FODR FOLIO

FoD:R PORTFOLIO

SEMESTER ONE, 2018

VERONICA LEE 994460 STUDIO 26 - APPLE HUANG

CONTENTS MODULE ONE

4

MODULE TWO

8

MODULE THREE

11

MODULE FOUR

15

REFLECTION

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MODULE ONE HOW TO DRAW A CROISSANT ?

4

How to measure a Croissant?

The aim of the module was to represent an image of a croissant through different drawing techniques, including hatching, orthographic conventions and creating an axonometric drawing from orthogonal drawings.

Through this process, I have explored ways to effectively portray an accurate depiction of a croissant such the use of hatching and shading to add depth to my drawing and thus creating a realistic depiction. I have also learned how to create an axonometric drawing to represent my croissant with measurable mathematical precision.

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6

A

B

C

AXONOMETRIC

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MODULE TWO F L AT N E S S V S P R O J E C T I O N

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The making of new Mario world.

The main idea explored in this new Mario World is the integration of the built and natural environment however in a way that compliment rather than juxtapose each other.

However as the process went on, I realised the symmetry of the elements in the Mario world, provided a difficult template to truly capture the organic and spontaneous nature of the natural world. And thus, instead, I shifted my focus towards the embodiment of the built forms in the natural world which results in the conjoining of the geometric shapes from the built environment and the lush colours of the natural world, and ultimately a representation by association with one another. For example, the ‘bushes’ being compiled of sharp geometric cubes and the ‘houses’ in the stereotyped colour scheme of a mushroom.

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MODULE THREE PAT T E R N V S S U R F A C E

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PA P E R L A N D S C A P E

The making of new landscape For my paper model, I was drawn to the concept of representing a fluid ‘pattern’ which lacks clear distinction between one part from another. I was specifically captivated by the build-up of a crashing wave, as such a power element provides a juxtapsing foundation for a maaterial such as paper. The build of a crashing wave offers more depth and just the various weights of water. As the water builds up, light and the way it is shwon of the surface shifts, creating a gradient of not only water mass, but also colour.

I represented this through both the gradient increas of height and the size of the oepning, to create a darker coloured terrain.

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Inspired by the movement of

water as it shifts to transform

into crashing wave, the created terrain aims to embody the vari-

ous depths of the water and its smooth transition from various heights. The challenge to rep-

resent a fluid pattern with sharp geometric shaped allowed for a clear distinction between the various shaded bodies of water which together, composes the

wave

that

is

perceived.

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FINAL TERRAIN ON RHINO RIGHT: (TOP TO BOTTOM) SW, SE, NE

process of constructing the paper model.

LEFT: NW & INDIVIDUAL PANNELS (4)

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MODULE FOUR FRAME VS FIELD

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Cities & the Past: adelma

INVISIBLE CITY

Veronica Lee 994460

CITIES AND THE DEAD 2: ADELMA Adelma is a city of ambiguity. Not only is it a city of the ‘dead’, it is also a city of memories. This chapter tells a story of Marco Polo’s expedition to Aldema where he discovers the uncomfortable familiarity of the people in this city. As Marco Polo realises ‘illogical’ scene he finds in front of him, as the people he recognises are those that are already dead, he transitions into a state of panic as the environment becomes increasingly uncomfortable, hostile and dark.

Through my projections, I wanted to focus on the quote: “staring at me as if demanding recognition”. I thought that this quote really captures the unnerving environment Calvino aims to portray, as it demonstrates the uncomfortableness experience by Marco Polo as well as envelop the scene with its other theme of memory. I positioned the first perspective backed into a column in the centre of the quad without the ceiling to emphasise the panic and claustrophobic emotions experience by Marco Polo.

The second perspective aims to capture the wariness and fear engulfed by Marco Polo after he finally realises that Aldelma is not the like ordinary world that appears on the surface.

Key perspective1 perspective2 slow pace regular pace fast pace 0

1m

2.5m

heavy mood

5m

people stare glance

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ALDELMA: Calvino’s Invisible Cities’ chapter, ‘Cities and the Dead 2’ depicts a world (Adelma) of “dead-like” people through the memories of the protagonist. Although Calvino has set the scene in a relatively “normal” environment, it is through invoking a mindless and cold aura onto the people found in Aldema that the author conveys the idea of the “dead”. Despite the lively setting of the marketplace, Calvino still manages to evoke the concept of silence and hostility, much like those found in the genre of horror, while still complying to the “ordinary” setting. Hence, it can be seen that in this chapter, the author has taken something familiar and easily recognisable, and has manipulated this familiarity, adding depth through the subtle description by the protagonist to create an environment that is rather frightening.

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PERSPECTIVE ONE

FOREGROUND: This first perspective aims to capture Calvino’s “ordinary setting”, yet still convey the ‘eeriness’. I based this perspective on the quotes “starring at me as if demanding recognition” and “a kaleidoscope of eyes, wrinkles, grimaces”, which I incorporated in my image through the use of the “stare” of selected characters all with similar facial expressions. Fog has also been included for its connotations of mystery and uncertainty to furthermore emphasise hostility.

BACKGROUND: The background used in this scene is a renaissance painting by Pieter Bruegel, The Tower of Babel, as it can be seen as a metaphor for this chapter, where both artists have extracted something with great familiarity (in Bruegel’s place it is the Coliseum), and manipulated it, although physically in the painting but metaphorically in the narrative, to add layers of depth.

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PERSPECTIVE TWO

FOREGROUND: The second perspective aims to capture the images of misery and distress. In this chapter, Calvino included several death motifs, such as; “a blanket over his head” and “faces were hidden by sackcloth hoods”.

Positioned at the centre of the composition is a crouched, hooded old man, which was chosen for his facial expression that encapsulates the motion of mindless and misery, however, juxtaposes the overall ‘distressing scene.’ Fog was also added to to this perspective to highlight the cold environment.

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BACKGROUND: The background of the second perspective uses a monochrome image of the ocean, which has connotations of misery and hostility in order to emphasise my theme, as well as link it to the physical descriptions found in the text. The fact that it is photograph of the ocean metaphorically captures the idea of ‘halted’ time, as the ocean is continually moving and to be able to represent the this mass-force as a still medium, contributes further to the uncomfort-

REFLECTION The Foundations of Design lectures were really insightful. They often provided a basis for me to critically think about the way in which I approach design. Its exploration of key design principles such as the role of the axonometric in effective communication provided a deeper understanding of design through its explanations. The lecture that stood out to me the most was the lecture on frame in cinematography. I learnt in the context of cinematography, how various kinds of perspective influence the communication of emotion and how that could be applied in module four. This taught me ways in which I can invoke feelings and ideas into the observer through the inclusion of various kinds of perspectives in my presentation.

Throughout the course of Foundations of Design: Representation, I gained skills in design programs including the use of the CAD program Rhino, Illustrator InDesign and Photoshop. I also learnt how to create an axonometric drawing, as well as how to translate an orthographic image into axonometric.

Additionally, through the studios, I learnt ways in which to communicate my ideas verbally, efficiently through the limited time given during pin-ups.

Looking back on my work, I believe some of my concepts were not communicated effectively through my modules, particularly module two and four. Upon feedback from my tutor as well as guest critics, I realised a lot of the failures are due to the order of my processes and my approach, something that I will continually work on. I also struggled with time management in creating my modules, as I often get too caught up in my process on the details before completing the overall project. note: some amendments were made in module four based on off of the feedback from my tutor.

08 / 06 / 18

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