VICTORIA POSADAS PORTFOLIO / DESIGN 1 / FALL 2018 1
TABLE OF CONTENTS
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SITE INSTALATION THE SHOW MONDRIAN COLOR, PATTERN, & TEXTURE BEND. CUT. FOLD. EMBASSY OF SPACE THE CUBE
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SITE INSTALATION 4
The challenge was to create a site specific installation on a location of our choosing.
Located inside a bush in front of Hayward Hall, the project was set to mimic a city landscape in order to bring attention to the ecosystem already existing inside it.
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THE SHOE
The first model I made, using the measurements gathered in a drawing made previously, was the horizontal one, and that ended up being the most time consuming. Then I made the vertical model, and using the knowledge gathered up form making the first model took much less time. After that I started creating the egg crate model, which ended up being the easiest and fastest to make.
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H O R I Z O N T A
E G G
L
C R A T E
V E R T I C A L
P L A S T I C
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Lastly, using cling wrap I managed to mold it into a likeness of the initial boot. With the use of a hair drier to better the chances of the cling wrap sticking together I managed to mold it into something that resembled the actual shoe.
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MONDRIAN 10
Using the painting New York City as a starting point, the challenge was to express the 2D painting into a 3D space.
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My final model expresses the 3Dmensionality of my painting by highlighting the focal point of the painting (the two yellow and red vertical lines near the middle.) Another way it does that is by showing how certain colors can move forward or backward on the page depending on their color and orientation. While the yellow horizontal lines command the front if the painting, the red horizontal lines also move forward, while maintaining a certain plane-like quality to them in the way that I see them also move back into the page, as you can see in my model.
ELEVATION VIEWS
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Since blue is such a contrasting color it appears to be coming from farther away. Now the vertical lines almost hold the same importance to me in the hierarchy of the painting, but instead of just being static and vertical, they seem to engage with the middle space while also giving the feeling of supporting the shape of the painting.
AXONOMETRIC
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COLOR, PATTERN, & TEXTURE 14
Carving out the stamp on an 1”x2” art gum eraser, I then used black and red ink to create patters.
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Carving out the arrowhead-shaped stamp on an 1”x1” art gum eraser, I then used black and red ink to create patters.
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Using various paint color swatches, I cut them into narrow strips of various thicknesses based on color. The, through weaving them together, I created a paid pattern.
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BEND. CUT. FOLD. 18
Having to pick a pinting from the Philadelphia Museum of Art, I then had to create a Bas Reliefed from the major gestures and movements I can see in the painting.
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EMBASSY OF SPACE 20
After selecting a section of my Bas Relief, I made that into a 24” by 24” landscape where a structure was build.
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My structure was based by the the city of Octavia, written about on the book Invisible Cities by Italo Calvino.
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THE CUBE
B R I S T O L
C H I P B O A R D
C A R D B O A R D
F O A M C O R E
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B R I S T O L
M A T E B O A R D
W O O D
W O O D
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Portfolio / Design 1 / Fall 2018 28