct narrative and apply the font you selected earlier Observation / Conclusion: The boxes allow for a quick placement of images and text. 7.0 Open the pages tab on the right side of the workspace 7.1 Select pages you would like to keep together as spreads 7.2 Arrange these spreads in a way that make the project easy to understand Observation / Conclusion: This is the best way to show off your project whether its chronological or scalar, moving from the widest iterative phase to the most focused 8.0 Double click on the first spread you have for the project 8.1 On one of the pages put the image that best represents your project, the â&#x20AC;&#x153;money shotâ&#x20AC;? 8.2 On the other page include the title of the project, the faculty that taught the studio, and the length of time when the project took place Observation / Conclusion: This gives the best overview of the project without the context of the design process

Student Work: Before

Intent / Audience: 2nd year admissions, undergrad admissions board.

Tanner Lloyd 2nd Year Portfolio Architecture 2018

Reflection: This portfolio was thrown together last minute and had little thought put into it Size: 8.5” x 11” Font(s): Minion Pro

Tanner Lloyd Project 2: Crash House

Tanner Lloyd Project3: Digital Growths

Scale: 1/8”=1’ 20 9/16

Module 2

Module 3

Module 4

33 9/16

Module 1

25 3/4

The Project shown here is an animal hybrid. It is comprised of a combonation of a seal and a african heart beast. It’s native habitat would be that artic tundra shown below where it lives in icecaves on mountain sides

Section A

16 5/8

Section B

NORTH ELVATION

3RD FLOOR PLAN

EAST ELVATION

33 1/2

7 1/2

20 9/16

25 3/4

The image below is an exploded diagram of a modeled pair of pliers, giving exact measurments. To the left you can find a plan for a new three story building designed by simply using three shapes a cone and three cubes. The building has three floors connected with a single stair well.

Section A

33 11/16

Section B

2ND FLOOR PLAN

SOUTH ELVATION

WEST ELVATION

SECTION A

SECTION B

The diagram on the left depicts a lotus flower where I have extracted one pedal to use as a module, then modifing the module by twisting, curling or stretching.

20 9/16

24 13/16

Resource Material: Academic work.

33 1/2

Portfolio

Instrument: Pencil drawings, Rhino, InDesign, Illustrator, Photoshop

Section A

Aggregation 1

Section B

To the left is a to scale drawing of 14th street drawn from the top of the parking garage at 14th and Qst. The main focus is the red brick building located at the center of the picture. The picture located above is the palans for a new dormatory located between a science building and faculty offices. The building is noticably made of brick except in the middle extrusion areas that is used as a dinning hall which has mainly glass walls to allow a maximum amount of light.

1ST FLOOR PLAN

Aggregation 2

Aggregation 3 1 2"

9 816"

Aggregation 4

1 216"

This is the foam core rendition of the best iteration of the chipboard models, accompanied with an exploded axonometric, orthographic, section cuts, and crucifix diagrams.

For this project we were told to create a 6x6x6 cube, using openings and three plains to express the inside space. This project uses the concept of continuity to continuously keep your eyes moving to all sides of the cube.

On the inside of the cube there is an amount of positive space. The foam cubes on the right are made up of the three largest amounts of uninterupted space.

The third attribute of this project is a concrete base for the cube structure to set in. The lines and egdes of the base correspond directly to lines and holes in the cube.

Student Work: After

Intent / Audience: This is my running portfolio that I will be adding to until I apply for a graduate program and then eventually send to firms I am interested in working for Instrument: InDesign, Illustrator, Photoshop, Rhino

Rachel WhiteRead’s School of Art

Portfolio

Professors Cruz Garcia and Nathalie Frankowski

Resource Material: Academic work.

January 2019 - April 2019

Reflection: The portfolio grid became more complex and was followed more strictly and the work put in was higher quality.

Size: 8.5” x 11” Font(s): Corbel and Baskerville 6

Iterative El Mirador Form Model

First Floor: Casting studio and large sculpture exhibition space

Third Floor: Students drawing and small scale casting studio

Collage of the El Mirador Form

El Mirador Form Model: 1.5”= 1’

Reinhardt Haus Model

North to South Section Cut

Incomplete Cube Model

El Mirador Form Axon

Fourth Floor: Outdoor exhibition space

Designing through Drawings

In the first steps of this design process I started with research into the loop form. This was architecture that swirled or circled, overlaping or almost overlaping onto itself. This research revealed a vast collection of buildings, sculptures, and various other mediums of art. From the references I collected I crafted the collages you see on the far left side of the spread and the one on the upper left of this page. Each collage was paired with an axon drawing and a massing model. I then moved on to turning this into a building for an art school, an art school that teaches one how to create in the style of Rachel Whiteread. Rachel Whiteread is an artist from the UK that specializes in casting everyday objects, of all scales from lightbulbs to houses. She uses silicone for making molds and cast concrete or resin inside to make here sculptures. In this school one will be allowed to go to class, display their work, relax, and live comfortably all in one building.

After I had settled on a form I moved into the phase of making drawings as a way of defining the spaces of the interior. As shown in the plan drawings on this page there is a large indoor workspace on the first floor that will acomodate all the casting being done by the students. Each end of the crucifix is twenty-nine feet wide and one-hundred and five feet long from opposite ends of the crucifix. On the second floor there is a small indoor gallery for the students or Rachel Whiteread herself to showcase their works. And on the third floor is the students drawing and planning studio, this is where all the preperation takes place before they cast the mold. The fourth floor is the outdoor gallery for showcasing the main bulk of the students work, this could include sculptures of all sizes. There is then a small level that the core and egress passage ways go through which is also used as a storage area for students and faculty. On the final sixth level there lies the dorm style housing for the students, there is currently only room for eight students with access to a kitchen, bathrooms, and community showers.

Denmark Pavillion Model

Top Axon

East to West Section Cut

Inverted Axon

Interior model shot showing the multitude of spaces on the six floors

Site model showing the three areas of crops that are cultivated by some of the students in the school

Sixth Floor: Student housing

Finding Figure Through Form

Exterior model shot showing the texture on the outside of the building

Site plan showing the areas around the base of the building and in the green spaces meant for displaying students scupltures

Interior perspective showing the display of art in the fourth floor courtyard gallery Massing Model

The Final Construction

Continuity in the Landscape

The final product of representation of this project was the construction of the final model. This model is what gave us the 3D repesentation of the interior spaces seen in the pespectives on the left. The model is also a representation of the exterior with a slighty textured red concrete facade with windows strategically punched into the sides. And on the top square windows allow light to flood into each individual bedroom on the six floor.w

After I had designed the building it was time to incorperate the design into the landscape. The goal of this landscape was to give the students the same opportunites for the creation and display of their art that they would have on the interior of the building with the added incorperation into the fabric of the campus. The way the studio was organized was that I was given a 147,456 square ft area to design a landscape that fit my building and art type. With my given area I designated four different areas that can be used in combination with each other to accomplish the design goal for this landscape. In my landscape the students are able to use the concrete slab in the southeast corner for the creation of their art, the grass spaces for the display of their art, the forest for display of art and creating a natural barrier to seperate the two lawns of grass, and the crop fields that produce small amounts of food and can give work to some of the students

Exterior model shot

Site model displaying the forest on the west side of the building

Interior perspective showing the display of art in the first floor workspace and gallery

Portfolio 36

Kinley McGowan Megan Peterson

Student Reflection

Developing my visual graphic skills was imperative to understanding how to better layout, organize and push the boundaries of my portfolio. All these things are essentially helping the reader better understand the work within, which is the goal of both the designer and the reviewer. Developing the portfolio from an existing one was eye-opening and helped me to understand there are parameters to follow when designing a portfolio. With this project, I learned the importance of establishing a set of parameters to begin with and making sure to adhere to them. It is more than putting your work on a page and giving it to a potential job hirer. Putting together a well-designed page that relates to your projects so that your audience can read your content most clear and precise is crucial. This project will help me moving forward into second year to be able to create well-designed layouts and graphics for future projects, portfolios etc.

Student Technique

Description: This portfolio will be used to showcase academic work, to be used for reference in future professional hiring, and internship opportunity. Instrument: Adobe InDesign, Adobe Photoshop, Adobe Illustrator Resource Material: Academic work from the spring studio of first year Design Making class.

Portfolio

1st Year Studio cover

introduce

Fall 2018 full photo

1st Year introduce

Spring 2019 full photo

1st Year introduce

full photo

1.1 Create desired size boxes, utilizing copying and pasting for easy replication for multiple set amounts of same shape

1st Year Studio resume

1.0 Open a new document in Adobe Illustrator

interior persp

render

Fall 2018

table of contents

Portfolio

1.2 Create text boxes over top of grey boxes to add desired text Observation / Conclusion: This creates a quick, easy to read, board for an overview plan of layout design

1st Year Studio cover

introduce

Fall 2018 full photo render

1st Year introduce

Spring 2019 full photo interior persp

1st Year introduce

Fall 2018 full photo interior persp

3.0 Change color of boxes using the default tools panel under the “Window” tab

1st Year Studio resume

table of contents

3.1 Create desired size boxes over top of existing ones, using the “Rectangle tool” dragging to fit size Observation / Conclusion: This allows for easy visual insight on future layout design

2.0 Create a new document in Adobe InDesign 2.1 Change units to Inches. Set document size to desired size. (8.5 x 11) Set margins to .5”, .5”, .5”, and inside .75” 2.2 Check preview box to ensure desired layout is set and click “Okay” Observation / Conclusion: This allows for easy set-up right out of the gate to ensure consistent layout basics throughout

4.0 Go to Master Pages section in the “Pages” panel 4.1 Create a grid system by pulling down from each ruler and guides number line from top or left side of screen 4.2 Use guides to help create grid around existing margins created in the set-up of document Observation / Conclusion: This allows for more organization when laying out the page and saves time when trying to decide what elements go where

5.2 Create desired size rectangle aligning with existing grid system 5.3 Use “Align” panel to ensure accuracy in spacing between content and frames Observation / Conclusion: This allows time to be saved in the future by being able to lay out the design of each spread in advance 6.0 Create frames for graphics by using the “Rectangular Framing Tool” in the tools panel 6.1 Once desired frame is set, the “Place” command can be used (Command+D for Mac users) to place the graphic 6.2 The image can be drug to fit the area or clicked in depending on the size of the original graphic. The large dot in the center allows for scaling of the graphic when selected and the orange outline appears Observation / Conclusion: This allows for quick and easy placement and scaling of images or graphics in the layout 7.0 Create frames for text by using the “Type Tool” in the tools panel 7.1 Drag box to desired size aligning with existing grid system 7.2 Type, size, and spacing can all be changed within the “Character” Panel. 7.3 Utilize kerning, vertical spacing typeface and type size Observation / Conclusion: This allows the viewer’s eye to flow from one page to the next. 7.0 Use built-in tools in InDesign to clean up 7.1 Use Option+Command+C for Mac users to move text box that is larger than text to fit text within box Observation / Conclusion: This allows no hassle, easy and quick ways to clean up content framing without trying to fit textbox to text exactly

Portfolio

5.1 Select “Rectangle” tool (M), create a filled rectangle

Student Work: Before

Intent / Audience: Application to Second Year/ Board of Reviewers Instrument: InDesign, Illustrator, Photoshop

Portfolio

Resource Material: First year Academic work.

Reflection: The portfolio was an arrangement of projects from first year. There is no clear grid system which makes it hard to read and not consistent as a whole from spread to spread. Size: 8.5” x 11” Font(s): PT Sans Narrow, Gill Sans

H Y B R I D A N I M A L D RAW I N G

D E SI GN D RAW I N G 1 2 0 Semester | Chip Stanley | Fall 2018

This drawing combined three animals previously studied at Morril Hall on UNL’s campus, then turning it into a hybrid contour drawing. The animals of this drawing include an onyx, a butterfly and a snail. The contrasting differences between the s e thre e ani mal s make s fo r an interesting hybrid, while the contour lines highlight features of each animal in unique ways directionally.

D E S IG N TH IN K IN G 1 1 0 Semester Studio | Cruz Garcia & Nathalie Frankowski | Fall 2018

Site Plan Drawing

Axonometric Drawing

Collage #8, Industrial Moss

Collage #10, Stair and Spoons

H Y B R I D S C U L PT U R E D RAW I N G S This final project explored ways to combine two sculptures already existing on UNL’s campus. A narrative was formed between Roxy Paine’s Breach and Michael Heizer’s Prismatic Flake, and a new entity was created and sited. Elevations, a plan, an axonometric and a charcoal perspective were drawn to communicate this new creation. The intention was to create a space students could interact with every day, while not having to go out of their way to do so, thus being sited in the central location it is. Being able to walk under and through this sculpture would command attention and direct interaction, while form and shape would offer a subtle curiosity about itself.

PHYSICAL MO DE L SITE The physical model included a 20” by 20” foam core site with two foam core physical modeled objects placed within. Objects were pulled from previous collages and reiterated to be then modeled accordingly. I chose to use black and gray only to create a visually stimulating site that still corresponds to my overall futuristic atmosphere. Adding mirrored objects that stand tall are purposeful to reflect each object back upon another to create an expressive, dynamic space and offer new perspectives within the site, which lead me to name my project “Offset Perspective.” Plan View of Physical Model

I n t e r i o r Pe r s p e c t i v e D r a w i n g

E x t e r i o r Pe r s p e c t i v e D r a w i n g

SE ME STE R STUDIO PROJ E CT

This semester-long studio project was focused around narrative-based design. Collages were made using landscapes and inanimate objects. Narratives were then developed based upon the relationships between the landscapes and objects, and also the relationships between the objects themselves. Objects were selected to be drawn as axonometric drawings and perspective drawings, which would then be sited and physically modeled. My intention was to create a futuristic architectural environment through strategies of form, atmosphere, materiality and scale.

INT E R IO R O NE - PO INT PE R S PE CT IV E D RAW ING

This project demonstrated the art of one-point perspective drawing. Sight tool measurements are of essense to capture true dimension for this particular drawing. This drawing is set in the interior foyer space of the old east side of Architecture Hall. This space is ornate, yet simple which is quite compelling. The design intention was to capture both of those contrasting details in one drawing.

E l e v a t i o n - Pe r s p e c t i v e V i e w o f P h y s i c a l M o d e l

F OAM CO RE CUB E

The overall design of the original 6” by 6” foam core cube was inspired by Pablo Picasso’s piece, Bowl of Fruit, Violin and Bottle, 1914. The piece uses abstract forms to express ideas and objects while layering various shapes to create an interesting effect. The cube was influenced by this piece pulling the layering aspect into effect, which was the focus for my narrative. The way in which the planes intersected the facade of the cube were placed strategically to create different sense chambers within. A texture chamber, sound chamber, sight chamber and scent chamber were all created, which then correspond and align with various slots, dots and holes on each of the six walls of the cube as well.

D ES I GN M A K I N G 111 Semester Studio | Nolan Golgert | Spring 2019

CLAN HALL X PAVILION

COMPUT ER A PPLICAT ION S 123 Semester | David Stasiuk & William Pokojski | Spring 2019

PLAN 1/8”=1’0”

RENDER PERSPECTIVE

SITE PLAN

1/8”=1’0”

MDF CUBE AND RO CKITE S ITE

NW ELEVATION 1/4”=1’0”

Layout Board #1

SECTION BB 1/4”=1’0”

Layout Board #2

The MDF cube was constructed to be taken a part based upon the four different sense chambers created within. The casted rockite detail model shows the intention of the siting of the cube. The edges of the cube align with lines established on the site, and the plane protruding from the bottom of the cube acts as a stilt or structural feature for the cube.

ART PAVILION MODEL This project consisted of modeling an art pavilion with guided videos. After the base structure was modeled the design was of choice. Again, materials were chosen, and drawings and render perspectives were created. My overall design intent was to create a minimal, sleek and clean designed pavilion with a futuristic aesthetic that was not overpowering for the user experience.

R e n d e r e d Pe r s p e c t i v e V i e w

M O DELI NG O F A C U B E This five week project consisted working with interior and exterior space through a perfectly designed cube that corresponds to a specific site. First, a 6” by 6” foam core cube with slots, dots and holes with three planes protruding through the surface was designed. From this original cube, a space positive MDF cube was constructed.. A rockite model was then casted to act as the site for the original foam core cube. The way in which the cube was designed related back to a narrative which was written focusing on the thoughts, feelings and overall experience one feels when moving throughout the space of the cube.

CLAN HALL PAVILION MODEL

CUB E D RAW IN GS The drawing on the left shows the space positive MDF cube exploded into the four different pieces that correspond to its different sense chambers. The drawings in the middle show two 30/60 isometric drawings and an axonometric drawing with two walls removed to show plane interaction in the interior of the cube. The drawing on the right shows two section cuts through the cube that show where plane interaction is most relevant along with a cruciform elevation view of the cube at half scale.

This project consisted of modeling an already existing pavilion. Clan Hall pavilion designed by SU Architects was modeled in rhino to scale. From this model, materials were added, drawings were exported, renders were created and perspective drawings were done, all creating two boards of detailed drawings of the pavilion.

UP TO SECOND

R e n d e r e d Pe r s p e c t i v e V i e w

Fro n t E l e v a t i o n Vi e w

MEZZANINE

First Floor Plan

R e n d e r e d Pe r s p e c t i v e V i e w

Student Work: After

Intent / Audience: Develop style and layout organization for future use as a digital or hard copy for potential internship opportunity. Instrument: AdobeInDesign, AdobeIllustrator, AdobePhotoshop

Portfolio

Resource Material: First Year Spring Studio Academic work. Reflection: The portfolio become an intentionally designed organization of academic work based upon a grid system.

Size: 8.5” x 11” Font(s): PT Sans Narrow, Gill Sans

S 8TH ST

N 7TH ST

S CANOPY ST

P ST

HWY 34

INTERACTIVE DIMENSION

S 8TH ST

N 7TH ST

Spring 2019 | Nolan Golgert | 111 Studio | 4 wk Human interactions with designed objects are unique to the specific individual. The direct interaction with the object is heavily based upon form of the object itself. Also involving elements such as space, motion and other aesthetics. Another main focus of interaction is human behavior with the designed object. To elaborate, how will the indi1vidual be using the object? What is the intended emotional response, whether positive or negative? Are you trying to influence the individual? Inspire the individual? All this directs the interaction with the object itself.

S CANOPY ST

P ST

HWY 34

SITE CONTEXT The Interactive Dimension is a threshold installation located in the alley between the Old Woods Bros. building and the Archrival building in the Haymarket in downtown Lincoln, Nebraska. My specific design intention through the installation was to create an interative and diverse outdoor environment in a before under-utilized space. This approach worked to both link and separate the existing public and private aspects within the alley through the threshold’s form and surface materiality.

CONSTRUCTION OF THE INSTALLATION The design of my threshold installation was drawn from the already existing systems of the site. Split down the center of the alley the form of the Interactive Dimension changes. On the west side where the private Old Woods Bros. building is, the form of the threshold is enclosed, compact and elevated off the ground, out of reach for a person. This reflects the private aspects of the building itself. In contrast, the Archrival building on the east side is semi-public. The installation on this half creates a feeling of openness, and is directly interactive, inviting usage within the form.

The Archrival building on the east side is a semi-public building. The installation on this half creates a feeling of openness, and is directly interactive, inviting usage within the form. Along with the form the materiality suggests the separation and linkage between the systems within the site. The surface throughout is an oak wood, mixed with a high-shine metal on bench surfaces and overhang surfaces to attract attention and create visual contrast.

Public access Private access

A- Creamery building B- Burkholder Project C- Archrival building D- Old Woods Bros. building

Portfolio 42

Portfolio Review Andrew Otting-Crandall

Student Reflection

Initially I believed content quantity was most important in showcasing a project in a portfolio. The results were cluttered pages and disorganization that distracted the viewer. I have learned the simpler and more profound method of communicating a project is only use the necessary content. Additionally I have realized the importance of documentation during the project. Options to choose from will lead to the right material and help avoid forced content.

Student Technique

Description: The portfolio is intended to showcase my work for internship and job applications. Also it is to represent a collection of my work in an organized and thoughtful manner. Instrument: Adobe InDesign, Adobe Photoshop, Adobe Illustrator Resource Material: Academic work from first year computer application course.

Portfolio

1.0 Go to File>New>Document and set size to 22x34 and choose landscape 1.1 Set margins by selecting “Layout” > “Margins and Columns”

Portfolio

1.2 Set margins to .5 in.

1.3 Check preview box to ensure correct margins and select “Okay” Observation / Conclusion: This sets up a document to begin a storyboard. 2.0 Select Rectangle tool from left side panel 2.1 Begin drawing rectangles to horizontally and vertically with equal spacing. 2.2 Change color of the top row of rectangles. Observation / Conclusion: This creates a layout of how many pages you will need for each portfolio section and distinguishes intro pages from content pages. 3.0 Open master page by double clicking in “Pages” panel 3.1 Set margins by selecting “Layout” > “Margins and Columns” 3.2 Set margins to .75 in and then change bottom margin to 1 in. 3.3 Check preview box to ensure correct margins and select “Okay” Observation / Conclusion: This sets the same margin to each page you have set to this master page, making each page unified. 4.0 Select master page to apply guidelines in the “Pages” panel 4.1 From the ruler, hold and pull over or down guidelines 4.2 Align guidelines to places where text boxes or images should be located Observation / Conclusion: This allows for easy alignment of images and text boxes within pages grouped under a certain master page.

5.0 Select each page in the “Pages” panel to be affected by a master page by holding shift 5.1 Right-click on one of the selected pages

5.3 Select which master page to assign selected pages and click “Okay” Observation / Conclusion: This allows for grouping of particular pages to certain layouts and color changes. 6.0 Select each spread within the “Pages” panel by holding down shift 6.1 Right-click over selected page within the pages panel, uncheck “Allow Document Spreads to Shuffle” 6.2 Select page within the “Pages” panel that should be labeled as 1 6.3 Right click, select “Numbering and Section” option, select box labeled “Start page numbering at” and enter “1” Observation / Conclusion: This allows for page numbering to begin at a page other than the first page in the document. 7.0 Open master page which will apply page numbers 7.1 Select “Rectangle” tool (M), create a filled rectangle, and place where page numbering will be located 7.2 Create text box using the “Type Tool” (T) and arrange text box on top of filled box 7.3 Select Type > Insert Special Character > Markers > Current Page Number Observation / Conclusion: Apply page numbers to certain pages. 8.0 Open “Align” panel on right side 8.1 Under “Distribute Spacing”, check the “Use Spacing” box 8.2 Enter desired spacing, in inches, in following box 8.3 Select objects to align, and use buttons under “Distribute Spacing” to distribute horizontally or vertically Observation / Conclusion: Allows for different text boxes and images to all have the same exact spacing throughout the document.

Portfolio

5.2 Select “Apply Master to Pages”

9.0 Select the Rectangle tool(M). 9.1 Click and drag over spaces between guides to form a new box.

Portfolio

9.2 In the control Panel at the top select “Fill” and change box color. Observation / Conclusion: This allows boxes to represent potential zones for images and text.

10.0 In InDesign, select image box, open “Info” panel on right 10.1 If selected file is, at maximum, over 500 “Effective ppi”, open image in Adobe Photoshop, and “Save As” a new file 10.2 Within Photoshop, select “Image” > “Image Size”, and adjust dimensions of image based upon size needed for InDesign file 10.3 Within InDesign, import new, downsized file Observation / Conclusion: This greatly decreases the size of the InDesign file, allowing for quicker processing.

Portfolio

Student Work: Before

Intent / Audience: Second year architecture application Instrument: InDesign, Illustrator, Photoshop

Portfolio

Resource Material: Academic work.

Reflection: The portfolio was an arrangement of first year material. Size: 11â&#x20AC;? x 17â&#x20AC;? Font(s): Arial

Student Work: After

Intent / Audience: Improvement of organizational strategies that can be applied toward future projects. Instrument: InDesign, Illustrator, Photoshop

Reflection: A change in orientation, font styles, and board organization has lead to an improved display of work. Size: 8.5â&#x20AC;? x 11â&#x20AC;? Font(s): Arial, Cambria

Portfolio

Resource Material: Academic work.

Portfolio Review Jesus Perez-Cortez

Student Reflection

Before, my portfolio was focused a lot more on graphics and not actual rules. Taking this class has set me on the right track to better develop my portfolio. It has given me certain rules of thumb and suggestions to guide how I further develop my portfolio. Learning about active zones and certain layouts to avoid or carefully consider greatly influenced my newer portfolio. I also learned that sometimes it is okay to break certain conventions displayed within most of the portfolio if it is in benefit of how content is displayed. It has also allowed me to gain an understanding of who my audience is and how to adhere to that specific audience which means choosing what content display.

Student Technique

Description: The portfolio will be used for education purposes, such as getting into second year as well as graduate school in the future. Instrument: Adobe InDesign, Adobe Photoshop, Adobe Illustrator Resource Material: Academic work from the fall and spring semester of first year undergraduate.

Source: Image Developed By Jesus Perez-Cortez

1.0 To set up margins, open master page by clicking in “Pages” panel and then double clicking Master Spread. 1.1 Next, click on “Properties” panel and then click on “Adjust Layout” 1.2 Set each margin to 0.75 in. Observation / Conclusion: This sets the same margin to each page you have set to this master page, making each page have the same margins. 2.0 To begin placing guidelines, create a text box and type in exact dimensions. 2.1 From the ruler (Ctrl-r), hold and pull over or down guidelines. 2.2 Align guidelines to places where text boxes or images should be located. Observation / Conclusion: This allows for easy alignment of images and text boxes within pages grouped under a certain master page. 3.0 To have each page have a page number, create a text box by clicking the tool on the left-hand bar and place in bottom outer corner. 3.1 Double click within the text box then click on “Type” on the upper tool bar. 3.2 Then move the mouse to “Insert Special Character” > “Markers” > “Current Page Number.” Observation / Conclusion: Doing this on the master page takes away the worry of having to individually number each page and eliminates the potential for error. 4.0 To duplicate a Master spread, click on pages panel. 4.1 Then hold shift and click on pages from Master spread within pages panel. 4.2 Right-click over selected pages and select “Duplicate Master Spread. ” Observation / Conclusion: This allows all Master spreads to have the same guidelines and restrictions while still varying.

5.0 To create active zones, first choose a Master Spread. 5.1. Select “Rectangle Frame Tool” on the left-hand tool bar. Create a box with respect to the guidelines within that Master Spread. 5.2 Designate active zones where images will be place and where text will be placed. Make zones black in grey to indicate the former and the latter. Observation / Conclusion: Creating active zones allows for clear and indications of where to place content. Each Master Spread can vary in how content is arranged. 6.0 To select a specific font, first create a “Text-Box” and then double click on it. 6.1 Select the “Properties Panel” then click on the drop down arrow below “Characters” and choose font. 6.2 To change the desired font’s appearance, click on the drop down arrow below font type. Observation / Conclusion: This allows for on designated font type that can change in size and appearance which will then dictate how it is used. 7.0 To apply a Master Spread to a blank spread, first select each page in the “Pages” panel to be affected by a master page by holding shift 7.1 Right-click on one of the selected pages and click on “Apply Master to Pages” 7.2 Select which master page to assign selected pages and click “OK” Observation / Conclusion: This allows for grouping of particular pages to certain layouts. 8.0 To place images with in designated active zones, first click on active zone. 8.1 Then click on “File” on the upper tool bar and then select “Place” 8.2 Select desired file and after having done so, click within the active zone. Observation / Conclusion: This allows images to be kept within a boundary. The image can then be adjusted to show desired information.

9.0 Populate Spreads according to the Master Spreads. 9.1 Try to have variations in orders of spreads Observation / Conclusion: This allows the portfolio to follow a layout with variation in their order.

10.0 To begin organizing the portfolio, first consider what projects would work best. 10.1. Consider starting off with the strongest project and ending with the second strongest. 10.2 In between the beginning and end, include other projects but avoid including drawings or photography. Observation / Conclusion: Planning out what to put in the portfolio beforehand allows for the consideration of many variables.

Student Work: Before

Intent / Audience: Getting accepted into second year. Instrument: InDesign, Illustrator, Photoshop Resource Material: Academic work. Reflection: The color blocking on the top of the page was distracting from the actual content. Text had no definitive area or boundary. Font size was also a bit large. Size: 8.5â&#x20AC;? x 11â&#x20AC;? Font(s): Century Gothic

COMPRESSED 24 X 24

The process involved with this piece was simple yet effective. First, I began by drawing lines scattered lines on the canvas. After doing so, I then drew lines next to the ones already in place which created thicker lines. I connect the thicker lines to other thick lines to cover the canvas.

PROCESS IMAGE: 1

PROCESS IMAGE: 2

PROCESS IMAGE: 3

PROCESS IMAGE: 4

SEATING

JOURNEY MAP

CHARCOAL 11 X 17

WATERCOLOR & PEN 11 X 17

OIL PASTEL 11 X 17

REFERENCE IMAGE

SEATING

This prototype focused a lot more on the table. This table could be made larger by folding it out with the help of hinges. Once again, the chair had wheels, armrests, and a larger back support. This time, the chair and the table were not elevated and were of usual height.

This prototype focused mainly on the chair itself. The chair can be lowered and raised. It also provides back support, armrests, and wheels. The table does not change in height and the table is large in terms of surface area.

The objective was to study how a person interacted with seating. While observing I found that there were a multitude of issues. Theses issues inspired three different prototypes to ammend the issues.

Student Work: After

Intent / Audience: Internship/ Job Instrument: InDesign, Illustrator, Photoshop Resource Material: Academic work. Reflection: The portfolio focuses more on the content. The color tab was removed and more space at the bottom was allowed for text. The layout allowed for more flexibility while still making sense. Size: 11” x 8.5” Font(s): Dosis

MUSEUM SUPREMATIST Spring 2019/ Cruz Garcia and Nathalie Frankowski/ Studio: Ideation - Arch 211 Univeristy of Nebraska-Lincoln

Located on a campus, the architecure of this design poses as a musuem and studio in the interior while acting as a monolithic object invading the environment yet becoming one with it. Made of up of four main volumes, with the longest horizontal volume being designated to hold exibitions and the two upper most horizontal volumes being both the studio and residential living quarters.

The foundation of this project is based on Suprematism, an art movement that makes use of colors and geometric shapes to express purity and that which is ever-growing. The form of an architecton which consists of vertical and horizontal bars that connect was used to convey this idea. The images shown on this page are iterations of architectons. The model shown on the previous page is the final form chosen for this project.

Level 1: Entrance and Outdoor Workshops

1/32” = 1’ UP

DN EXHIBITION

GALLERY

Level 2: Main Exhibition Space 1/32” = 1’ UP STUDIO

DN LIVING

The interior of the building is a focus on a notion of openess and a sense of a never-ending volume combined with the knowledge of being in a space that is above ground. The red portions of the interior are used to accent moments of user interaction as well as breaks from the rest of the interior. They serve to create a moment of intimacy between the user and the interior.

After having chosen a form, focus was then put on program. The first level operates as the main entrance and has spaces within the vertical columns that allow for a multitude of uses. The second level is the main volume of the building. This level operates as on whole exhibition space while also containing two smaller display rooms. The third level houses the studio area in one volume and the dorms in the other volume.

The building inhabits a site that is almost but not yet empty. There are trees near it and much like trees, the cantilevers of the building appear to keep growing. On the outside, the ground is marked red to express that the interior continues to extend past the boundaries set by the form of the building. This building which is an object to be used as a museum is also an entity to be experienced.

KITHCEN GALLERY DINING

Level 3: Studios and Dorms 1/32” = 1’

Portfolio 58

Portfolio Review Mohammad QutbAldeen

Student Reflection

My old portfolio hadnâ&#x20AC;&#x2122;t have a master plan and an overall diagram. Developing and following these steps inspired me to have more organized and understandable representation of my portfolio. Each project had its own layout and format. There was no one general guideline for all of them. Having a master plan and a guideline taught me a lot. Starting from planning the work then hierarchy and structure and graphic and story telling evolve my understanding of a portfolio. These techniques and steps is helping me for more than a portfolio. I will use this knowledge to design and write my thesis in the best way possible.

Student Technique

Description: The portfolio will be used for project hire consideration, showcasing work, and a catalog of my work for future reference and organization. Instrument: Adobe InDesign, Adobe Photoshop, Adobe Illustrator Resource Material: Academic work from the the fall studio of year 3 of a 5 year bachelorâ&#x20AC;&#x2122;s program.

Source: Photo

Portfolio

1.0 Open master page by double clicking in “Pages” panel

Portfolio

1.1 Set margins by selecting “Layout” > “Margins and Columns”

1.2 Set top and bottom and outside margin to 0.25 in. Set inside margin to 0.75 in. 1.3 Check preview box to ensure correct margins and select “Okay” Observation / Conclusion: This sets the same margin to each page you have set to this master page, making each page unified. 2.0 Select each page in the “Pages” panel to be affected by a master page by holding shift 2.1 Right-click on one of the selected pages 2.2 Select “Apply Master to Pages” 2.3 Select which master page to assign selected pages and click “Okay” Observation / Conclusion: This allows for grouping of particular pages to certain layouts and color changes. 3.0 Select master page to apply guidelines in the “Pages” panel 3.1 From the ruler (Ctrl-r), hold and pull over or down guidelines 3.2 Align guidelines to places where text boxes or images should be located Observation / Conclusion: This allows for easy alignment of images and text boxes within pages grouped under a certain master page.

4.0 Select each spread within the “Pages” panel by holding down shift 4.1 Right-click over selected page within the pages panel, uncheck “Allow Document Spreads to Shuffle” 4.2 Select page within the “Pages” panel that should be labeled as 1 4.3 Right click, select “Numbering and Section” option, select box labeled “Start page numbering at” and enter “1” Observation / Conclusion: This allows for page numbering to begin at a page other than the first page in the document.

5.0 Open master page which will apply page numbers

5.2 Create text box using the “Type Tool” (T) and arrange text box on top of filled box 5.3 Select Type > Insert Special Character > Markers > Current Page Number Observation / Conclusion: Apply page numbers to certain pages. 6.0 Open “Align” panel on right side 6.1 Under “Distribute Spacing”, check the “Use Spacing” box 6.2 Enter desired spacing, in inches, in following box 6.3 Select objects to align, and use buttons under “Distribute Spacing” to distribute horizontally or vertically Observation / Conclusion: Allows for different text boxes and images to all have the same exact spacing throughout the document. 7.0 Open “Character Styles” panel on right side 7.1 Select the middle button at the bottom to create a new style 7.2 Double-click on style. Within settings box, select “Basic Character Formats” on left, and change font, size, etc. 7.3 Select text boxes to assign to a character style, and select style Observation / Conclusion: This allows text boxes to be easily changed as a whole throughout document instead of individually. 8.0 In InDesign, select image box, open “Info” panel on right 8.1 If selected file is, at maximum, over 500 “Effective ppi”, open image in Adobe Photoshop, and “Save As” a new file 8.2 Within Photoshop, select “Image” > “Image Size”, and adjust dimensions of image based upon size needed for InDesign file 8.3 Within InDesign, import new, downsized file Observation / Conclusion: This greatly decreases the size of the InDesign file, allowing for quicker processing.

Portfolio

5.1 Select “Rectangle” tool (M), create a filled rectangle, and place where page numbering will be located

Student Work: Before

Intent / Audience: Internship consideration/Architecture firm. Instrument: Photoshop

Portfolio

Resource Material: Academic work.

Reflection: The portfolio was a simple arrangement. Size: 35â&#x20AC;? x 71â&#x20AC;? Font(s): Times New Roman, Traditional - Arabic

Student Work: After

Intent / Audience: Conceptualizing style and layout organization for future use as a hard copy for potential project consideration. Instrument: InDesign, Illustrator, Photoshop

Reflection: The portfolio become a more deliberately composed organization of drawings previously developed for board use. Size: 17â&#x20AC;? x 11â&#x20AC;? Font(s): Minion Pro, Arial

Portfolio

Resource Material: Academic work.

Portfolio 64

Portfolio Review Manuel Ruiz

Student Reflection

Developing a portfolio made me realize how important the curation of work is. Not that I forgot, but I was reminded that any work or content we create, ultimately, is to show in a portfolio. Some of my work was not ideal for a portfolio. Whether it be, because of supplemental text needed, image proportions, etc. When adding work, I saw how significant my workflow was in the final product. If steps are eliminated, focus can be added to key details of the portfolioâ&#x20AC;&#x2122;s creation.

Student Technique

Description: Portfolio will be used for interviews while in search of architectural firm position, post-graduation. Instrument: Adobe InDesign, Adobe Photoshop, Adobe Illustrator Resource Material: Academic work from the the spring studio of year 1 of a 2 year masters program.

Portfolio

1. Open master page by double clicking in “Pages” panel

1.1 Set margins by using the “Properties” panel 1.2 Set top, left, and right margins to 1 in. Set bottom margin to 1.25 in. 1.3 Double check margins of all new pages. Conclusion: This step insures the portfolio margins are consistent in every page. 2.0 Make sure master page is selected in the “Pages” panel 2.1 Pull guidelines down from ruler(s) 2.2 If rulers are not visible select View > Show Rulers or Ctrl+R Conclusion: This will help you make sure content is aligned to chosen dimensions.

3.0 Apply master to every new page created to ensure margins and guidelines created in the previous step are applied and visible. 3.1 Right-click on selected page(s) in “Pages” panel. 3.2 Select “Apply Master to Pages” 3.3 In pop-up window choose which master page you would like to apply, click “Ok”. Conclusion: This step allows you to choose, select, and apply master pages to certain pages. 4.0 Add frames within parameters of margins and guidelines set. 4.1 Click on “Rectangle Frame Tool” or type F key. 4.2 Click and drag to desired dimensions 4.3 Dimensions can be modified if needed. Conclusion: This allows for content to follow the created grid.

5.0 Add Text Boxes.

5.2 Once again dimensions can be modified at a later time. Conclusion: This allows any typed text on selected page to stay within dimensions of said text box.

6.0 Within the “Properties” panel 6.1 Select Font, Font Size, Font Style, etc. 6.2 Select desired alignment. 6.3 Select desired spacing. Conclusion: This further curates text to allow for easier, more comfortable legibility of work.

7.0 In InDesign, select image box, open “Info” panel on right 7.1 Make sure “Effective PPI” is below 500. 7.2 If not, within Photoshop resize image to dimensions of Picture frame in Indesign. Image > Image Size 7.3 Re-import new file Conclusion: Decreasing to a more manageable file size, facilitates a quicker processing speed.

Portfolio

5.1 Similar to the frame tool, Click and drag to desired dimensions using the “Type Tool” or typing T.

Student Work: Before

Intent / Audience: Internship consideration/Architecture firm. Instrument: InDesign, Illustrator, Photoshop

Size: 11” x 17” Font(s): Raleway

Exploded Exterior Perspective Render showing the spatial quality of the museum reception area.

The Woods Telephone Museum Manuel Ruiz

The Woods Telephone Museum in Lincoln, Nebraska asked our studio if we could design a new museum, in order to show the public what the museum could become. Since the museum has a past of struggling to bring in revenue, my proposal is a mixed use building with the other program spaces being up for lease. The TVSKVEQW MRGPYHI E GEJI SǽGI WTEGI GSRHSQMRMYQW and a rooftop event space.

Interior Perspective Render Showing the atmosphere and mood the lighting in the gallery space creates.

Egress Stair Section

Manuel Ruiz

Exterior Perspective Night Render A A

B’

1 Women’s RR

This project, located in the Crossroads Art District in Kansas City, is a mixed use building consisting of a banquet hall, QEVOIX SYXHSSV IZIRX WTEGI ERH E ǻRI HMRMRK VIWXEYVERX

Dining Area

Women’s RR

Men’s RR

B’

B 2

Men’s RR

Kitchen

Punctured

Restaurant

B’

Outdoor Event Center 3

Loading Mechanical Trash

Garden

4 Reception

Reflection: The portfolio was a simple arrangement of already developed boards for presentations.

Men’s RR

Women’s RR

Banquet Hall Main Dining

5 Kitchen

Pre-Function

Walk-in Freezer

Bar

Portfolio

Resource Material: Academic work.

Outdoor Dining Storage

A’

Floor Plan_01

A’

Floor Plan_02

Floor Plan_03

Sun Analysis Diagrams June 22 Noon (280°)

Interior Perspective Restaurant

December 22 Noon ( 338)°

Student Work: After

Intent / Audience: Gallery style, image centric. Job consideration/Architecture Firm Instrument: InDesign, Illustrator, Photoshop

Reflection: Portfolio becomes a collection of produced images, supported by narrative. Size: 8.5” x 8.5”

Font(s): Minion Pro, Raleway

School of Self-Taught Architects

This Project is a response to today’s one-size-fits-all pedagogies, where students are all taught the same way, tested the same way, and have to behave the same way. The project itself was inspired by the works of Andreas Angelidakis, a greek designer. After researching Angelidakis’ work I took specific techniques that he has utilized in a number of his projects to reach the design of my own.

My pedagogy is that of the self-taught student, where I am simply providing the spaces for citizens to learn about topics in which they are interested in, ala Ivan Illich (Deschooling Society).

My pedagogy is that of the self-taught student, where I am simply providing the spaces for citizens to learn about topics in which they are interested in, ala Ivan Illich Deschooling Society.

Interior Perspective | Single Student Studio

All curricula including: Lecture, exhibition, and discourse will be driven by the students. Students will also be responsible for the design and construction of their studio spaces, further tailoring their education.

Portfolio

Resource Material: Academic work.

Interior Perspective | Multi-Student Studio

Portfolio 70

Portfolio Review Phill Smith

Student Reflection

My experience working with portfolios was limited in my former career, but the knowledge gained through both design exercises and effective classroom discussions have yielded strong results: confidence, ability, and skills I can use to adequately reflect and present my design solutions. The importance of layout and a consciousness of the flow of information will allow my ideas to be easy to understand. My newfound attention to the details of graphic organization grant me the understanding of hierarchy and the power to convey a stronger message through purposely arranging relationships between adjacent drawings and layouts. This past year, I was submerged into the world of design, not always sure how to digest or present the vast amounts of information I received. Receiving a more structured education on the power of the InDesign software in addition to the educational content within the text have both led me to feel more strongly that I belong.

Student Technique

Description: The portfolio will be used as a medium to be presented to future employers that will reflect my design capabilities, my values, and my ability to present information in a graphically effective manner. Instrument: Adobe InDesign, Adobe Photoshop, Adobe Illustrator Resource Material: Academic work from the the spring studio of year 1 of a 3 year masters program.

Portfolio

1.0 Open a new document and select “Custom” 1.1 Set “Top”, “Bottom”, and “Outside” margins to 0.25 in. Set “Inside” to 0.75 inches.

Portfolio

1.2 Set all “Bleed and Slug” margins to 0.125 in

1.3 Click “Create” Observation / Conclusion: Beginning with a consistent layout will create continuity. 2.0 From the “Pages” tab, use the dropdown menu and select “New Master” 2.1 Change the page size as needed 2.2 Select “OK” Observation / Conclusion: the creation of a master page will keep layouts organized. By doing more arranging up front, more time can be saved at later stages in the portfolio design.

3.0 Drag guidelines from the ruler to define the active zone. 3.1 To organize guides, select the guide and use Layout>Ruler Guides to apply colors. 3.2 Use guides to establish a grid pattern. 3.3 Use guides to create margins around the grid patterns. Observation / Conclusion: Using a grid will allow for flexible layouts and also provide opportunities to organize information. 4.0 Create alternatives of a desired master page by right clicking and selecting “Duplicate Master Spread”. 4.1 Use the “Rectangular Frame Tool” to organize desired layouts. 4.2 Use the “Align” window to ensure accuracy and monitor spacing. Observation / Conclusion: Creating layouts in advance will allow for a stronger focus when selecting content, and using frames simplifies the scaling process.

5.0 Under the dropdown in the “Character Styles” window, select “New Character Style”.

5.2 To apply character styles, select text boxes and select desired style from the “Character Styles” window. Observation / Conclusion: Staying true to a limited number of character styles allows for consistency within layouts. 6.0 Open master pages that require page numbers. 6.1 Use the “Type Tool” to create text box. 6.2 Select Type > Insert Special Character > Markers > Current Page Number 6.3 Assign a character style. Observation / Conclusion: Page numbers keep the work organized.

7.0 Under the “Pages” menu, select pages on which to apply the master layout. 7.1 Right-click, then select “Apply Master to Pages”. 7.2 Select desired master layout from the “Apply Master” dropdown, then select “OK”. Observation / Conclusion: By utilizing a few different master layouts, diversity between pages can be better achieved. 8.0 Use guides and frames to populate pages. 8.1 Insert images with File>Place onto desired frame. 8.2 Use the “Type Tool” and select the desired frame to begin typing. 8.3 Use the “Info” window to monitor the size of each image.

*For optimal processing speed, images with “Effective ppi” above 500 should be modified to be lower.

Observation / Conclusion: By keeping track of Effective ppi, relevant images can be streamlined to make work more efficient.

Portfolio

5.1 Select “Basic Character Formats” to change font, size, leading, and tracking. Select “OK” when finished.

Student Work: Before

Intent / Audience: Organize work to be presented to professors and employers Instrument: InDesign, Illustrator, Photoshop

Size: 8.5” x 14” (Legal) Font(s): Ebrima, Arial UNL Campus Oriented to “In Orbit”

155’0”

175’0”

Saraceno’s model of “In Orbit” Source: kunstsammlung.de

SITE EVALUATION “In Orbit” spanned the glass cupola of the K21 Ständehaus in Dusseldorf, Germany. This location was notable because:

175’0” 155’0”

1) views out were above the city, above the trees

“In Orbit” Installation: Plan View

2) acoustics of the museum reverberated strongly, and so all noises in the galleries below can be heard in the installation

95’0”

3) a cafe of sorts exists in the cupola, which added a social element

28’0”

4) the exhibit was visible to multiple levels of the museum

10’0”

28’0”

5) views from the installation made those on the lower level appear smaller 6) the cupola features a glass dome-structure, which added a large amount of light radiating off the steel cables 7) the weight of the exhibit is three tons, and experiences large amounts of tension from each of the 660 pound orbs and from visitors in the structure

82’0” 82’0”

8) the site must be able to withstand large tension in addition to bearing the total weight

“In Orbit” Installation: Section View

Professor Jeffrey L. Day, AIA

ARCH 501_spring 2019

PLAN VIEW Ground Level

Professor Jeffrey L. Day, AIA

PROJECT 1.0

Phill Smith

PROJECT 1.0

Phill Smith

PLAN VIEW Level Two

DN UP

UP UP

ARCH 501_spring 2019

UP UP

Reflection: The “legal” paper size made for a long, cumbersome layout. An over-abundance of information plates at the bottom of each page distracted from the material presented. Hierarchy is severely lacking, which leads to an unclear intent.

Portfolio

Resource Material: Academic work, internet research of Tomas Saraceno

ARCH 501_spring 2019

PROJECT 1.0

Professor Jeffrey L. Day, AIA

Phill Smith

PLAN VIEW Level Three

ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

Bent green-oak timbers form the Gridshell

SECTION VIEW Materials Diagram

Ethylene tetrafluoroethylene (ETFE) attached to exterior of gridshell

Steel frame resists compression of gridshell

“In Orbit” installation suspended by steel cables Steel cables connected to steel frame

Aluminum vertical and horizontal mullions project from the I-beam to form a curtain wall Glass panels held in place by mullions

Steel I-Beams carry the load to the ground

ground line DN

ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

Concrete piers form the foundation of the I-beams PROJECT 1.0

Phill Smith

ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

SECTION VIEW East

ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

PROJECT 1.0

Phill Smith

SECTION VIEW South

Phill Smith

ARCH 501_spring 2019

Professor Jeffrey L. Day, AIA

PROJECT 1.0

Phill Smith

Student Work: After

Intent / Audience: Organize and optimize information for future employers and academic institutions. Instrument: InDesign, Illustrator, Photoshop

Reflection: Because the work selected was more intentional, the material is easier to read and the images more relevant to the overall concept. Size: 8.5â&#x20AC;? x 11â&#x20AC;? Font(s): Ebrima, Minion Pro

Portfolio

Resource Material: Academic work.

Study 76

This phase provided the foundation or scaffolding for understanding the basic representation models.

Representation Investigation Reveal: Gabriella Argamosa, Jesus Perez-Cortez, and Phill Smith Performance: Mohammad QutbAldeen Digital Surrealist Portraiture: Jessica Brennan Mapping Anlaysis: Mathew Drummond Assembly: Tanner Lloyd Transform: Andrew Otting-Crandall Atmosphere: Kinley McGowan Atmosphere: Manuel Ruiz

Study

Portfolio 78

Investigation - Reveal Gabriella Argamosa, Jesus Perez-Cortez, and Phill Smith

In architectural terms, to reveal is to show the intent or meaning of a design. Three methods of revealing the intent of a design are layering, showing a process, and repeating design elements. Intent can be revealed through the layering of information in different representations. Whether in an axonometric, plan, or art, the layering process extracts details not only clearly visible upfront, but also details in the background that hint abstract ideas. These ideas evolve into other forms of logic and speculation. Diagrams can also reveal intent through illustrating the process of thinking; images that succeed in portraying ideas and projects as a whole, meaning both the end result and early work. Finally, designs can be revealed through a repetitive element. When elements such as design components, diagrams, representation techniques, and common shapes are repeated, the readerâ&#x20AC;&#x2122;s gaze can be guided to the intended concept.

Source: (Right) Detail drawing of the Victorian high-level ventilation actuators at the Temperate House. Rory Chisholm. 2018

Portfolio 80

A New Material Procession. Nabila Mahdi. 2014

Urban Morphology. Bruno Blanchard. 2016

Drawing Technique

Description: The axonometric drawing embodies a precise and sophisticated inspection of an existing building. The student who produced the project plot the original function of a silo to uncover a new material procession. By calculating the densities of silo material, such as metal, concrete, and wood, the process reveals a structural system that consider live loads (labeled on the left side of the drawing) as part of the new structure. With the diagrammatic approach the student was able to successfully develop the project concept.

Description: The artwork portrays the layered analyses of spatial structures within areas of human density, such as metropolitan areas. The artist behind the work was driven by the idea of urban morphology and its evolution through a variety of ways. His intent to showcase the revelation of the underlying possibilities of each study is projected from the different process developments of urban structures. Instrument: pencil, ink, and acrylic

Instrument: Revit, Adobe Illustrator, Adobe Photoshop

Resource Material: mixed media, trace paper

Resource Material: 3D models

Components: Sketches show positive and negative spaces with the aid of context line that originated as outlines of different metropolitan area. The layering of trace paper is the key tool in revealing the similarities and differences of each area.

Components: The grid lines projected from a two-dimensional graph of research plot the space for new development. Light linework in the background also provides the general details of the original building, while the color highlights areas of new information. Observation / Conclusion: Although overwhelming at first sight, its individual details explain the content clearly. The hierarchy of linework and splashes of color coordinate was successful to reveal both elements of the original work and its possible development.

Source: “AA 2014.” AA School of Architecture 2014 - Nabila Mahdi. Accessed May 31, 2019. http://pr2014.aaschool.ac.uk/INTER-09/Nabila. Mahdi#image-1.

Observation / Conclusion: With the type of representation, the layering of drawings overlap not to distract but to come together to reveal a new interpretation of the subject at hand. In architecture, this simple process generate quick but yet powerful ideations.

Source: Blanchard, Bruno. “Bruno Blanchard Artworks.” Issuu. Accessed May 29, 2019. https://issuu.com/blanchard/docs/bruno_blanchard_artworks. “Work.” Bruno Blanchard. Accessed May 29, 2019. https://www.blanchardbruno.com/work#/bruno-blanchard-artwork1/.

Portfolio 81

“Dance Sounds” from the drawing series Micromegas. Daniel Libeskind. 1979

The Peak. Zaha Hadid. 1983

Drawing Technique

Instrument: pencil and pen

Instrument: ink, ink washes, acrylic paint, paintbrushes

Resource Material: manuscript paper, regular paper

Resource Material: art canvas

Components: Although constrained in a flattened drawing the linework was vital in making the context come to life. From the obscure combination of solid and dashed lines and curves, the drawing start to illustrate depth.

Components: The distinctive use of color highlighted the forms of structure, background, and overall atmosphere. The range of shadows was persuasive in conveying emphasis on major details.

Description: A drawing from architect Daniel Libeskind’s drawing series “Micromegas” illustrates geometric elements that weave into one another to push abstract interpretations. With a mind-boggling surface to read at first sight, the underlying ideas lay within the layers of architectural components, such as plan, facade, and parallel projections. In the making, Libeskind listened to music to discover spatial relations and ended up suggesting new realities, which opens broader perspectives in theory and practice. To reveal the message, intensive deconstruction create an impression of penetrating, searching, tracking or marking of traces.

Observation / Conclusion: In order to undermine the intentions of the work, an open-minded approach is suggested throughout the process. Exploration may take a longer time due to individual steps, such as finding patterns in the linework, to organizing into respective layers, ultimately leading to deconstructive analysis.

Source: “Micromegas.” Libeskind. Accessed May 29, 2019. https://libeskind. com/work/micromegas/.

Description: The painting explores the congestion of Hong Kong, which is implanted on an artificial mountain. Architect Zaha Hadid paints concepts turned from abstractions to material forms in her later projects. As with any other architectural explorations, the intent behind the topographical studies proposed new world outlooks, along with challenging the extent of design. In the time the painting was made, Hadid was engaged by cities and their deeper connections. She embedded layers that showcased the separation of buildings from its surroundings. The elements ultimately established relationships to display the big picture.

Observation / Conclusion: Paintings and related physical explorations continue to produce a creative platform for architectural visions. This type of representation successfully reveal the merge of abstract and concrete concepts.

Source: Architectmagazine.com. Accessed May 31, 2019. https://www. architectmagazine.com/design/what-zaha-hadids-paintings-reveal-abouther-legacy_o.

Portfolio 82

Peckham Highrise. Christopher Singh. 2013

Future Built. Anna Katrin Karlsson. 2014

Drawing Technique

Description: A drawing showcasing a conceptual housing development located in Peckham. The proposal is to reoccupy and appropriate a ruin. Instrument: Computer, 3D model, and Illustrator. Resource Material: 3D model Components: The final design is clean lines and legible line weights. The other two designs are messier and not all of the lines are straight, indicating that they are more conceptual but also help tells the project’s story. Observation / Conclusion: This drawing works in its ability to describe the final building’s origin by having it be placed with two other designs at the same scale showing that they are of equal importance. One thing to consider would be to re-order, maybe placing the final design last and having the other two structures in front of it would describe its history in a clearer manner.

Source: Review, Architectural. Accessed May 30, 2019. https://www.flickr. com/photos/98429214@N03/9423184676/in/photostream/.

Description: This image was made to represent an effort known as “Future Built” that will run a course from 2010 through 2020. The goal is to develope carbon neutral urban areas and high-quality architecture in the Oslo area. With an intent of completing 50 pilot projects within urban areas as well as individual buildings while allowing the lowest attainable greenhouse gas emissions. Instrument: Computer, Illustrator, and Photoshop. Resource Material: Material JPEGs and Background JPEG. Components: This image is able to produce a visual ease. There is not one part that stands out from the rest, everything works as a whole. The similarities in the content applied such as the stairs and facades allows for the viewer to make correlations without much thought. Observation / Conclusion: This image focuses on one thing, which is to give an impression of purpose without having to actually produce a render or use words. One thing that could be enhanced would be making the distinction between the floor and wall on some areas clearer. This drawing works for this discipline as a form of representation because urban design is usually similar yet different.

Source: Behance. “Future Built.” Behance. Accessed May 30, 2019. https:// www.behance.net/gallery/15689687/Future-built.

Portfolio 83

Shinkenchiku International Residential Competition. 2008

Sketch. RO & AD Architecten. 2018

Drawing Technique

Description: An isometric 30º x 60º diagram submitted into a competition called “The Four Square House Design Problem: Homage to John Hedjuk. The competition was a spin on John Hejduk’s “Nine Square Grid Design Problem.” The objective of the project was to design four houses in any configuration so long as they follow the set parameters. Instrument: Computer and Illustrator Resource Material: 3D model and scale Figures. Components: This image produces a lot of information without it being overly complex. It shows its location on a site. Then it moves on to show its how its the design works. And the final images shows final design with content and how users interact with it.

Description: This is a sketch for a project named “Pompejus.” It is a watchtower located on the Fort de Roovere in Halsteren, West Brabant. Named after the first commander of the fortress, Pompejus de Roovere, it functions as a watchtower, an open-air theatre and as an information point for tourists. Instrument: Pencil Resource Material: Paper Components: This drawing exhibits process and connections across the page. It shows early phases and ideas and then goes on to depict how they affected later phases. The orientation of information and the path they follow to show a linear process.

Observation / Conclusion: As a whole, this drawings displays information and process from beginning to end and is a smaller to larger fashion that puts emphasis and final result. This image is easy to understand. Maybe color could have been included in certain areas to draw in focus.

Observation / Conclusion: This image gives information on the origin of a project in a clean and legible way. The arrows made up of words give description of phases without over-saturating the paper. Allowing the bottom of the page the most room makes a clear indication that it holds the final and most important aspects of the design. Maybe one thing to consider would be to remove some content if they do not proved substantial information.

Source: Diagrammapping. Diagramming // Mapping. January 06, 2015. Accessed May 30, 2019. https://diagrammapping.tumblr.com/ post/107331130042/shinkenchiku-international-residential-competition.

Source: Sagredo, Rayen. “Pompejus / RO&AD Architecten.” ArchDaily. February 20, 2018. Accessed May 30, 2019. https://www.archdaily. com/889239/pompejus-ro-and-ad-architecten.

Portfolio 84

Source: JHW Store: Axon from JHW in Zhengzhou, China. Atelier tao+c, 2019

Source: Basis International School 27/30 from ZHUBO-AAO-27, 2019

Drawing Technique

Description: By simplifying the interior space surrounding the stairs, this axonometric drawing describes the relationship between each level while also providing guidance for readers to understand the image. Other features of the building are excluded, and the staircase becomes the central focus through the use of color. Instrument: 3-D modeling software for creating volumes, Illustrator for patterns and hatching, Photoshop for image control. Resource Material: site map, interior design program Components: guide lines (red), pattern hatches, axonometric view Observation / Conclusion: This image illustrates a method of revealing the core concept through pattern of a guiding component: in this case, the red guide lines. The series of red lines connecting the upper and lower floors in juxtaposition with the grayscale of the other features draws the readers’ attention to the relationship between the windows of the upper level and the layout of the lower level. The lines also serve as highlights to draw attention to the space created by the stairwell.

Tao Liu, Chunyan Cai, Li Xiong, Sisi. 2019. “Axon: JHW Store” https://www. archdaily.com/917200/jhw-store-atelier-tao-plus-cvv .

Description: A series of site maps in juxtaposition, each map on its own shows different levels of site information. The image profile repeats and serves as a “control”, whereas the conditions of the map change with each diagram, Instrument: Photoshop for image control, Illustrator for linework, InDesign for labelling. Resource Material: GIS data, site considerations Components: Satellite imagery, site information, simplify design diagrams, guidelines Observation / Conclusion: This image demonstrates how a concept can be revealed through repeating a base diagram but changing the information of each iteration. By repeating the profile and imagery of the base layer of the diagram, the changes between each diagram become more apparent, allowing the reader to recognize patterns and draw conclusions.

ZHUBO-AAO - 27 , 2019. “Basis International School Park Lane Harbour 27/30”, https://www.archdaily.com/911274/basis-international-school-parklane-harbour-zhubo-aao .

Portfolio 85

Source: China Town Waterfront, Karina Cazar Recalde, 2017

Source: Detail drawing of the Victorian high-level ventilation actuators at the Temperate House. Rory Chisholm. 2018

Drawing Technique

Description: This axonometric view creates the impression of a busy waterfront neighborhood, reflected in the clean but dizzying linework. Three buildings are in axonometric section at different height levels, and everything is white except for the ground plane. Instrument: Rhino for 3D design work and sections, Illustrator for line control and hatches, Photoshop for image control, and InDesign for labels. Resource Material: GIS data, building plans Components: Axonometric elevations of most buildings, scale figures, wildlife, Chinese characters, axonometric sections of three buildings Observation / Conclusion: This drawing reveals the core concept by repeating a technique and spacing it evenly through the page. The connection between interior and exterior spaces is revealed by three buildings in section, which breaks the pattern of the surrounding neighborhood buildings in elevation.

Recalde, Karina Cazar. 2017. “China Town Waterfront”, https://www. archdaily.com/878262/the-80-best-architecture-drawings-of-2017-so-far .

Description: A drawn perspective view of the Temperate House at Kew Gardens, this image focuses on the ventilation system while simultaneously overlooking the space created beneath. Artistically driven in imagery, it has the appearance of the artwork of an Impressionist sitting up in the rafters and drawing what he or she sees. Instrument: Rhino for 3D graphic, paper-pencil for hand-sketched portions, Photoshop for image control. Resource Material: plans of the Temperate House, color palette, detail drawings of the ventilation system Components: Detailed drawings of the ventilation system, abstracted plant features Observation / Conclusion: This drawing reveals the core concept through a repeated shape, the ventilation features. The repetition guides the eye of the reader through the drawing, elevating a feature that most people n reality will ignore, revealing its important function in the design as a whole.

Source: Chisholm, Rory. 2018. “Detail Drawing of the Victorian Highlevel Ventilation Actuators at the Temperate House”, https://www.archdaily. com/908188/the-best-drawings-of-2018 .

Portfolio 86

Investigation - Performance Mohammad QutbAldeen

Performance: An architectural respond to the surrounding environment. Architecturally representing environmental study and design to show the effect on architecture by the surroundings. 3d modeling and illustration to show the impact of environmental design. There are many aspect of performance in architecture such as: Double facade performance is a spatial diagram to show environment effect. Material performance diagram for example the use of organic material. Future performance diagram is to design for the future using all available resources and ideas.

Source: ”Projeto Agrega Soluções Da Arquitetura Sustentável.” SustentArqui. May 24, 2017. Accessed June 03, 2019. https://sustentarqui.com.br/nova-sededa-energisa-arquitetura-sustentavel/?w3tc_note=flush_all. (Right)

Portfolio 88

Al bahr tower hotel, facade layers and concept.

Snapshot of the sample daylighting simulation in Ecotect and IES-VE.

Drawing Technique

Description: The drawing shows the layers of the facade starting with the floors and the grids. Then the structure layer. The last two are glass to finish with “mashrabiya layer, which is shading devices shaped as triangles that open and closed. Instrument: 3D modeling, illustrator. Resource Material: grasshopper, illustrator. Components: 3D drawing of the tower’s facade to show the concept of multilayers. 4 drawing each one represent a layer. It segregate layer with color. Structure in black, glass in blue, shades in paige. Observation / Conclusion: performance in environmental aspect is shading the building to reduce the sun affect on the facade and limit the use of air conditioning and electricity. The simplicity of presenting a complex idea. There is variation in each layer importance or role, and that is not in this illustration. It is better to note the construction layer that carries the load of all layers.

“Al Bahr Towers | Aedas.” Arch2O.com. February 06, 2019. Accessed June 03, 2019. https://www.arch2o.com/al-bahrtowers-aedas/.

Description: the drawing shows a 3d model analyze. Heat signature on a building from different resources study. The goal is understand how much a design is affected by heat. Instrument: 3D modeling, illustrator. Resource Material: Sketchup, IES-VE, illustrator. Components: 3D drawing of a building and study of the effect of heat on the building. It shows the performance of the building on daylight. Observation / Conclusion: performance analyst software is important in architecture. This measure the temperature and wind and sun on each surface. That shows the integrated systems of design.

Jalaei, Farzad, Jrade, and Ahmad. “An Automated BIM Model to Conceptually Design, Analyze, Simulate, and Assess Sustainable Building Projects.” Journal of Construction Engineering. November 06, 2014. Accessed June 03, 2019. https://www.hindawi.com/journals/jcen/2014/672896/.

Portfolio 89

indonesia pavilion world expo 2015, 3d modeling

ARUP skyscraper 2050

Drawing Technique

Description: 4 drawings shows concept of the skin of pavilion. The skin concept is environmental solution from organic material. Instrument: 3d modeling, sketches, Adobe Resource Material: grasshopper, hand sketch, illustrator Components: a brown side shows the material which is Bubu wood. The black side shows the modeling techniques. The skin cover the building to show identity. It is also show environment performance. Observation / Conclusion: the drawing is clear. The grid is simple. the notation is not always in the same place. It can be improved by put the text in the grid.

Formologix. “Home.” Formologix. Accessed June 03, 2019. http://formologix. com/2015/11/28/parametric-design-strategy-for-building-skin-modulation/ worldexpo_05/#gallery.

Description: render for 3d model, it envision future skyscraper of 2050. It represent a vertical city. It also show a self sustaining and living building. Instrument: left: 3d modeling, adobe. Resource Material: 3d model, illustrator. Components: perspective of high skyscraper with multifunction. It has its own agriculture system for self sustain. Also, the design shows power source like wind energy and recycle station. Observation / Conclusion: this drawing show a dream or a version of future cities. There are many alternatives to this future. However, resources and power are important element of future architecture. It essential for architecture to reach a level of performance that doesn’t sustain with the environment

“Gallery of Arup Envisions the Skyscrapers of 2050 - 1.” ArchDaily. Accessed June 03, 2019. https://www.archdaily.com/333450/arup-envisions-theskyscrapers-of-2050/512ae7beb3fc4b65c7000169-arup-envisions-theskyscrapers-of-2050-image.

Portfolio 90

Investigation - DIGITAL SURREALIST PORTRAITURE Jessica Brennan

Graphic Surrealist Portraiture is the form of art combining the modern technology of graphic design to manipulate portraits into surrealist images. The forthcoming images provide exemplary models of using Photoshop to create images from reality and turning them into forms that could never truly exist. These modern tools of graphic design have expanded the historical realm of surrealism into one that can be manufactured rapidly with intricacies that would have been painstakingly difficult to do by hand. Beyond simplifying the process however, this style of art adds a digital resolution that allows new elements of metaphor and meanings to emerge.

Source: http://www.magdiellopez.com/

Portfolio 92

“THE ONE” from Collection 2. Magdiel Lopez. 2018

“THEM AND ME” from Collection 3. Magdiel Lopez. 2019

Drawing Technique

Drwing Technique

Description: This piece is of a floating, melting greek statue bust. The original photograph has gone through changes in color to turn the once matte white statue into one that is a mixture of pastel pinks, blues, and purples and appears to be glowing. Instrument: Photoshop Resource Material: an image of a greek statue bust Components: This image uses the rule of thirds horizontally to establish a focal point in the eyes of the bust and then a large section of flat color in the puddle, giving the viewer a strong sense of balance, as well as a story line to follow. Observation / Conclusion: This piece shows the decay of a greek statue into a flat puddle. This is a representation of the flattening of people in history to a single time line of events that pinpoint areas of success and failure. When learning about a person’s history, one can only aim to understand a brief summary of their accomplishments or key elements of who they were. There is no capturing the true essence of a person entirely. It is clear that Lopez wanted the flatness of the melted statue to share as much visual attention as the eyes and certain elements of the dripping. Although the puddle is made of the same elements as the statue it can never represent the true form of who the statue was represents.

Lopez, Magdiel. 2018. THE ONE. Collection 2.

Description: This is an image of a woman standing in front of some hills. She is illuminated by a soft radial gradient and lines of color spectrums. She stands in the center of the page with a stone block in front of her eyes. On her chest there is a pathway that opens up to galaxy. There is a small silhouette standing in the center. Instrument: Photoshop Resource Material: images of the landscape, woman, stone block, galaxy, and silhouette Components: Surrealist imagery is commonly overwhelmingly metaphoric and is rooted in the juxtaposition of irrational images. This image has multiple components that cast realistic shadows and are grounded in the image but make no realistic sense. The window in the woman’s chest could represent surrealism in a way because the movement is highly focused in unleashing the subconscious. Observation / Conclusion: I selected this image because it reminds me most closely of René Magritte, a surrealist painter who often used images to block out faces of portraits and replace them with absurd objects. This piece draws heavily from the window-to-thesoul metaphor. By distorting the woman’s face it represents the true self being defined as the inner consciousness and not what is presented on our outer appearance.

Lopez, Magdiel. 2019. THEM AND ME. Collection 3.

Portfolio 93

“TODAS LAS OPCIONES” from Collection 3. Magdiel Lopez. 2018

“REJECTED III” from Collection 2. Magdiel Lopez. 2017

Drawing Technique

Description: This graphic is a portrait where the crown of the man’s head has been removed and there are emerging flowers and rainbows floating out. There are chromatic lines running down his face and his shirt has been replaced with a gradient. Typography borders the outside of the image with a glow effect around it. Instrument: Photoshop Resource Material: image of the man, images of flowers Components: This piece uses color to emphasize hierarchy and establishes a strong focal point by illuminating the flowers and rainbow and pushes both the face and shirt into the similarly muted background. Elements of the color, such as the teal glow at the top of the image and similarly at the bottom help to establish a closed border and then has the rainbow break through it, giving the piece a visual excitement which entices the feeling of surrealism. Observation / Conclusion: This piece represents a common surrealist motivation to showcase the exploration of unleashing the subconscious. In this piece, the man’s subconscious is vibrant and filled with beauty and wonder, represented by the whimsical flowers and rainbows. It contrasts the muted rainbow in his shirt and the dull background possibly trying to show that our outer self is a distilled version of our own complexity and spirit.

Lopez, Magdiel. 2018. TODAS LAS OPCIONES. Collection 3.

Description: This piece is layered partial portraits with sections of each face cut out. On a selected portion of each of the faces there are pink or blue lines streaming downward. These lines show depth and uniqueness in each partial face. There is a gentle radial gradient illuminating from the top of the model’s head downward. The shirt has been flattened into a silhouette with a gradient that serves as a boarder which grounds the image. The format is a centered image which is mirrored by the placement of the typography. Instrument: Photoshop Resource Material: image of the woman Components: Lopez uses strictly images from life in this piece but manipulates them into an unrealistic form and arrangement. This piece is surreal because of his use of the resource material. This piece uses color to establish hierarchy. With such bold colors used to contrast the muted yellow and skin tones the piece, the eyes demand the most attention and are being framed by the woman’s black hair and silhouette. Observation / Conclusion: This image is important to the graphic surrealist portraiture movement because the image stands alone as a manipulation of the face. It makes a physical representation of the layers of our personality and commentates on levels of vulnerability.

Lopez, Magdiel. 2017. REJECTED III. Collection 2.

Portfolio 94

Investigation - Mapping Analysis Mathew Drummond

Mapping Analysis is a descriptive drawing which highlights elements of importance that were discovered during research. Each of these drawings represents a case study that highlights elements that are deemed important by each author. While some of these excel in different aspects, each one is a great example of a project which highlights either spatial context or program adjacency. While some designers tend to treat mapping analysis and its representation as secondary or tertiary importance in the workflow. It should not be downgraded due to the large impact it will have on the design process. By understanding the research that you gather and the way you represent it for the mapping analysis,

it will have an impact on the way the designer understands and interprets the information which has the potential to further develop the design even more.

Autone1. Instagram. February 14, 2015. Accessed May 30, 2019. https://www. instagram.com/p/zGXepqGnKn/

Portfolio 96

Propositional Master Plan. Joe Coulter. 2013.

Autone1. 2015.

Drawing Technique

Instrument: Pencil, Illustrator, and Photoshop.

Instrument: Photoshop and a Cad Drawing Program.

Resource Material: Photos that highlight activity, a CAD drawing of the site, and a descriptive analysis that explains site context.

Resource Material: Aerial Site Map, GIS Zoning Plan.

Description: Site map analysis that utilizes vignettes which highlight program adjacency.

Components: One of the components in the image is a series of grid lines that act as frames for renders that are drawn by pencil on top of photos. Moreover, for each of these cluster of frames, there is a descriptive text that follows, which explains the function. Observation / Conclusion: This image provides a basic analysis of the importance of a waterway on different programs along this corridor. One of the things that prove a challenge in this image is the series of snippets within each vignette. Because of these multiseries vignettes, it makes it hard to clearly understand what each program is, without the text description.

Coulter, Joe. â&#x20AC;&#x153;Stowford Mill.â&#x20AC;? Tumblr. December 5, 2013. Accessed May 30, 2019. https://fuckyeahcartography.tumblr.com/post/69134738734/joecoultermapping-out-proposed-usage-and-make

Description: An aerial site map that is highlighting parcels within a neighborhood through an inventory analysis.

Components: One of the primary components in the image is the selection of color as a contrast against the rest of the drawing. Each of these colors highlights the parcel indicating a description of impact within the site. Underneath the parcel, ID highlights topography with a faint white line on a black surface. Then finally, the introduction of a white to black gradient from the bottom of the image to the top. Observation / Conclusion: This image is a great example of how to create a compelling image with only linework, infills of color, and a black backdrop. While I did state it is compelling, some of the issues I have with the image is that it is not clear on what the parcel color coding means, it leaves interpretation up to the viewer. Another issue I have with the image is the legibility and understanding of site location, since the only clear thing is the parcel lot, with no clear definition of a road or existing structure.

Autone1. Instagram. February 14, 2015. Accessed May 30, 2019. https://www. instagram.com/p/zGXepqGnKn/

Portfolio 97

Make An Exploded Axon Mapping. Melissa Alexander.

“Urban satellite” from fragments to centrality. Alexander Daxb öck.

Drawing Technique

Instrument: 3D Modeling Program, Illustrator, and Photoshop.

Instrument: CAD program and Illustrator.

Resource Material: Aerial Map that includes the context of the selected site, Digital Model, and GIS Information.

Resource Material: DWG file of the site.

Description: An axonometric diagram that depicts a spatial relationship between a theorized tower and adjacency.

Components: A linear line that runs through the center of the diagram that keeps it relatable between each set of information. In each set, there is a consistent element that highlights the relation between everything. Almost all of the sets are located on a figureground with a light gray tone. Observation / Conclusion: This is a clear depiction of adjacency diagraming that highlights the importance of this site. A portion that does not clearly show is the impact of each adjacency on one another. While it is interesting as a diagram, this element is something that I would have enjoyed to see, since it would have helped to show the importance of this site as a selection.

Alexander, Melissa. “Make An Exploded Axon Mapping.” Section Cut, LLC. Accessed May 30, 2019. http://www.sectioncut.com/studio-culture/how-tomake-an-exploded-axon-mappingztp2sf9e01qptys8ujir.jpg

Description: An aerial site map that emphasizes the connection between two separate locations.

Components: The drawing utilizes black linework on a white base with an inverted selection appearing in the center of the page. The image has a selection of text describing certain areas of importance. At the bottom right of the image is the location of the key that explains line type and hatching selection. The image could be broken down into three zones. The outer zone which is filled with an off-white infill. The middle zone, which is linework on a white backdrop. Then finally the interior zone, which is white linework on a black infill. Observation / Conclusion: Because of this arrangement of coloring, the eye focuses on the inverted selection of white linework with black infill. By doing this, it focuses the attention of the reader towards the area of importance, which is highlighted by the author.

Daxböck, Alexander. “Urban satellite.” Adobe Systems Incorporated. April 2, 2013. Accessed May 30, 2019. https://www.behance.net/gallery/7933015/ Urban-satellite

Portfolio 98

Investigation - Assembly Tanner Lloyd

Assembly is the process of generating a product through the bringing together of parts or ideas. The upcoming images will show the process of constructing, generating, and producing work made to be consumed. Not all assembly diagrams are for buildings and furniture, they could be for the production of images or concepts. Assembly is just the process of coming to a conclusion but just showing a conclusion is not enough explanation, understanding needs a deeper investigation into the process that creates the conclusion for the consumer to comprehend it completely. Hence the need for assembly diagrams, it gives an explanation of how something is constructed in a visual medium.

â&#x20AC;&#x153;Bell Tower for Community First Village. Austin, Texas.â&#x20AC;? SmithKennedy Architects. Accessed May 31, 2019. https://cargocollective.com/TGFT

Portfolio 100

“Dinning Chair Woodworking Plan” from Pinterest

“Bell Tower” SmithKennedy Architects

Drawing Technique

Description: This project is the construction of a basic wooden dinning room chair. Meant to be built multiple times to create a set, this design was for simplicity, cost effective and easily mass produced. Instrument: 3D Modeling software, Illustrator Resource Material: Linework exported from a 3D model with wood texture overlay Components: This drawing includes line work, a wood texture, and labels that can tell measurements and descriptions.

Description: Community First! Village is a 27 acre housing/working project for the chronically homeless meant to bring people of a similar standing together, and in the center of that village is a bell tower. The bell tower is a spot for people to gather at the begin and the end of the day. This diagram gives the inhabitants of the village the step by step process of how the bell tower is put together so they will be able to build it themselves once they receive the parts. Instrument: 3D modeling software and Illustrator Resource Material: Vector line work exported from the 3D model

Observation / Conclusion: This project is successful in some aspects in the way that it shows how pieces fit together and gives the length of few pieces. But the drawing is unsuccessful in the way that it doesn’t give the dimensions of all the pieces, this drawing was meant to show the construction of a chair for the average woodworker but to make the vertical spindles on the back a profile is needed for the lathe. Although this document is not informative enough for the average wood worker it is more than enough for a consumer assembling the pre-fabricated parts.

Components: The bell tower assembly diagram includes images of each main part of tower being assembled in order with the newest piece of each step being highlighted in orange. Each image also comes with a short notation of what the part is called.

“Dinning Chair Woodworking Plan.” Pintrest. Accessed on May 30, 2019. https://www.pinterest.com/pin/551409548116144758/?lp=true

“Bell Tower for Community First Village. Austin, Texas.” SmithKennedy Architects. Accessed May 31, 2019. https://cargocollective.com/TGFT

Observation / Conclusion: This document is successful as it gives a simple construction process to a simple project with detailed graphics and without the complicated architectural jargon.

Portfolio 101

“Gravity Tank Toilets” Sloan

“Hoax Assemblies” Carlos Navarro & Rishabh Khurana

Drawing Technique

Description: This project is describing a flushing system and toilet bowl that is made to fill the back tank after a flush so the next time it is flushed the specific amount of water, determined by the bouy sensor, will flow down the toilets pipes refilling the bowl. Instrument: Line work exported from 3D modeling software Resource Material: 3D model linework Components: This diagram includes all pieces needed for assembly and each piece is numbered to correspond with its name in a separate parts booklet. Observation / Conclusion: This diagram is successful because it shows where each of the pieces go and gives two different diagrams for different floating sensors. This is the type of drawing that be included in the sale of a toilet, although most toilet have to installed by professionals this diagram could be understood by both plumber and homeowner.

“Gravity Tank Toilet.” Sloan. Accessed June 2, 2019. https://www.sloan.com/commercial-bathroom-products/parts/gravity-tank-toilets

Description: This project is about the process of making drawings and turning them into objects. Hoax assemblies states that drawings have countless qualities seen and unseen coexisting in one image becoming an object. The drawings created include vector line drawings, photoshoped textures, and renders of monolithic architecture to create an intermediate mass. The combinations of these qualities creates an every changing picture that creates different views by just looking at it. Instrument: 3D modeling software, Illustrator, and Photoshop Resource Material: 3D model, Vector lines, and white texture Components: This diagram includes vector lines, dashed lines, photoshoped textures, shadows, and renders overlaid to create a unique image Observation / Conclusion: This diagram is successful because its a high quality image that shows the assembly process of a drawing used in a final presentation. It shows that the assembly of an architects representation can be just as important as the assembly of the building. “Hoax Assemblies.” Carlos Navarro & Rishabh Khurana. Accessed May 31, 2019 https://www.sciarc.edu/academics/postgraduate/architectural-technologies

Portfolio 102

Investigation - TRANSFORM Andrew Otting-Crandall

Transform [verb] to preform or undergo change in form, appearance, or condition.

Representing a transformation is done by declaring what actions are taking place. Movement is the action of changing only the position in any chosen direction of an object. Rotation is the spinning of an object from a chosen position in any direction. Scaling is the shrinking or enlarging of the object. Transformation can also be a combination of actions like skewing, shearing, and twisting. Typically, the addition or removal of material will take place. It is necessary to understand the ripples of change created when a single element is transformed. The movement, scale, or rotation of a window in a room will transform the use of the entire space. Leading to a change in arrangement of the entire building.

JosĂŠ Berbiela Bustamante, 2012. Accessed May 30, 2019. http://hicarquitectura. com/2012/10/jose-berbiela-habitat-en-casablanca/

Portfolio 104

The Spyglass Beach Hut. Jak Studio. 2018.

Cloud Seeding. Geotectura Studio, MODU. 2015.

Drawing Technique

Description: A 3D exploded drawing of The Spyglass Beach Hut in the town of Eastbourne, Britain. One of the main goal of this project is to provide visitors with the ability to tract the suns path throughout the day. Instrument: 3D Modeling software and Illustrator. Resource Material: Dashed-lines, arrows, 3D drawing, and color overlay. Components: The Lines and arrows help distinguish the rotational ability of the hut. The decision to create an exploded drawing is important because the drawing shows how this ship is structurally possible. Observation / Conclusion: The drawing shows basic information about the hut and the goals of the designers. However there is much room for potential improvement. The color distinction between the hut and the rotational element should be drastic. Also environmental context should be added to give a sense of setting.

Source: India Block, “Rotating beach hut can catch the sun’s rays all day” 2018. Dezeen. Acceced May 30, 2019. https://www.dezeen. com/2018/09/09/rotating-beach-hut-can-catch-the-suns-rays-all-day/

Description: A plan drawing of the Cloud Seeding project in Holon, Israel. This project uses hundreds of moving balls in the roof structure to engage the visitors. Instrument: Illustrator and Photoshop. Resource Material: Dashed-lines, paintbrush, and color. Components: This drawing is composed of 4 rectangles with a dotted outline to represent the outline of the roof. Smaller rectangles were drawn to show seating elements. Multi-ball roof was created through dot brush. Observation / Conclusion: The project is relevant to the definition of transform because as the balls move to change the shape of the roof, they additionally changes the space below.

Source: ”Cloud Seeding / MODU + Geotectura Studio” 07 Sep 2015. ArchDaily. Accessed 3 Jun 2019. <https://www.archdaily.com/773134/cloudseeding-modu/> ISSN 0719-8884

Portfolio 105

Skyshelter. Damian Granosik, Jakub Kulisa, and Piotr Pańczyk. 2018.

One Bucket at a Time. Architects Factor Eficiencia, 5468796 Architecture. 2017.

Drawing Technique

Description: Rendered section drawings with floor plan call outs. The collapsible skyscrapers are intended to be airdropped into disaster zones. Instrument: 3D modeling software, Photoshop, and Illustrator. Resource Material: Background image, scale figures, line work, and color.

Description: Site plan view of a public space in Ciudad de México, CDMX, Mexico. The pavilion, which can be arranged in many forms, is intended to empower the citizens and take back public space which is rightfully theirs. Instrument: 3D modeling software and Illustrator. Resource Material: pavilion line work and environment line work

Components: The 3D model has poche, trees, and people. Also included are call outs of each floor plan of the tower.

Components: The pavilion is translated from 3D to 2D and placed onto the art board. The trees and streets are drawn in Illustrator.

Observation / Conclusion: The structure of the skyscraper is transformed through scaling vertically. It begins as a compressed set of floors and expands into several usable spaces.

Observation / Conclusion: The pavilion’s base shape is a flat triangle and has interlocked buckets that can be curled, rotated, and moved. These actions transform the flat triangle into an interactive space.

Source: India Block, “Collapsable skyscraper for disaster zones wins conceptual design competition” 18 April 2018. https://www.dezeen. com/2018/04/18/collapsable-conceptual-skyscraper-architecture-evolocompetition/

Source: “One Bucket at a Time / Factor Eficiencia + 5468796 Architecture” [One Bucket at a Time / 5468796 Architecture + Factor Eficiencia] 16 Mar 2017. ArchDaily. (Trans. Santibañez, Danae) Accessed 3 Jun 2019. <https:// www.archdaily.com/867291/one-bucket-at-a-time-factor-eficiencia-plus5468796-architecture/> ISSN 0719-8884

Portfolio 106

Investigation - ATMOSPHERE Kinley McGowan

The first impression of a structure or interior space. The emotional perception felt when entering a space. These emotions are formed off of the atmospheric quality of the area. Atmosphere best explained is the sensory quality that space emits. This is the way a space makes someone feel through light, sound, material, or the odor in the air. This architectural quality is what connects the viewer to the overall space through different elements. Atmosphere can be experienced through each of the senses.

Through architectural drawings or renders atmosphere can be conveyed. Qualities such as light and material can be shown in such a way to convey a mood or bring about emotion all to show the overall atmosphere of the space.

The external surroundings are of vital relation to the structural design in atmospheric design. In order to complete the atmosphere of a space, according to Peter Zumthor, people must be included. Everything people say, feel, and do add to the overall experience and atmosphere of a space.

Peter Zumthor. â&#x20AC;&#x153;Atmospheresâ&#x20AC;? (Switzerland, Birkhauser 2006)

Portfolio 108

“Cliff Retreat Moments” Alex Hogrefe December 15, 2013

“The World’s Edge” Michael Vincent Manalo 2016

Drawing Technique

Description: This render perspective shows a staircase leading to the edge of a cliff overlooking a body of water intended for people to go to mourn a loss.

Description: This metal plated print shows a human figure looking out into the sky from a large interior space.

Instrument: CAD program, Adobe photoshop Resource Material: 3D model Components: The image is rendered in black and white, also composed of strong highlights and shadows creating a strong emotional effect. A woman is added into the mid-ground adding in scale to the environment. Observation / Conclusion: This image is successful in showing the surrounding context in relationship to the atmosphere. The highlight upon the stairs in the foreground that lead down to the overlook where there is also another highlight is helpful to communicate the intention for the space to be a healing and hopeful atmosphere. The perspectival render is effective in showing the atmosphere of mourning, sorrow and grief as well as the feelings of hope and healing.

Alex Hogrefe. “Cliff Retreat Moments: Part 1” Accessed May 31, 2019. https:// visualizingarchitecture.com/cliff-retreat-moments-part-1/

Instrument: Adobe photoshop Resource Material: Metal Plate Components: The image is at large the interior space which is dark and hazy, then paired with the sliver of bright light down the center. Within the contrasting highlight a figure is placed to show the massiveness of the space. Observation / Conclusion: This print is successful in creating contrast in order to create emotion in and move the viewer. The placing of the figure was strategic in being centered to help show the intention of the space. The image is effective in showing the atmosphere of hope towards something more.

Tulika Bahadur. “Manalo- On Art and Aesthetics” Accessed May 31, 2019. https://onartandaesthetics.com/2016/08/11/manalo/

Portfolio 109

Busan Opera House. Ilshin Architects. 2012-2022

Mount Tindaya. Eduardo Chillida. 1996-2004

Drawing Technique

Description: The render shows a portion of the outdoor rooftop of a forseen opera house that provides a dynamic and powerful environment to complement the atmosphere of the interior space of the opera house below.

Description: This render shows the inside of Tindaya mountain which has been hollowed out and formed into a giant cube. Shown are two square openings in the mountain where light pours in.

Instrument: CAD program, Adobe photoshop Resource Material: 3D model Components: The bright background paired with the curved form of the rooftop structure is what the perspective started with. Adding in entourage in the foreground and background creates a sense of depth which also creates scale and proximity within the render.

Instrument: CAD program Resource Material: 3D model Components: The dark interior of the mountain creates a great contrast with the light pouring in from the openings in the skylights. The figure in the left background reveals the scale of the space, showing the true magnitude of the interior space that has been created.

Observation / Conclusion: This is a well-done render showing the central atmosphere of this interactive rooftop space. The contrast in the render between the light and shadow direct the viewers eye toward circular opening where the entourage was placed, where the action is to take place within the space. This render reveals the liveliness of the atmosphere.

Observation / Conclusion: This render is successful in revealing the the true scale of the space by adding the scaled figure, giving the viewer insight on the feeling and power of the space. However this image is in black and white, where materiality cannot be seen or made out. If materials were to be understood from the image itself the viewer could have a stronger emotional connection with the overall atmosphere of the space.

“Busan Opera House” Accessed May 29, 2019. https://snohetta.com/ project/12-busan-opera-house

Eduardo Chillida. “Montana Tindaya” Accessed May 30, 2019. http:// architectuul.com/architecture/montana-tindaya

Portfolio 110

Investigation - ATMOSPHERE Manuel Ruiz

The atmosphere of a space tends to speak of the light, movement, sounds, smells, and the activities taking place in said space. A drawing of a space, though only a snapshot, can show what is possible in a space, and what the space may have been designed to accommodate. Through photo-editing programs like Photoshop photographs and drawings can be rendered to look alive. Whether that be by adding figures, animals, materials, objects, etc. Though perspectival drawings are usually what one thinks of when thinking about atmosphere, it can still be perceived in other drawings like plans, sections, elevations, axonometric, or isometric. Communicating atmosphere may be more difficult in these drawings due to the projection that is set for each of them, but it can be done.

Source: Visualizingarchitecture. â&#x20AC;&#x153;Visualizingarchitecture.â&#x20AC;? Visualizing Architecture User Gallery. February 03, 2017. Accessed May 31, 2019. https:// visualizingarchitecture.tumblr.com/post/156737176209/intermodal-housingnetwork-new-delhi-india.

Portfolio 112

Exterior Night Render

Interior Render

Drawing Technique

Description: Perspectival showing the space within a pavilion project. Instrument: 3D Model, Photoshop Resource Material: 3D Model Components: Exterior light, and movement of scale figures

Description: Perspectival Instrument: Revit, Photoshop Resource Material: 3D Model Components: Light filling the space

Observation / Conclusion: This render shows the space being full of movement as well as time passing by. Having the sharp scale figure then another as if he were walking by shows that the sharp scale figure has been standing there for some time. The space also seems light in mood. The use of the light and color saturation I think helps with that, as well as the movement of the other visible figures.

Observation / Conclusion: In a religious space like a chapel, spirituality can be difficult to convey. Though adding the “god light” coming into the space through the windows adds a sense of spirituality into the space. if more people were added seated in the space, that could’ve added a sense of weight or solemnity. Overall the space does seem to possess a sort of divinity, especially with light coming in through the cross shaped window.

Visualizingarchitecture. “Visualizingarchitecture.” Visualizing Architecture User Gallery. February 22, 2018. Accessed May 29, 2019. https:// visualizingarchitecture.tumblr.com/post/171162559534/cabin-departmenton-conservation-ecological.

Visualizingarchitecture. “Visualizingarchitecture.” ewddsVisualizing Architecture User Gallery. August 08, 2017. Accessed May 29, 2019. https://visualizingarchitecture.tumblr.com/post/163923557484/religiousarchitecture-project-by-kylie-miller.

Portfolio 113

Exterior Render

Drawing Technique

Instrument: 3DS Max, Vray, Photoshop

Instrument: Rhino, Vray, Photoshop

Resource Material: 3D Model

Components: The lightening of the trees in the distance to show their distance from the foreground.

Components: Fog, and lights.

Description: Cabin in the woods.

Description: Monastery in what seems to be a industrial setting.

Observation / Conclusion: When one thinks of a cabin, calmness, seclusion, and silence comes to mind. In this perspectival image, the lower sunlight and light fog in the distance gives the image those senses. The perched owl, communicates that there is no movement within or outside of the frame. Showing the stream below the bridge also conveys sounds that are relaxing.

Observation / Conclusion: A more dramatic approach, in terms of amount of fog. This gives this perspective an ominous approach. The time of day can be assumed, because of the lights being on. Again the fact that there is no people or animals pictured gives it a sense of minimal or slow movement. Overall the project pictured does not seem inviting, or inclusive, because of the fog, material choice, and time of day.

Visualizingarchitecture. “Visualizingarchitecture.” Visualizing Architecture User Gallery. February 03, 2017. Accessed May 29, 2019. https:// visualizingarchitecture.tumblr.com/post/156737169054/giuseppe-giordanotwin-peaks-3dsmax-vray.

Visualizingarchitecture. “Visualizingarchitecture.” Visualizing Architecture User Gallery. January 05, 2017. Accessed May 29, 2019. https:// visualizingarchitecture.tumblr.com/post/155400734094/alex-warr-verticalmonastery-rhino-vray.

Investigation 114

In this phase students had the options of investigating and visualizing a step by step process for reproducing the themes from the graphic study phase or continuing to work on their portfolio layout.

Investigating and Visualizing: Gabby Argamosa Jessica Brennan Mathew Drummond Tanner Lloyd Kinley McGowan Andrew Otting-Crandall Jesus Perez-Cortez Mohammad Qutb Aldeen Manuel Ruiz Phillip Smith

115

Investigation

Graphic Investigation Gabriella Argamosa

Reflection

Technique

In architecture, rendering is a type of representation that conveys the designer’s vision through vivid graphics. This tool allows and sells the idea of the mind and imagination. Renders may have a common goal, but they have evolved into a variety of styles. These styles vary from the use of both abstract and hyperrealistic elements. In this case, the precedent image I chose to replicate contained hyperrealistic features. From the saturation of texture to the strong reflection of the context, the image proved to be an advanced example of a hyperrealistic approach.

Perspective view for experiential representation.

To replicate the work, I chose a perspective view from a past project that would show the balance between exterior context and use of architecture. The view consists of a terrace with a pool and a seating area, while overlooking a nearby structure not far away from a mountain range. From the precedent image, I replicated the materials, reflection, sky, and shadows. During the process, I tried to match the overall color of the atmosphere, especially by matching the material appearance as close as possible to the original. Also, I discovered new techniques and style to abide by in the future. Overall, the assignment helped me unlock the different uses for Photoshop tools, which will not only improve my render skills but my workflow as a whole.

Source: “WORK.” Jonas Bloch. Accessed June 07, 2019. https://jonasbloch.de/WORK.

1.0 Pull up a digital model in Rhino. 1.1 Apply desired render settings to reference from. 1.2 Generate render with proper resolution. 1.3 Save render as JPG. Observation / Conclusion: A simple Rhino render will provide shadows, light, and etc. to reference in Photoshop. 2.0 Make2D desired perspective view. 2.1 Create layers for different linework. 2.2 Export while object is selected with desired settings. 2.3 Open file on Adobe Illustrator to lineweight. 2.4 Save as a new Illustrator file. Observation / Conclusion: When creating a perspective from a Rhino model, these steps provide a systematic process of exporting. 3.0 On Photoshop, click on File dropdown and select “Open as Smart Object” and choose Illustrator file. 3.1 A window will pop up to let you choose the size option to crop the document to. I used “Media Box”. 3.2 Once document is set up, rename the layer as your parent layer. Observation / Conclusion: Opening linework from Illustrator as a Smart Object will enable any changes to that Illustrator file to update in Photoshop. 4.0 To create the background, create a new layer. 4.1 Click on the Layer dropdown, select New Fill Layer > Solid to choose a color. 4.2 In this case, this layer will set up the sky color. Observation / Conclusion: This will also be applicable to set up new color overlays for future use.

5.0 Create a layer group by clicking on the “folder” icon on the right bottom corner underneath you layers. 5.1 Categorize your layer groups into “background”, “middle ground”, “foreground”. 5.2 Within these groups, you can create subgroups by repeating Step 5.0. Observation / Conclusion: This organizational process will lay down a smooth workflow once you compile layer after layer. 6.0 With a layer created, select File > Place Linked to place desired file. 6.1 To modify the file imported, select Edit > Transform (Ctrl T) and click on desired action. 6.2 Press Enter when done. Observation / Conclusion: “Transform” consists of basic image manipulations, such as scale, rotate, skew, distort, perspective, warp, and etc., which will be used for most or every content imported. 7.0 To work on areas from the original linework, select the “parent” layer containing the smart object. 7.1 Use the Magic Wand tool (W) to select desired areas. 7.3 Hold Shift to select multiple areas. Observation / Conclusion: With a tool like the Magic Wand, Photoshop recognizes the areas in smart objects to make selecting shapes easier. 8.0 With the Magic Wand areas still active, click on the layer of material to work with. 8.1 Create a layer mask by clicking on the “vector mask” icon. 8.2 Use the Brush tool (B) to either reveal or hide the material image. To invert the brush use, select the Select dropdown > Inverse. Observation / Conclusion: Layer masks are great for combining aspects of different layers. Once deleted, the image maintains its original appearance.

9.1 Open the Rhino render on another tab to reference from. 9.2 Go to the Window dropdown to select Arrange > Tile. 9.3 To work from file to file, click anywhere on their document area. Observation / Conclusion: This simple step allows you to view different work artboards at a time. Pulling up the render image on the side makes it easier to reference from.

10.0 Create a layer group for shadows. 10.1 Use the Polygonal Lasso Tool (L) to make the shape for a shadow. 10.2 Use the Burn tool (O) to fill in the shape. 10.3 Select the Filter dropdown > Blur > Gaussian Blur. Observation / Conclusion: Adjust the opacity for the Burn tool as needed. The Gaussian Blur softens the edges of the shadow. 11.0 Place Linked an image. 11.1 Double-click on the “link” icon shown on the picture of the layer. 11.2 The image is opened in a new tab, ready to edit. 11.4 Click Save. Observation / Conclusion: The linking method is vital when editing an image often. The changes to the image will be updated. 12.0 Referring back to Step 11.2, double-click on the picture of the layer. 12.1 A pop-up box called “Layer Styles” contains styles to apply to images. 12.2 Additional edits can be made by selecting the “Adjustments” tab. Observation / Conclusion: These steps offer an array of tools and ways to manipulate the image individually.

Frequent and Additional Steps

13.0 When using the same material in different ways, duplicate the layer. 13.1 Click on the layer to be duplicated, then right-click > Duplicate Layer (Alt + drag). Observation / Conclusion: This simple step eliminates the action to place an image over and over again.

14.0 Going off of Step 13 altogether, this action also creates a big pile of layers. 14.1 To cut the list of layers down, either merge desired layers by right-clicking on layers to be merged > Merge Layers. 14.2 A important frequent habit would be to rename your layers ever so often to eliminate confusion. Observation / Conclusion: This process is vital when it comes to organization. As content pile up, finding layers will be easier and quicker if the layers are updated. 15.0 The most frequent action that should be practiced is saving. 15.1 Make sure the work is being saved as a Photoshop file. 15.2 From there, the work can be saved or exported into other formats. Observation / Conclusion: This simple reminder will be most important thing to do. You should establish a habit to save frequently to ensure the safety of your work. 16.0 To import brushes into Photoshop, download brushes from online. I use Brusheezy.com. 16.1 Select Window dropdown > Brushes. 16.2 On the Brushes tab, click on the â&#x20AC;&#x153;Tab Groupâ&#x20AC;? icon in the top right corner > Import Brushes. 16.3 Locate and import the ABR file of brushes in your Downloads. Observation / Conclusion: Only ABR files will import.

Precedent Image

Student Work

Graphic Investigation Jessica Brennan

Reflection

Technique

The use of Photoshop to create surrealist collages was one that I had no experience with prior to this piece, but by using a forgiving medium such as graphic design where elements can be added, deleted, and adjusted with ease was increasingly helpful. In my other mediums of design/art, I do not normally venture into drawing or painting this style of imagery so having the opportunity to use a program that allows these adjustments allowed me to try something completely new.

Using Photoshop to explore use of gradients/gradient overlay, illustration, and surrealist collage. I incorporated elements of gradient overlays to manufacture depth as well as linear gradients and radial gradients to background elements to create a space for my figure to exist in. Also, use of a Wacom tablet was useful in being able to create minute detail within the more detailed elements.

Using Magdeil Lopez’s A Head Full of Dreams as a reference picture helped also simplify choices that I needed to make while designing this piece. I also focused on using his concept to give my piece direction. By changing the title in his to a new interpretation of what the piece would look like if I said “ideas” instead of “dreams” I feel like I used all elements of his piece and only changed focus. This choice affected my color choices and elements of the collage. Lopez aims to show dreams represented as flowers, primarily in the head and chest. I similarly chose to make the leaves emerge from the center of the body. I altered it slightly however by making the slit go all the way down the body to show the difference between dreams and ideas being action.

Source: Image by Magdeil Lopez

1.0 Place your photograph in photoshop 1.1 Unlock the background. 1.2 Select the Magicwand tool (W) and select the background of the image. Delete it. Observation / Conclusion: This step is about preparing the tools and different elements that you will use to create the collage.

2.0 Select the Pen tool (P) 2.1 Following the curvature of your image, decide where you want to make the cut and and place points on each plane. 2.2 Complete the loop and connect the last point and the first point; including the entirety of the side you want to move. Observation / Conclusion: Detail in this step is important. Take time to correctly place your points so the image makes sense as a 3D object instead of using a single, straight line down the middle. 3.0 Right click the selected area. 3.1 Click “Make Selection” and then on the next screen click “OK” 3.2 Then copy the selection and delete it on the current layer. Paste it onto a separate one. Observation / Conclusion: This step will make it easier to add objects between each piece and help make dimension easier to control and stay organized. 4.0 Double click on the layer you wish to add a gradient to and go to the “Gradient Overlay” section. 4.1 Check to make sure the gradient goes from black (or a color of your choice) to clear. 4.2 Adjust the angle, scale, and opacity to the appropriate levels. Observation / Conclusion: This allows you to give dimension to the object by manufacturing shadows and having more control over focal points of the piece.

5.0 Unlock the background layer and use the paint bucket to apply a background color. 5.1 Create a new layer and add shapes to highlight or emphasize your focal point. 5.2 The highlighted light in this image is a photometric light. 5.3 Test and experiment with different lights and intensities for desired scene outcome. Observation / Conclusion: Choose colors and shapes selectively. 6.0 Create a layer that goes under both layers of your figure. 6.1 Using the paint brush (P) trace the edge of the back layer of the figure to create a ridge that will make the cut picture look 3D. 6.2 Create another layer under your edge layer and fill in the background to add another level of dimension to represent the inside of the now exposed middle of your figure. Observation / Conclusion: This layer is crucial to maintain a level of realism- giving the figure depth. 7.0 Next, create the other elements you plan to collage onto the image. 7.1 Repeat step 1 by using the magic wand tool (W) to select and then delete all background elements. 7.2 If needed, change color, saturation, and other elements of the picture to match the aesthetic of the piece. Observation / Conclusion: I made three copies of these leaves and made them all slightly different exposures to aid in showing depth of the leaves. 8.0 Add in your collage elements mindfully. 8.1 Keep in mind the levels of lights and darks. 8.2 Adjust color as you go. Observation / Conclusion: This step is tedious and usually requires a lot of switching back and forth for readjustments. Itâ&#x20AC;&#x2122;s helpful to keep layers organized especially during this stage.

9.0 Add a gradient to the background to create another level of dimension. 9.1 Compare multiple options at once by adding layers and hiding other options to quickly change back and forth. 9.2 This could affect colors in different sections of the drawing, which you should go back and change. Observation / Conclusion: Each of these steps somewhat inspires the next step. It is important to keep an over all plan in mind but decisions should be made depending on how things look visually. 10.0 Double click the layer that includes the circle behind your figure. Select “Gradient Overlay.” 10.1 Choose the radial gradient option to give your figure the effect of a drop shadow. Observation / Conclusion: This small change helps add a lot of dimension to the overall look of the piece. It remains illustrative and graphic but also creates a distance between the figure and the background to show it’s place in space. 11.0 Make a new layer directly under the top layer of the figure so it is on top of all parts “inside” the figure. 11.1 Select the same color as your “insides” and turn down the opacity and hardness. 11.2 By hand, add a glow on each of the leaves that is more intense the further “inside” it is and gentle let it fade up the leaves. 11.4 Then go in and erase in between the leaves and add a darker glow onto the darker leaves to set each leaf apart. Observation / Conclusion: This layer helped bring contrast and readability to the piece. 12.1 Zoom out and take a moment to analyze your color choices. 12.1 Change appropriately keeping aesthetic, meaning, and color theory in mind. This will influence focal points, mood, and many other elements so it is very important to do this step with intention. Observation / Conclusion: At this point, return to your original concept and analyze if your choices are based on it or surface attraction.

13.0 Now zoom out and take composition and balance into account. 13.1 To offset the position of the figure I added a subtle light to the upper right corner under the eclipse. Observation / Conclusion: This element is not something that the viewer will likely notice but as the creator is important to know why this makes the image more appealing. With the upper half of the drawing containing less detail, It needs objects or elements that are bigger and hold as much visual authority as the multiple small objects in the bottom of the piece to keep focus in the middle or wherever your focal point is. 14.0 Add text. 14.1 Keep layout in mind as you add text. 14.2 Keep typography in mind as you add text. Observation / Conclusion: I added my text in the same format as the image I was pulling inspiration from and included the same information as it applied to me.

Graphic Investigation Mathew Drummond

Reflection

Technique

Mapping analysis as a tool for ideation can be extremely effective when represented correctly. Allowing the drawing to highlight and reveal elements normally not seen from a bottom-up perspective. By utilizing mapping analysis, an author can quickly and easily communicate to an audience about a subject with information that could impact a project with new or revealing information. While the work I’ve done for this assignment was for the creation of a mapping analysis, the downside of this project was the information that I chose to represent. The information that I included in the drawing showed no new information once compiled together. Making the drawing that I have made, have little to non-impact at all, creating more of an infographic, and less of a mapping analysis.

All the work that was done for the assignment was completed in, Rhino 3D and Adobe Illustrator. The purpose of Rhino 3D was to create a 2-D drawing of downtown Lincoln with manipulable layers, and 2-D pie charts. While Adobe Illustrator allowed for the alteration of line weight, live painting objects, and image tracing PNG images. The elements that work for this assignment was the black background with a hierarchy of white linework. Live painting context building with a gradient of white to gray. And finally, the composition of information presented within the drawing.

Source: Top left - Autone1. Instagram. February 14, 2015. Accessed May 30, 2019. https://www.instagram. com/p/zGXepqGnKn/. Bottom Right - Daxböck, Alexander. “Urban satellite.” Adobe Systems Incorporated. April 2, 2013. Accessed May 30, 2019. https://www.behance.net/gallery/7933015/Urban-satellite. Right - Image done by Mathew Drummond.

B B

398’

220’

2,438 BIKE TRIPS 81

AVERAGE TIME SPENT COMMUTING Average Travel Time in U.S.

LOCATION OF COMMUTERS IN LINCOLN Commuters to Lincoln

25.1 Mins

DOLLARS SPENT PER DAY ON GAS

MADE USING THE BIKE SHARE PROGRAM IN 2018

BIKE TRIPS PER DAY

ON AVERAGE

LINCOLN TRANSIT

17.1 Mins

Average Travel Time in Lincoln

200 600 MILLION THOUSAND

33%

67%

Residents of Lincoln

DOLLARS SPENT PER YEAR ON GAS

B Public Bus Path

Bike Trail Path

Bike Share Location

1.0 Download a CAD File of a map of Lincoln, Nebraska, with manipulable layers. 1.1 Find the area of interest and create a linework frame around the content. Deleting linework outside that frame. 1.2 Move the selection to the origin location of the file. Type export, and save the file as an Adobe Illustrator file with CYMK as the color mode. Observation / Conclusion: Creates an Illustrator file from a CAD file. 2.0 Open the Illustrator file and organize the layers. 2.1 Create a New Layer called Black Background. 2.2 Select the “Rectangle Tool” with black infill and no color to linework, and create a rectangle the size of the canvas. Lock the black background layer. 2.3 Select all the linework and change it to white and .15pt. Observation / Conclusion: This creates the base white linework on a black background. 3.0 Select all the linework in the building layer and click the “Livepaint Tool” (shortcut “K”). Select a light gray infill and triple click one of the buildings. 3.1 Select a variety of gradient between white and gray and randomly click buildings to create a variety of building color type. 3.2 Select the park layer and livepaint the selection with a gradient of green. Observation / Conclusion: Creates a compelling base livepaint file. 4.0 Select the Building layer and give it no linework. 4.1 Select the Street layer and change the linework to .4 pt. 4.2 Select the Bus Path layer and change the linework to 3 pt and change the color to cyan.. 4.3 Select the Trail layer and change the linework to 1 pt and change the color to magenta. Observation / Conclusion: This makes a final base map with linework hierarchy.

5.0 Select “Canvas Tool” and change the canvas size to 16” in height. 5.1 Live paint a linework elevation of Lincoln, Nebraska with white infill and no color for the linework. 5.2 Set the base of the live paint object at 12”, spanning the bottom of the page. Create two lines that go behind the elevation, one at the top of the capital and the other at the second tallest building and make them dashed lines. Observation / Conclusion: Introduces an element that breaks the standard mold of mapping analysis, creating a hybrid drawing. 6.0 Create a series of grid lines on a new layer that are spaced within the bottom portion of the drawing. 6.1 The top line will become the hang line for future text and diagrams. 6.2 The Second line from the top will act as a base line for text. 6.2 The last three guide lines will act as hang lines and base lines future text. Observation / Conclusion: Creates a base guideline for future work. 7.0 Create a new layer called Key and add the bike share logo, cyan line, and magenta line to this layer. Behind these objects add a black box following the grid system. 7.1 Create another layer called Diagram and live paint two individual pie charts with a gradient of cyan. Add text to describe those elements. Observation / Conclusion: Creates more elements to further develope this project as a hybrid drawing. 8.0 Create a Final Layer labeled text and elect the “Type Tool” and change the font to Agency FB. 8.1 Apply text based information to the text box and create a hierarchy between the words, key text should be at 75pt. 8.2 Change the descriptive text to a variety font size between 41 pt and 9 pt. Observation / Conclusion: The text now creates a hierarchy within the information, with simple adjustments such as alignments and spacing.

Graphic Investigation Tanner Lloyd

Reflection

Technique

The perspective is almost a necessity in any architectural project. It lets a client and designer see the space that is being designed whether the project is in its final steps or still in the ideation phase. Whether the design is any good can depend on the quality of the made image, plain rhino renders are not very appealing or realistic when compared to the actual building. Thatâ&#x20AC;&#x2122;s why this has become an essential skill for designers, but skills vary widely among architects.

Using high contrast and saturation to give realistic qualities to an image

My previous photoshop process included exporting linework from rhino and attaching distorted textures to each side of the facade walls. This would change daily as my building design was updated, but in this course we learned of linking files so any edits made in, for example, illustrator would be then updated into both photoshop and indesign automatically. But the most valuable thing I learned in this course was how to use V-ray and rendering software in rhino. V-ray allows photo realistic materials with sun controls, and an artificial environment to create high quality renders.

Source: Image by Tanner Lloyd

1.0 Create digital model in Rhino 1.1 Then use the rendering software, V-ray 1.2 Organize the parts of the building into layers that are labeled for ease of applying textures Observation / Conclusion: The more time one spends on the rhino model, the less time you have to spend editing it in photoshop

2.0 Start a new document in photoshop, 8.5â&#x20AC;?x 11â&#x20AC;? is a good size for printing 2.1 Start your background, find large quality images to use 2.2 Open the sky and bring it into the document Observation / Conclusion: Good quality images will almost always be crisp if you decide to blow up an image onto a final print

3.0 Create some bright lighting in the left side of the sky 3.1 Start with a radial gradient from where the sun should be 3.2 For a more photorealistic effect add a lens flare from photoshop Observation / Conclusion: Photoshop has many tools already in the filter tab including lens flares, trees, clouds, and fire

4.0 Add the farthest background 4.1 Trim hills out of an image to give your picture a sense of depth 4.2 Add trees in some areas to soften the seem between land and sky Observation / Conclusion: Having the foreground, middleground, and background are necessary for a quality image

5.0 include a foreground 5.1 Later add shadows with the burn tool as you see fit Observation / Conclusion: shadows in the foreground and middleground give a realistic feeling to your image

6.0 Match the image to the site of your project 6.1 Distort a grass patch to the right angle 6.2 Match the shade and hue of the grass to the grass in your background Observation / Conclusion: Matching your photoshoped images to your site plan is best for showcasing your project

7.0 Start adding layers for adjustments 7.1 Turn up the contrast and saturation to match the aspects of the source image Observation / Conclusion: Adjustment layers are a good way to tie all the separate parts of an image together

8.0 Add the V-ray render 8.1 Use the pen tool to select the different sides of the building 8.2 Use the gradient tool to create a gentle shadow Observation / Conclusion: The building should set in the the landscape, not just on top of it

9.0 Add more site context 9.1 Place tree PNGâ&#x20AC;&#x2122;s 9.2 Use the gradient tool to give the trees the same kind of internal shadows the building has Observation / Conclusion: The gradient tool is great for doing shadows

10.0 Give the Building a full shadow 10.1 Soften the shadow around the edges and lower the opacity Observation / Conclusion: Shadows should be made in response to the lighting you created

11.0 Add more tree PNGâ&#x20AC;&#x2122;s 11.1 Copy the shadow on the ground to the other trees 11.2 adjust the shading to create a forest Observation / Conclusion: Give as much context as you can to the site

12.0 Place people to populate your image 12.1 Use a combination of people facing toward and away of the camera, sitting or standing, and even biking Observation / Conclusion: People are a way of representing how you want your space to be used

13.0 Make the image easier to read 13.1 Raise the brightness through an adjustment layer Observation / Conclusion: The brightness and contrast adjustment layer can be used to give atmosphere to an image

14.0 This is when small adjustments are made to better an image 14.1 Correct the rest of the shadows on the building and people 14.2 Insert light rays with the pen and gradient tool Observation / Conclusion: Little adjustments may seem unimportant but they are what make an image

15.0 Setting a more intense atmosphere 15.1 Use the gradient tool to show a shift from yellow to black Observation / Conclusion: Every image should have atmosphere

16.0 Brighten up the image 16.1 Make the image easily readable Observation / Conclusion: Always keep the photoshop file incase you would every want to make adjustments at a later date, like when making a portfolio

Source image

Final Image

Graphic Investigation Kinley McGowan

Reflection

Technique

The image I researched for inspiration was Stadtbücherei Dornbirn, designed by Bernardo Bader Architects. The design concept was based for a library in Austria. I used this perspectival render to recreate a render I had done on Clan Hall pavilion designed by SU Architects. I modeled the pavilion to the exact scale in Rhino then exported the structure set at a particular perspective into Adobe Photoshop. My goal was to produce a render that conveyed the overall mood and aesthetic represented by the inspiration render Stadtbücherei Dornbirn through light, shadow, surface materiality, and environmental context. My design intention was to create a perspectival render in which a viewer can clearly visualize the space as reality.

Through a perspectival architectural render the viewer can easily immerse themselves into a space and clearly visualize the space as reality. Setting up and framing views that are compelling and dynamic is critical in highlighting the most important aspects within the project. The image has the capability to come to life through the use of adding context within the render. Including context that adds to the overall atmosphere of the environment such as lighting conditions, materiality, environmental conditions and human figures within the render assist the viewer in visualizing the space as somewhere to be experienced.

Bernardo Bader Architekten. “Stadtbucherei Dornbirn” Accessed June 3, 2019. http://www.innauer-matt. com/projekt/stadtbuecherei-dornbirn

1.0 Create digital model in Rhino and set perspective according to eye-level height in z-direction 1.1 Export selected model as a “View capture to File” from Rhino with a transparent background as a .png 1.2 Import model as a linked file into a new photoshop document Observation / Conclusion: Exporting the model with a transparent background ensures when in Photoshop background context will be seen. Placing the file as “linked” ensures any changes made in the Rhino file will update when moving back into Photoshop 2.0 Place background and foreground context images in document 2.1 Use adjustments to create desired effect 2.2 Use guide tool to establish a horizon line Observation / Conclusion: This base process allows for a clear perspective to be set. Establishing a horizon line early in the process allows for all other context added to be correctly scaled

3.0 Begin to place environmental entourage as linked images 3.1 Adjust layer styles by adding gradient overlays to ensure the light from the sun is hitting the objects realistically 3.2 Turn down the opacity for the objects as they recede into space Observation / Conclusion: Ensuring the light quality is realistic is an easy way for the viewer to see the realism of the render

4.0 Begin to place middle ground context. 4.1 Under “Edit”, “Transform”, Use the “Distort”, “Skew” and “Perspective” tools to make sure objects are angled at the correct perspectival angle 4.2 Change embedded objects to B&W, turn opacity down according to where they hit in respect to the horizon line. Keep the structures placed from Rhino in color Observation / Conclusion: Using the color adjustment, emphasis can be placed on more important objects or structures

5.0 Place environmental context in the foreground 5.1 Turn the opacity on a higher level and use sharpening to contrast from other trees in the distance 5.2 The light source is blocked from the building structure so a gradient overlay is not necessary Observation / Conclusion: Ensuring context in the foreground is present and also accurate represents depth and a sense of realism within the render 6.0 Place human figures within the render 6.1 Use the guide set as the horizon line to scale the figures appropriately 6.2 Turn the opacity and contrast down on the images as they recede into space Observation / Conclusion: Placing human figures into a render can bring the image to life and the viewer can then understand the atmosphere of the space 7.0 Create shadows for every object placed within the image 7.1 Copy and paste the image. Under “Edit”, use the “Transform” tool to flip the image vertically. 7.2 Use the “Skew” and “Distort” tools to alter the image to ensure it is at the correct perspectival angle Observation / Conclusion: Adding shadows to the objects placed within the image is another tool to add authenticity to the render 8.0 Name and merge layers based on content 8.1 Group together trees placed in the foreground 8.2 Group together people and their shadows Observation / Conclusion: Naming and merging layers not only keeps things organized and easy to find, but it helps in keeping the overall file size small.

Graphic Investigation Andrew Otting-Crandall

Reflection

Technique

The perspective view is important in showing the relationship between structures and the surrounding environment. The initial image that I chose to recreate contains serveral instances of natural entourage which seem to be as important as the building structure itself. When recreating this image I wanted to draw less attention to the neighboring buildings. I decided to use the season of fall to create a relationship between the material of the built environment and the natural environment

Perspective view for experiential representation.

Source: Image by Ryder Architecture

1.0 Create model in Rhino with each component of the building on a separate layer. 1.1 Hide all but one layer and in the command bar type â&#x20AC;&#x153;ViewCaptureToFileâ&#x20AC;?. 1.2 Export as a PNG and check the box for transparent background. 1.3 Repeat steps 1.0-1.2 for all component layers. Observation / Conclusion: Each component of the building can easily be organized and adjusted if created in separate layers 2.0 Open Photoshop and select File>New. 2.1 Select an artboard with similar dimensions to the photo being reworked (6x10). 2.2 Change resolution to 300 ppi and click create. 2.3 Begin importing the PNG component of the building and piece them together. Observation / Conclusion: This Allows for you to position the building in a similar location as the orginal image. 3.0 Google search for sky and background building content. 3.1 Once high resolution images are found place files in correct layering orger in photoshop. 3.2 Use the Polygonal Lasso tool to trim out unwanted content. 3.3 Create a clipping mask for each image and use the gradient tool to lighten areas surrounding rhino model. Observation / Conclusion: Changing the brighness of certain parts of the composition helps emphasize the the main building. 4.0 Google search for concrete texture and save image file. 4.1 Place concrete image file and create a clipping mask on the roof component layer. 4.2 In the layers panel find the drop down effect box and select linear burn. Observation / Conclusion: Linear burn help outline edges and windows to show shadows.

5.0 Above layers open the adjustments tab and click color balance. 5.1 Make sure the color balance layer is above the glass layer and right click. 5.2 Select â&#x20AC;&#x153;Create clipping maskâ&#x20AC;? to enable color adjustments on specific layer. 5.3 Then lower the opacity. Observation / Conclusion: This creates the illusion of glass as the interior building componets become visible. 6.0 Google seach for wood deck panneling texture and place image file into photoshop. 6.1 Using the transform tool adjust corners of image into a perspective view. 6.2 Add Hue/ Saturation and Color Balance from the adjustments panel and right click to add clipping mask. Observation / Conclusion: Adding these adustments to the wood paneling, the path can be observed as concrete pavers. 7.0 Add in entourage. 7.1 Create additional clipping masks on all plants and trees. 7.2 Place people and use the erase tool to trim overlapping body parts. 7.3 Save File. Observation / Conclusion: Changing the gradient levels and color balance of the entourage provides the viewer with a sence of season.

Graphic Investigation Jesus Perez-Cortez

Reflection

Technique

The perspective view allows one to demonstrate how a potential user would see it as said user got closer to an architectural project. It allows for the ability to demonstrate depth, light, shadow, materials, and a sense of scale. However, it is not just limited to the categories previously mentioned, perspectives have the opportunity to display a project in its entirety.

The perspective view is capable of representing intended user experiences of an architectural project in a profound way. Through the use of color, light, shadow, and environment, the perspective view has the potential to immediately express the project with one image. The precedent image I researched was from the Snohetta project Under on the southern coast of Norway. Under is the first underwater restaurant in Europe and allows visitors the opportunity make a close contact with marine life. The interior image on Snohetta’s website for the project is successful in its immediate expression of the projects intended user experience.

The precedent image I choose is a perspective drawing by Pedro Giunti from a project called “Memorial Da Retirancia,” a memorial that intends to celebrate the diverse origins of many of the inhabitants of Sau Paulo, Brazil. It The project houses an auditorium, workshops, and exhibition rooms. The project that I chose to make a perspective for is a conceptual bathhouse I had created. For the perspective drawing, I hoped to put emphasis on the actual form of the bathhouse and the environment around it. I intended for the drawing to be black and white to further enforce that idea. The bathhouse was created in Rhino and almost the rest of the work was done in Photoshop.

Using a conceptual project called the “hidden room” that I had already created, I imitated the idea of sinking the structure halfway underwater to recreate an image with a similar environment. My intention was to create an image that represented the mood and experience of being underwater and in close proximity to marine life and to do so quickly and seamlessly in one image. To complete the finished image I modeled the building in Rhino, set up the scene and rendered in Maya, and finally used Photoshop to make further edits.

Source: Image by Jesus Perez-Cortez

1.0 Create digital model in Rhino 1.1 Select the model and Make2D. 1.2 Select that Make2D and scale it to preference and export as an Illustrator file. Observation / Conclusion: Doing this sets up foundation for the rest of the drawing because the lines are not random.

2.0 Open the Make2D that was exported as an Illustrator. 2.1 Change the artboard to desired size and place the line drawing within it. Observation / Conclusion: This allows for a sense of idea of where the focus of the drawing will be and how much space for foreground and background will be reserved.

3.0 Open up Adobe Photoshop 3.1 Set the units to “inches” and change width and height to preferred measurements. Observation / Conclusion: This sets up the canvas size for the actual drawing and allows for specific sizes. The canvas size can also be changed later if need be.

4.0 To import Illustrator file containing the Make2D of the model, go to “File” then to “Open as Smart Object.” 4.1 Select Illustrator file and open. 4.2 Click on the “Crop to” tab and select “Media Box” and click “OK.” Observation / Conclusion: By opening as a Smart Object, should the model change or the Illustrator file change, it will automatically update in Photoshop.

5.0 To begin applying a material/texture to surfaces, first add layer with desired material. 5.1 Then click on the layer with the Illustrator drawing and select said surfaces with the “Magic Wand Tool” or “Quick Selection Tool.” Observation / Conclusion: This allows for more control of what areas have certain materials.

6.0 Next, click back on the layer with material. 6.1 Right-click and select “Layer Via Copy.” Observation / Conclusion: By doing this, a new layer is created with only the surfaces that were intended to have a certain material on them in the same place.

7.0 Bring in a sky and ground. 7.1 To add a “Layer Mask” to a layer, select “Add Layer Mask” 7.2 Then select on that layer mask and use the “Brush Tool” to hide any content on the original layer. Observation / Conclusion: This is a way to change what can be seen on a layer without having to delete anything.

8.0 To darken up the horizon to preference select or create a new layer about the “sky” layer. 8.1 Select the “Gradient Tool.” 8.2 Then click on the drop-down box on the upper tool bar and select on the last option for a gradient. Observation / Conclusion: Using this technique to add depth to the background allows for more control.

9.0 To create glass, first select areas where the glass will go. 9.1 Then use the “Brush Tool” and select either white or black for a color. 9.2 Turn down the opacity. Observation / Conclusion: This is a quick and easy way to create a glass effect and by adjusting the opacity, it offers the ability to fine tune its appereance. 10.0 Import a PNG of a figure. 10.1 Use the “Magic Wand Tool” or “Quick Selection Tool” and click on the figure. 10.2 Create a new layer and use the “Brush Tool” and fill it black. Then distort to desired angle by clicking CTRL+T and selecting distort and turn down the opacity afterwards. Observation / Conclusion: By doing this, the shadow will actually resemble the shape of the person and control of the direction in which the shadow is cast. 11.0 Import a texture or effect that you want to appear on the entire image. 11.1 Click on the drop-down within the “Layers” tab and select “Overlay.” Observation / Conclusion: This helps the image feel as one piece and adds an effect to the entire image.

12.0 To create highlights and shadows, first create a layer for each one respectively. 12.1 Select on the desired areas and use the “Gradient Tool.” The color can be changed to either white or black. Observation / Conclusion: This helps give surfaces and objects depth and help bring out different aspects of a building.

13.0 Bring in a tree PNG. 13.1 Create a layer mask, select the “Brush Tool” and click on the drop-down in the upper tab to change the hardness and opacity of the brush. 13.3 Then use the brush within the layer mask to hide or “feather” out the edges to soften the hard edges. Observation / Conclusion: This helps the tree appear softer and give off the impression that it belongs in the image. 14.0 To change the overall appearance of an image or certain layers, select the “Adjustments” tab. 14.1 Then click on the “Curves” option. 14.2 Adjust to preferred settings. Observation / Conclusion: Doing this allows for precise manipulation of the brightness or darkness of the drawing. This should also be done at the end for editting.

15.0 Add a rain effect. 15.1 Create a black square or rectangle on a new layer. 15.2 Then select Filter > Noise > Add Noise and set to around 150%. Observation / Conclusion: This is the first half of the process of creating rain.

16.0 Then on the same layer, select Filter > Blur > Motion Blur. 16.1 Afterwards, adjust the settings and the direction of the Motion Blur to preferred settings. Observation / Conclusion: After having created the rain, it can be scaled up to desired size.

Source: Image by Pedro Giunti

Source: Image by Jesus Perez-Cortez

Graphic Investigation Mohammad Qutbaldeen

Reflection

Technique

Using a section from previous studio, I had the chance to render it. I can render my work with my own concept through Adobe. This was my first time rendering an image without V-ray. It is a complicated process, but when it broke down to small steps, it is effective and enjoyable.

sky shadow cutline background building color and room - material furniture

I choose an architectural section that was already rendered and I followed the general idea and the concept to generate similar rendering to my section.

Source: â&#x20AC;&#x153;The Stoma: Herb Bank Mediating Cabramatta.â&#x20AC;? Architectur4ever. Accessed June 10, 2019. http:// archnouri.eklablog.com/the-stoma-herb-bank-mediating-cabramatta-a117726390.

1.0 duplicate the sky 1.1 work with brush and rotate.

Observation / Conclusion: sky gives the drawing feeling of texture.

2.0 take off the base line or the earth line 2.1 edit the cut part to have the shape of the cut from the building 2.2 edit color the clean it Observation / Conclusion: Dark color in the base to give the section its architecture feeling.

3.0 put the section 3.1 crop the building from the picture 3.2 clean the building, and copy a part of it for details Observation / Conclusion: The section had it characteristics now. It needs more editing.

4.0 Adding trees and people 4.1 in multiple places 4.2 Observation / Conclusion:

5.0 materials based on the picture source. 5.1 furniture 5.2

Observation / Conclusion: render gives the section life.

Now

Graphic Investigation Manuel Ruiz

Reflection

Technique

Originally, I was looking at Mies van der Rohe collages, of interior spaces, and seeing how he made an interior perspective out of very little lines, and objects. The search eventually led me to my precedent image by Thom Ortiz.

Photoshop

Though the precedent I chose does still have a collage feel to it, I decided to try and make my recreation of it a little more realistic, and believable. There was no modeling in my recreation, it was made using Photoshop entirely.

Source: Image by Thom Ortiz

1.0 Find your background

Observation / Conclusion: Picking a background that fits the setting of your render will help tie it together at the end.

2.0 Add architectural planes 2.1 Edit materials to match the perspectival view. Observation / Conclusion: This process will lay the parameters for the rest of the entourage added to the image.

3.0 Add architectural details 3.1 Beams, mullions, etc. Observation / Conclusion: This will add believability to the space.

4.0 Add entourage. Observation / Conclusion: Populating the space, adds a sense of or lack of activity.

5.0 Add reflections Observation / Conclusion: This gives the image and materials a sense of realism.

6.0 Add appropriate shadows to scale figure. Observation / Conclusion: This matches the scale figure to the context in which it is in.

7.0 Make the background and floor plan black and white, as well as bring down the saturation of the wood paneling. Observation / Conclusion: I made this decision in attempt to tie together the foreground, middle ground, and background.

8.0 Add final overlay Observation / Conclusion: This step makes the image seem more cohesive, instead of feeling like everything was stitched together.

Graphic Investigation Phill Smith

Reflection

Technique

My attention before this project was solely on 3-D modeling design ideas. Naturally, this made diagrams difficult to read: without hierarchy or a sense of depth, how was the reader supposed to know where to focus? With this graphic investigation, a new method was tested: instead of relying on the 3-D modeling, I would use an important perspective view and use Photoshop to zero-in to the design intervention.

Perspective view that uses gradients and light to focus reader attention to the design.

I discovered through this process the important of gradients, of scale figures, and of non-destructive editing (which is to say optimizing my workflow). Gradients mimic the quality of light and space, and can be used to communicate the openness of a space. Adding vegetation and scale figures (with shadows attached) bring the image to life. All of these effects can be added before the 3-D modeling is finished due to the attention on non-destructive editing. Masking layers and layer properties allow for elements of the image to be changed and â&#x20AC;&#x153;toggledâ&#x20AC;? so that, through this graphic representation, design ideas can be experimented with. In this way, the design informs the image, and the image informs the design.

Source: Image by MASS Design

1.0 Create digital model in Rhino 1.1 Use the “Render” tool to create images of shadows and massing. 1.2 Save images as “PNG” to maintain transparent background. Observation / Conclusion: Using a rendering will create accurate shadows and accurate dimensions. Creating a base layer is akin to creating a foundation for generating a compelling image.

2.0 Import rendered images into Photoshop. 2.1 Use “Move” tool to position and scale as needed. 2.2 Utilize the “Layers” tab to arrange images from front to back. Observation / Conclusion: Keeping layers organized from the beginning will create a better workflow for later steps.

3.0 Import supplemental images to create materiality. 3.1 Use the “move” tool to scale and position the material images. 3.2 Use the “free transform” tool to match material images to the dimensional surfaces to which they’re applied. Observation / Conclusion: Keeping track of the “vanishing point” lines gives the reader a better sense of depth and better illustrates space. 4.0 Attach “Vector Masks” to material layers to match dimensions of surfaces. 4.1 Use the “Polygonal Lasso Tool” to select areas to hide. 4.2 Within the vector mask, highlight visible areas with “white” and non-visible areas with “black”. Transparency can also be applied. Observation / Conclusion: Vector masks are a form of nondestructive editing. As the design evolves, the image can be quickly updated to include the changes.

5.0 Use “gradient” properties to create a sense of depth. 5.1 Fill layers with desired color for gradient. 5.2 Use the “gradient” tool to control the direction and intensity of the gradient. 5.3 Use “layer properties” to add gradients by layer. Observation / Conclusion: Gradients add depth by relating the reflection of light to the dimensions of the material. 6.0 Populate the image with people and trees. 6.1 Use Filter>Render>Trees to create vegetation 6.2 Insert images of scale figures Observation / Conclusion: Figures can add different levels of ground and illustrate the use of space. Adding living elements brings the image to life.

7.0 Create shadows to add more depth to the image 7.1 Select the figure for which to create a shadow, then select “Copy”, then “Paste” the figure. Manipulate to desired position. 7.2 Use the “layer properties” to overlay a color onto the image. 7.3 Use the “opacity” to create the illusion of a shadow. Observation / Conclusion: Shadows add detail to the image that give a sense of atmosphere to the design. 8.0 Use the “Adjustment” tab to add finishing touches. 8.1 Lighten or darken the image using “Levels” and “Brightness, contrast” 8.2 Create more texture using “Vibrance” and “Exposure”. Observation / Conclusion: The overall goal of the image should be to reveal a feature of the design. Adding final adjustments to the image are a way of controlling the layers to add hierarchy.

Summer 2019 Arch 4/5/897 Graphic Communication Faculty: David Karle, Associate Professor of Architecture University of Nebraska College of Architecture