Alessandro antoci 849802

Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO Alessandro Antoci 849802 Hana Nihil, Studio 19

MEASURED DRAWING OF A CROISSANT

How to measure a Croissant?

Section View (Fine-liner sketches)

The module commenced with photographing the croissant from different angles, then having to sketch it.

The sketching produced 2 sets of drawings, one using pencil and the other finelier.

Being an organic shape, constant focus was required to correctly represent the overall form and details of the croissant.

The task forced me to learn new techniques such as cross-hatching, in order to create shading and give the drawn croissant depth.

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Fineliner Sketches

Axonometric Projection

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MARIO’S NEW WORLD By combining two previously flat images, space was created between the two. Within this 3-dimensional environment, a fantasy world with constant movement and activity resulted.

To achieve this effect, the added characters and elements where added at different sections through out the world.

They connect induvidually to the original world, yet lack interaction with each other. This creates space between them, implying motion.

Final World

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Set up of drawing equipment, including T-square, set-square, finel-iners, ruler and pencils

Axonometric drawing of world 1, completed in pencil due to the amount of guidence lines required.

Axonometric drawing of world 1 and 2 combined, the 2 drawings overlapping to create a 3-dimensional space from to previously flat images.

Complete axonometric drawing of both worlds combined, prior to the addition of new features and characters. The guidance lines have been erased to proide me ith a clear view of where the new elemeWnts can be placed.

Combined Drawing with added elements, drawn in fineliner to provide W lines, facilitating the colouring stage.

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PAPER LANDSCAPE: MAP OF TASMANIA

The modelled landscape is based upon the mountainous landscaope of tasmania and a combination of 2-dimensional and 3-dimensional have been used to demonstrate this.

The 3-dimensional panels form an arch along the width of the landscape, less abundant as the gradient and altitude of the landscape increases. In addition, the 3-dimensional panels on the outer, flatter sections are more open in form and the panels at the ‘mountain ridge’, more closed and solid.

The 2-dimensional panels are fairly simple in their design, the slits emphasising the curvature of the lanscape.

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Annotation, Insert photos of your model to show craftmanship and effects

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Process

Panel 1 (not used in final)

Panel 1 was my favourite panel, inspired by the basic open top pyramid panel used in the workshop. Also, I imagined the side cut in the faces to make my work appear more delicate overall.

However, I had many issues unfolding the shape, even when unfolding only 1 it with still overlap with itself. This was the result of the shape itself being too complex and hence was not included in my final design.

2D Surface

Panel 2

I designed panel 2 in a similar way to panel 1, mainting a pyramid shape and removing a section across 3 faces. Panel 2 is far simpler in its construction compared to panel 1 and as a result was able to be unfolded wihtout too many complications. Furthermore, panel 2 is the only panel which could be unfolded as a strip of 2.

Panel 3

Panel 4

Panel 3 was the most difficult to construct since it is the most intricate panel that was physically constructed.

Although created by only one v-cut through the apex, it had the most folds. This is due to the v-cut interacting with each of the faces and the point.

Panel 4 was the final panel I designed, the simplest shape. Due to panel 1 not being able to properly unfold, I decided to use a simpler shape. Despite its simplicty, the panel could not be unfolded into a strip of more than 1. In addition, the tabs on the base of the panel where of different lenghts, therefore this panel proved very challeging to accuretly connecct panels surround it.

Custom 2D Surface

Custom 3D Surface

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HIDDEN CITY: OLINDA

The character begins their journey at perspective 1, peering through a gap between 2 buildings and viewing the city of Olinda in front of them. They walk through this gap, then begin to crouch, in order to observe a set of buildings smaller than those before.

The character then makes thier way to perspective 2, at the heart of this city. They are now having to crawl and squeeze through the gaps, since the buildings are miniature in order to arrive at the city’s point of origin, the centre.

The rings showing the passing of time on the isometric view is not representative of the movements of the character.

Rather they represent the expansion of the city over time, and how it decomes decayed and abondened.

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Perspective Scene 1

The scene shows the central point and all the rings of the city derriving from a central point, a seed. The scene shows the decay of buildings from the different regions in detail. In particular, the older, outer regions of the city. This viewpoint gives the reader an overview of the layout of the buildings, in particular the concentric arrangement and how the structures derrive from a central point. Furthermore, this perspective centrally frames the objects, bordered by the pillars and arches of the quad, exhibiting the rigid arrangements of the entire system.

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Perspective Scene 2

This scene is a close up of the quad and the buildings, showcasing the passage of time.

Also, this provides a clearer view of the ceiling, the cracks annd mould appearing in the sections of the quad furthest away from the expanding city centre. WWThe choice of building is Le Corbusier’s Unite d’Habitation, a revolutionary housing project encompassing a city within a single unit. I chose this building since the‘squares’ within each building combine to emphaisie the perspective, reinforcing a continuation of time.

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REFLECTION Throughout the entire course, the importance of ‘legibility’ of the project was highlighted.

Many of the lectures stressed the importance of techniques such as framing, progression and arrangement to portray the concept behind a design. In addition, both the lectures and the studios emphasized the necessity of showing process, not only as proof that the work is authentic, but also to reinforce the hidden meaning of the project.

Prioir to this course, I had never used any design software, including rhino or adobe suite.

Throughout the modules, I was required to progessively complete more of my design digitally.

This pushed me to gain a basic understanding of the skills required to digitally illustrate my ideas.

Furthermore, I have learnt how much more efficient design programs are than working by hand.

For example, by having a basic comprehension of a more complex design program (rhino), both module 1 and module 2 were able to be modelled more accurately within minutes.

Hence, being more profiencient on design software would greatly assist me in completing each module to greater precision and clarity.

I found module 3 and module 4 the most challenging and unsuccesful.

Module 4 was entirely digital, and having barely used photoshop previously, I felt very limited by my poor understanding of the program to illustrate my concept clearly. To give an example, my second perspective in the final print was far too dark and completely illegible from a distance. However, by the end of the module my photoshop skills had taken a quantam leap and I look forward to improve them further.

Module 3 was one of the time consuming projects I have ever undertaken, although overall, I found it rewarding once completed. However, my construction could have been a lot more precise, which I realised in the final stages of assembly, piecing strips of my model together and almost tearing them apart in order to fit to one another. This entire issue could have been avoided and countless hours saved by using a laser cutter to provide accurately cut panels needing only to be folded and assembled.

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