PORTFOLIO FOUNDATIONS OF DESGIN: REPRESENTSTION Cameron Kirk
Cameron Kirk Studio 29: Katherine Petros Semester 1, 2018 Melbourne School of Design
CONTENTS Module 1
How to Draw A Croissant
Flatness Vs. Projection
Pattern Vs. Surface
10 - 12
Frame Vs. Field
13 - 17
MODULE 1 How to Draw A Coirssant Croissants to the mere person are simply a pastry, consumed in multitudes of combinations, such as with ham and cheese, jam or simply butter. However upon further investigation it is evident that croissants are in fact a complex creation with many dimensions which are explorable. Hence to learn more about the croissant and move past its stereotypical conception, a study on the form and shape of an individual croissant was performed, with the goal to produce varying depictions of the croissant in forms such as axonometric projection, sections, plan and scale view. This task involved establishing a photostage to photograph the croissant, then producing technical drawings. For the technical drawings, the dimensions of the croissant were measured, then displayed on an A3 sheet at a 1:1 scale. These depictions of the croissant ultimately served highlight the complexity of the croissant and develop our appreciation and understanding of the structure of the french pastry. Additionally this was an important task as it provided teachings in architectural method, such as scale drawings, it also taught students specific terms and their purposes; such as axonometric projections, section, plan and scale views, and developed upon sketching skills.
Process To produce the sketches shown on the right, the technique of tracing was employed. This was done by overlaying the images taken in the photostage with tracing paper. Pencil was then used, enabling students to accurately reproduce the intricacies of the croissant. I personally found it ideal to cross hatch with 2B and HB pencils, as the lead was fine enough to be able to draw the details of the croissant, but also soft enough to allow for shading. Also a fineliner pen 0.4 was used for stippling to further capture the texture of the croissant. These techniques proved to be advantageous methods, allowing for an accurate sketch of the top and base plans, and front and side elevations. For the sections, the croissant was cut in half, then that half was cut in half again. The sections were then scanned on a photocopier. To sketch these, the same technique used to sketch the plans and elevations - tracing paper was placed over the images and they were traced. To highlight the cavities and boundary of the sections, a 0.4 fineliner was used to trace them. The thicker and darker line weight was preferable as it clearly highlights the cavities and boundary.
Axonometric Projections and how to draw them was a skill obtained during this module. To produce the most accurate drawing possible, 10mm x 10 mm grid lines were laid over sketches. Intersections between grid lines and section lines were then used as markers and guides. To improve upon my axonometric projection I layered the top plan of my croissant underneath the axonometric
MODULE 2 Flatness Vs. Projection Module 2 was a task in which students were required to construct an axonometric projection, based on two provided Mario World images. Throughout this module, students learnt about the importance of depth and different ways of producing this visual effect, i.e pictorial spaces and projections. Additionally this assessment cultivated and developed skills using applications such as Photoshop, Indesign and Illustrator. For my Mario world design I stuck to the schematic Mario theme, being bright vibrant colours. Within the hidden spaces I expanded upon the provided images, adding more blocks and pipes, staying true to the Mario theme. Elements such as the pipes under the world were also added, which emit light from the above world.
Process To begin the drawing each the Mario world was taped to a table with masking tape, both of a 45 degree angle. A layer of tracing paper was then laid on top of both worlds and also taped to the table at a 45 degree angle. This angle was necessary as allows the objects within the images to be placed onto the paper, then able to be drawn axonometrically. A goal in developing the Mario World, was to produce a world that was cohesive and had no ‘dead’ space. Hence to ensure that there are no spaces within the axonomentric, the depth of objects in the images were varied. Once the sketch was completed, the sketch was scanned and imported into Photoshop. In Photoshop the image was tidied up, erasing any smudges. Once satisfied the image was then imported into Illustrator, where the sketch lines were traced with the pen tool. Colours were also added using the paint bucket tool. To create an organic sense within the image, gradients were applied to the fills, fabricating light.
Tools and Equipment Used for Drawing
Progression of Axonomentric Drawing
Images and Sketch placed on 45 Degree Angle
Completed Axonometric Drawing
Sketched Mario World
Completed Mario World Axonometric
Traced Mario World
MODULE 3 Pattern Vs. Surface Module 3 was a task in which students had to 3D model a geometric landscape on Rhino. Each student received part of the Tasmanian Landscape as their base. Students were then required to construct a 10 x 10 grid across the landscape, creating 100 modules. The inspiration of my model was the shape water takes as it begins to form a wave. To achieve this, the modules were influenced by attractor points to create a sweeping look across the surface. Additionally the heights of each module were varied, in which each rows height slightly increased from the last. This created a crescendo in height, mirroring the shape of waves.
Process To produce the wave-like form, three base modules were created. They were created to have an ascending height and a varying slope. These modules were ideal for the model as they represented the shape of a wave and were easily developable. Once the final design of the model on Rhino was completed, the model was required to be physically constructed. To achieve this the modules were separated and unrolled. Some modules were able to be grouped, allowing for an easier construction. The unrolled modules were then imported into Adobe Illustrator where a colour co-ordination scheme was used. The colour co-ordination of rows of modules ensured the modules were placed in their correct position. The next step in the construction of the model was to print the nets onto ivory card. Each net was then scored and folded into the correct shape as per the guidelines of the net..
The images above and below serve to emphasise the slope of the individual modules and how this creates the wave like form. The image above was taken using a photostage
This image is of the completed model and aims to display the curvature of the model, forming a wave like shape. Under this lighting, the transition between the heights of the individual modules also becomes apparent
MODULE 4 Frame Vs. Field Module 4 was a digital fabrication task, requiring students to utilise multitudes of techniques and skills obtained throughout the course. In this assessment piece students were tasked to produce an isometric projection and two perspective scenes. These images additionally all had to convey a story. The prescribed text from which the scenes were inspired and derived from is “Hidden Cities: Olinda”.
The environment described within this text consist of a city which blossoms from its core and expands outwards into new entities. However despite this city always growing, the old architecture remains in its original proportions in the centre.
Tree Ring Sketch 13
Process To construct the isometric and perspectives, firstly the Old Quad was assembled in Rhino. Once that was completed, as per the workshop, students were allowed to customise their perspectives to portray their prescribed text. The first customisation was adding people within the scene by importing their outline, which was edited in Adobe Illustrator. Once this was completed the command ‘Make2D’ was applied, capturing a stencil of the perspective. ViewFiletoCapture was also used to take a screenshot of the perspectives.
View of Isometric in Illustrator
Both files were then imported in Adobe Photoshop, where textures, people and objects were montaged into the perspectives, essentially bringing them to life. For the isometric notations were employed to develop the story. The roof was then separated from the rest of the structure to prevent an obscuring of the components underneath. The command ‘Make2D’ was then applied individually to the roof and the remaining structure. The outlines were then laid over one another in Illustrator. Additionally fill colours were used to seperate components of the image and line weights were adjusted to place emphasis on significant components of the image, such as the columns and reduce obscuration of the image created by the roof.
View of Perspective 2 in Illustrator
View of Perspective 1 in Illustrator
ISOMETRIC OLD QUAD
To convey the story, notational elements were added. Unique symbols represent different elements which all assist in telling the story ory of ‘Olinda’. Notational elements exemplary of this are the arrowheads to depict movement. In the image all the movement is seen to be moving out of the Quad. This is to depict the growth of the city that is occuring outside and the individuals within the frames desire for it. Contrastingly, some people within the Quad are stagnant. This is to depict their uncertainty or fear of the evolution of Olinda. This is reinforced by the ‘mood’ notations. Another notational element are the symbols that depict the people in the image staring. The connotation of ‘stare’ is employed to suggest that the people are intrigued by the outside world. Additionally from their stare’s you can see lines depicting the movement of time. This is because each individual is looking at a different period in time, due to the constant growth of the city of ‘Olinda. Finally the concentric circles depict organic growth within the Quad. The symbol mirrors the mention of the city growing in concentric circles and also visually represents the importance of the theme of growth .
Shading was utilised to differentiate elements within the image, such as varying greys to represents people, their emotions, where they’re looking and if they are moving. The line weights also were employed to create a hierarchy within the image and act as a guide of where an observer should look. For instance the lineweights of the roof were reduced to ensure the roof did not obstruct structural and notational elements. This allows for the roof to still be present, remaining true to the design of the Quad.
This perspective is based around the theme of growth within Olinda and its centrality and importance within the city. To depict this a tree was placed in the centre, being a metaphor for the growth. Its centrality within the image further displays this as it becomes a main focal point within the image. A concentric circle mosaic was also placed beneath the tree to mirror how the city â€˜grows in concentric circles like a tree trunkâ€™. Itâ€™s also stated within the story that the old architecture remains. This is conveyed within the image as the style of the centre is a renaissance theme. The cracks and the rough sandstone surface on the columns further reinforce the old age of the centre. To develop the notion, that the cities old buildings and structures remain in the middle, and that on the outskirts of the city, it is a modern world, objects such as a power point have been placed on the front left column. Additionally in the background there is a plane in the sky and the silhouette of a modern city.
This perspective was created to show the gradual evolution of the city from the inside-out in a more intimate fashion, immersing the viewer within the scene. To depict the evolution of the city, the characters within the frame can be contrasted. The people in the foreground are seen to be a King and Queen, with attire associated with a more ancient time, compared to the noblemen and group of ladies in the background. The movement from a cobblestone floor in the Quad, to a tiled surface in the background, further portrays the evolution and growth of the city. Additionally, alike Perspective One, the image contains nods to the future, suggesting the modern world on the outside. This is demonstrated by the Queen holding a phone and the helicopter in the background, located at the top of the image. 17
REFLECTION LOOKING Foundations of Design: Representation has provided, through each module, opportunities to learn and explore many varieties of design and representation. This was due to the modules, which were constructed to teach and introduce to students, new techniques and ways of thinking which all can be applied to design. It first began in Module 1: How to Draw A Croissant. This first module introduced to students technical terms such as; plan, elevation, section and axonometric projections. I personally found this module enjoyable as it allowed me to develop my drawing skills, learning and playing with techniques such as cross-hatching and stippling. Module 2: Flatness Vs. Projection threw me into the deep end and forced me to learn new skills and to navigate through new programs which I had not used. The aim for this module was to produce a Mario World as an axonometric projection, based on provided images. I personally found this task very difficult due to me being completely alien to the program illustrator and it’s tools. This module also made me aware that my time management skills needed improving to be able to produce a design project to the best of my ability. Next was Module 3: Flatness Vs. Projection. This module required students to produce a three-dimensional model of a geometric landscape and to physically reproduce it. I found the 3D modelling of the landscape quite enjoyable, however I believe in my final design I was not bold enough in my creation, and could of explored a wider variety of shapes and forms. In the physical construction of the model I had a few problems which ultimately had a negative effect on my model. One was that the paper that I decided to construct my model on was too thick, making folding and scoring difficult. Finally Module 4: Frame Vs. Field, the last module, involved students to apply multitudes of skills they had learnt throughout the semester for this final task. In this task we were to make 3D model of the Old Quad, and use it to create an isometric projection telling a story which was prescribed to us. Additionally students were to create two perspective images, coinciding with the isometric, telling the story as well. This task was my best performance overall, which I believe due to practising the skills I had learnt and allowing myself plenty of time to complete it. To further improve as a design student, I must improve on my presentation of work, specifically in module portfolios. I often lacked information and had poor photo quality. As well, improving my time management skills would be advantageous to my design career. Overall this subject has completely evolved my perspective and attitude towards design, introducing the idea that through different forms of representation, alternative solutions and improvements to designs can be discovered. 18