Foundations of Design : REPRESENTATION, SEM1, 2017 M2 JOURNAL - FLATNESS vs PROJECTION Claire Woodward
(915 504) Carl Areskoug + Studio 15
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WEEK 3 READING: LEGER, LE CORBUSIER, AND PURISM
Question 1: What is Pictorial Space according to Le Corbusier? (Maximum 100 words) Pictorial space, according to Le Corbusier, is a representation of a space, viewed from a distance. Due to this nature of frontality, there is no ability to circulate in the space represented and the space cannot be entered. This results in the exemplification of flatness. This is enhanced through the use of strong contours and compact, closely packed objects creating a continuous flow of flat objects and ensuring the pictures frontality is maintained, with minimal distinction of depth.
Question 2: The Flatness of Le Corbusier’s painting’s are attributable to two properties. What are they? And what are these pitted against?(Maximum 100 words)
Flatness is achieved in Le Corbusier’s paintings through the use of colour and texture. These aesthetic techniques are used to link objects and remove a sense of depth and distance by not representing the space between the objects seen in the real world. This sense of flatness is enhanced due to Le Corbuiser’s choice not to use black, opposing the manner in which Gris produced his work. To Le Corbuiser the use of black created a sense of 3-dimensional space or depth through the implication of shadows cast by the objects. Le Corbuiser wanted the piece to remain inherently flat and even went to the extreme of adding white lead pigment to his colours to create a continuation of paint across the canvas, blending all colours and textures seamlessly and to imply no break in the painting.
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MARIO’S WORLD : 8 - 2
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1ST MARIO’S WORLD
200 mm x 200 mm box outlining the space drawing boundry requirements
The height of the moutain meant the orientation of tracing paper had to be manipulated to ensure it all fitted on the A3 page while still maintaing the 45 degree angle of an axonometric.
0.4mm fine liner used to indicate section cut
0.1mm fine liner used for other general construction lines
Depth is minimal to allow for space behind to design the middle ground between world layers.
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COMBINED MARIO’S WORLD 0.4mm fine liner used to create heirarchy and highlight the section cut lines - it was also used in some areas of shading to provide a stronger contrast with the lighter lines
Mild shading used to demonstrate depth and to create layers within the image
Texture added to illustrate the curved nature of the pipes which is not otherwise evident in the drawing Lines used to help to explain that this is the roof and that this section is inverted
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WEEK 4 READING: CRITICAL VOICES IN ART THEORY AND CULTURE
Question 1: Explain the difference between Pictoral (in this case perspectival) space and Projection? (Maximum 100 words) The defining difference between Pictorial (in particular perspectival which is a form of pictorial space due to its symbolic nature) space and Projection is the way in which an object can be viewed. Perspective reduces space, conveying a single point of view and therefore there is no ability to move around the object and this symbolic nature results in more flexibility in construction. Contrastingly, projection is measurable and captures an infinite space with the ability to be viewed from myriad of angles. This in turn creates abstract objects that can be rotated, manipulated and moved throughout a symbolic infinite space, while still maintaining the original dimensions of the object.
Question 2: Where did Axonometric projection first arise, and why? (Maximum 100 words) Axonometric projection was first used within the military as a way to chart trajectories. This enabled militants to calculate the distance between their artillery (such as a canon) and the height and distance of a target (such as a castle) so that this could then be reflected in the angle at which they aimed their weapons resulting in an accurate shot of their target. Consequently, axonometric projection has been a technique used throughout history and in time has taken different forms; military calculations, engineering, mechanisation, architecture and visual arts.
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ILLUSTRATED MARIO’S NEW WORLD Gradients added to increase the tonal range of the images thus adding depth and dimension. The addition of a few shadows imply a sense of movement
The interior of the pipe has be revealed to reveal a mario world mystery as know one is aware of what occurs within the pipes. This aims to encourage veiwers to question the construction of the mario landscape.
Placed mario here to demonstrate the way the bridge falls as you step on it. This demonstrates the manner in which the game functions while being played and highlights
2.0mm weighted line used to heighlight sec-
Lava world has been inverted to create a sense of ambiguitiy around the directionality of the world - inspired by the penro se staircase where start and end is undefined
Colour acts as an explanation to some features such as this lava which in the drawing just appeared as another block. It also intrigues viewers by stimulating their visual senses
Additional ‘worlds’ have been included throughout explore the notion of layers within mario world that are revealed through projection. What if when projecting a mario world you are not just expanding the world you see but you are revealing all levels and worlds which are layered creating an endless intergration of levels - this question has been the basis for my exploration
Each world must have a form of challenge and reward in order to provide an incentive to completeing the level. These have been
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APPENDIX
These images inspired me to challenge the concept of directionality in my world and to play with layout and view points inorder to portray ambiguity in up and down and start and finish throughout stages of the world.
Brainstorm / Inspiration
The brainstorm helped me to collect my ideas and ensure that the world covered the fundemental features of a gaming world - challenge, reward, engaging aesthetics, continuity and adventure
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Images sourced from Google Images
Equipment Used: T-square, Set square (45 degrees), ruler, all which help ensure you can get straight lines of any angle. Masking tape, to keep work in place and steady so tracing is consistant, finally 6H graphite pencil, for construction lines 0.1mm and 0.4mm fine liners, to create line heirarchy to distinguish between section cut lines and general linesand eraser.
This was the first draft on my two images overlayed. At this stage I realised there was not enough space for me to design much in the middle area due to the thickness of the mountains. Consequently I reduced this significantly to allow for more design room.
Set up with T-square and set squre to place trace at 45 degrees for Axonometric drawing. A mounting board was used for this process as it gave a straight edge for the t-square to sit against.
I changed the angle of these pipes as I wanted it to appear as if they were disaapearing into the moutain
The front remained the same throughout the design process to show the connection with the orignal images with which I was provided.
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