William Rudd Fod Portfolio

Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO William Rudd 915733 Studio 04 - Ray Ali

M1: MEASURED DRAWING OF A CROISSANT

How to measure a Croissant?

Module 1’s task was to buy, photograph, scan and sketch a croissant, thus creating a truly unique final product based on the shapes and shadows of this pastry. Based on the images and scans of the croissant a drawing process could occur. Some difficulties arose when drawing this croissant because of its doughnut like shape with a hole in the middle. This made shading for shadows much harder as the surface was more curved. The final stage in completing the croissant was to create a 3D projection of the croissant based on the accurate section cuts created in the initial sketching stage. This was done by using the axonometric technique whereby one plane is rotated 45 degrees to create a basic projection of the shape.

Original Scanned and Photographed Croissant

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CROISSANT DRAWING

Croissant Front and Top Drawings

Croissant Section Drawings

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CROISSANT AXONOMETRIC DRAWING

Axonometric Croissant (with guide lines)

Axonometric Croissant

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M2: NEW MARIO WORLD

The making of new Mario World.

Mario World was based on two flat images taken from a mario game. The front and back side of the final axonometric are 3 dimensional representations of the aspects of the flat images. The original drawing is based on the exact demensions of the flat images and was created using set squares and T squares. To colourise the axonometric drawing it was scaned then traced in illustrator. The colours used in the final computerised axonometric Mario World represent the colours in the original images. The create a story in my world and make it more visually appeasing charaters were placed into the world. Also appartment like structures were created behind the mountain shapes, representing a place where Mario and his friends may live. The cloud was also split to give it a multilevel aspect and allow for the waterfall to come out of the cloud.

Computerised Axonometric

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NEW MARIO WORLD AXONOMETRIC DRAWING AND PROCESS

Inital Stages of Drawing and Creating Mario World. T squares and set squares were used in order to accuratly transfer the flat image into an axonometric projection.

Further Progress on Axonometric Drawing. Showing the use of pens in order to outline the shapes on the sketch sheet.

Computerising Axonometric Drawing. Adding colour and tracing the lines of the axonometric on illustrator. Also adding textures to some blocks

Axonometric Drawing

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Adding and Creating Textures. Textures were created based on the originally Mario image and then inserted onto the axonometric blocks.

M3: PAPER LANDSCAPE

The making of new landscape.

Rhino was used to make a mesh of a surface in Tasmania that could later be used to create a panelised surface.

10 different panel shapes were created then placed onto the surface using the panelling tool feature in Rhino. The panels consisted of shapes that were trialled before being selected and placed into the panalised landscape. The different shapes created differentiation on the surface allowing it to seem to undulate and flow.

The model was then unfolded into groups of triangular shapes. This allowed for the model to be cut out and constructed in paper. The desired effect was to have a good amount of variation in shape with some shapes protruding and some shapes with parts going inwards.

Final Model (showing the slope of the landscape)

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PAPER LANDSCAPE DETAILED VIEW

Detailed View of Paper Landscape and Craftmanship

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PAPER LANDSCAPE TOP VIEW AND PROCESS

Experimenting with 2D Patterns Rhino. Using Rhino to experiment with 2D patterns. Curve attractor was used to create the shape variation on the landscape.

Individual Panel Shapes. Each individual shape used for panellising. Each was a variation of a triangular shape.

Computer View of the final model. This view shows the final computerised model.

Top View of Paper Landscape

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Cut Out Sections of Paper Panels. Some cut out paper panels before construction to demonstrate the complexity of the unrolled shapes

M4: INVISIBLE CITY

Cities & the sky 2: AnAstAsiA

Cities and Desire 2: Anastasia The way in which the story and city was interpreted was by breaking the story was all about the illusion of desire and the deception that sorrounds materialistic desires.

It was identified that the story had two key elements: firstly describing the peoples of the cities desires shown through the precious stones (representing wealth) and kites that flew above the cities canals (representing a careless fun). The other part of the story is a realisation that all of these things are really fake and are causing people to become prisoners in there own cities. This is shown in the isonometric through splitting that space in half diagonally and having one side representing the happiness of desires and that other representing the flaws. The two perspective images further elaborate on this idea with each showing one aspect.

Key Joyous Step Difficult Step Lies Truth Uncertainty Scared Mood

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1m

2.5m

5m

Old Quad Isonometric with Notations

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INVISIBLE CITY: PERSPECTIVE 1

The scene above represents all the desires that one might experience from Anastasia. The scene is quite light and shows that kites, rocks, canals (represented as a snake like water fall around one of the pillars) and fire with golden pheasant. The materials used represent wealth and an apparent sense of order. However, everything is not quite as it seems this is shown through the literial bars that seem to sorround the people.

Perspective 1

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INVISIBLE CITY: PERSPECTIVE 2

The scene above represents what lies behind the illusion of the desires. The scene is purposefully quite horrific and dark to represent that people are trapped in their own crooked obsessions. The use of the white mask ties this image back to the way that lies and truth was represented in the isonometric symbols, it also shows that nobody in the city has there own real identity because of there obsession for that which they do not have yet. The scene is perposly more stripped back and simple than the other perspective to emphasise this point.

Perspective 2

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REFLECTION

My learning from these projects varied greatly for each module. The module 1 and 3 taught much more practical skills such as correct drawing approaches and styles. The learning surrounding axonometric sketches firstly in module 1 then in module 2 was a very good learning opportunity to learn about how architects and designers may present their concepts and ideas. Model 3 taught many skills about Rhino, how to use it and the commands. This was an excellent skill to develop as it will be vital in further studies. Module 2 and 4 also taught me some practical skills but most of the learning was focused around theoretical interpretation and creativity. This made these modules very interesting and in many ways more challenging to decipher and create. Module 4 was a great way to test the skills learnt as it combined skills from many of the other modules and allowed for freedom in the way that we created and choose to show our stories.

The skill set gained was both in the practical aspects like furthering knowledge in Illustrator and Photoshop as well as learning about new skills in Rhino and InDesign.

All of these skills are vital in future studies.

Upon reflection, I struggled with module 2 and producing something that I was completely happy with. Are the originally submission I was happy with the hand drawn aspect but the computer aspect had many problems that I have now attempted to fix. For the computer Mario World, it was edited on Illustrator and Photoshop.

I believe that this has enhanced the final product and created a more interesting final design.

In conclusion, foundations of design: representation was something was taught me many new skills and ways of thinking. This will ultimately expand my horizons as a designer and allow for more innovation and create thought whilst still having a good skill set to back this up.

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