POR T FO L IO F OD R
C H LO E PAG E 9 94 2 3 4 TONY YU | STUDIO 03
how to draw a croissant?
flatness vs. projection
pattern vs. surface
frame vs. field
MODULE ONE HOW TO DRAW A CROISSANT?
Chloe Page 994234
MEASURED DRAWING OF A CROISSANT
For the process of the orthographic projections, both elements of hatching and shading were utilised, where shading was used in order to capture the three-dimensional form and curvature of the croissant, and hatching to convey its finer details and texture. Graphite pencils were used for the majority of the drawings, with fine liners applied for the outlines of the sections. The axonometric drawing was completed on the basis of the orthographic croissant plans, along with the section cuts to determine the height of the final drawing.
Photo of Elevation
Module One entailed constructing technical drawings of a croissant, exploring the techniques orthographic projection and axonometric drawing. The final set of drawings were based off a series of scans and photographs of the original croissant, which were completed using a makeshift photo stage. In this way, the scans and photographs could be used in conjunction to establish accurate proportions of the croissant and to ensure that a one-to-one scale could be maintained in the drawings.
Photo of Elevation
Photo of Plan View
Chloe Page 994234
MODULE T WO FL ATNESS VS. PROJECTION
W ORLD : 03_06 Chloe Page, 99423
THE MAKING OF NEW MARIO WORLD Module Two involved creating a new three-dimensional Mario World on the basis of images from the original 1990s game. The Mario game consists of relatively flat, elevation scenes, however the implied depth within the game meant that a key component of this task was to explore the hidden space of Mario World. The initial hand-drawn axonometric was constructed using set squares and T-squares to ensure consistent angles amongst the composition. The final piece establishes the entire frame world of the world, wherein the levels that lie beneath the surface have been explored. The overall composition captures the geometric nature of the initial worlds, whilst also demonstrating a more contemporary take on the scene. It incorporates a central tiered water feature, wherein it the streams, bridges and passages that pass across the structure unify the two sections together. The smooth gradients which are consistent across all elements of the world, in combination with the vivid colours, helps to not only establish depth but adds a rejuvenating, modernized and cohesive feeling to the overall aesthetic.
FINAL MARIO WORLD
PROCESS OF AXONOMETRIC DRAWING
This image consists of some original free-hand sketches which were used to plan and brainstorm the structure of the axonometric drawing. This practice was enforced to enable a more precise and efficient process during the final drawing.
The following equipment was essential to construct the axonometric drawing correctly and efficiently. The items included a 45 degree set square, a T-Square, an eraser, 50GSM tracing paper, pencils, fineliners and tape.
This was during the initial stages of drawing the axonometric. This image depicts the first trial of projecting the front elevation, and only includes the basic constructs of the world in its original state.
MODULE THREE PATTERN VS. SURFACE
THE MAKING OF NEW NEW L ANDSCAPE Module Three entailed manipulating topography as surface using digital technologies to later be produced in a three-dimensional model. Using Rhino, the first nets and prototypes of the three dimensional panels were produced and later constructed with ivory card. Around the templates tabs were added in order to assist with the gluing and construction of the shapes The model is comprising of four different three-dimensional shapes which range in sophistication of design and structure; these shapes may be observed towards the lower left corner of the image. An attractor curve was positioned towards the far right corner of the composition, in order to direct the series of shapes away from the center and rather implement a sense of movement amongst the model. The pattern of panels was inspired by the coral in the great barrier reef. The movement from more complicated and open shapes towards a more modernized series of pyramids is reflective of how the coral is constantly undergoing human-inflicted destruction that in turn is detracting from the natural elements of our beautiful reef.
PAPER L ANDSCAPE
The final model was produced using white 160gsm ivory card. The triangular pyramids were a lot easier to make and it was easier to produce a clean result when developing them in comparison to the other more complex shapes.
REFERENCE IMAGE FOR INSPIRATION
DIGITAL L ANDSCAPE
UNROLLED TEMPL ATE OF FINAL MODEL The image beside displays some of the unrolled templates which were used in the final model. Rather than creating one net for one particular shape, several panels were joined to form a single larger net which in turn made the process of cutting and developing the shapes more efficient, and with less tabs to join, a cleaner result could be achieved. The nets were transformed in Adobe Illustrator, where the line weights and styles were altered to ease the construction procedure; dashed lines represent folding lines and solid lines represent cut lines. In transferring them onto the ivory card, a rough cut was made around the net, taped to the ivory card, and a more precise cut was then completed around the shapes to be folded.
PROCESS OF DESIGN AND CONSTRUCTION The following images depict the project development throught the process of Module 3.
Process of applying two dimensional panelling to the assigned terrain.
Process of colour co-ordinating different sections of the model, to represent which panels will be joined in a net. This enhanced the efficiency of constructing the model in order.
Exploration of different three dimensional shapes to be used in final model. I attempted to develop shapes with varied sophistication, in order to create a stark contrast between the shapes which are to represent human destruction (more simplistic, industrial style) and the shapes which are used to represent the coral of the Great Barrier Reef (more character as defined by twists and several angles/ less structured).
These images depict the process of constructing the model, and display the different tools and utensils that were used in order to achieve this (metal ruler, pen knife, small stanley knife, scissors, PVA glue and ivory card). Scoring the card was important in order to achieve a clean model.
MODULE FOUR FRAME VS. FIELD
THE CIT Y OF DIOMIRA Module Four was concerned with an exploration of perspective, and how a such technique has developed since originally being theorized in Renaissance Italy. The task involved creating two scenes from contrasting perspectives within a given city, conveying different aspects of Marco Polo’s journey throughout the designated story. In the first scene depicting the city of Diomira, I wanted to portray the more luxurious components that were highlighted in the story. These elements included the statues of gods, chandelier and domes. They possess a high level of hierarchy amongst the composition where they lie amongst the center arch, reiterating the opulent culture of their society. This is further reinforced in the several crystal textures which are evident throughout the building’s structure, a resemblance of the crystal theatre as mentioned in the story. Finally, the women figures incorporated appear to be among the upper class of the city, as portrayed in their style and stance. The overall light tones used and minimal shadows is to convey the elated feelings experienced at the time. The purpose of the second scene was to reveal the true darkness within the city of Diomira, in contrast to the facade which the city projects upon it’s visitors. The textures in this piece include defaced concrete, which, in comparison with the crystal textures present in scene one, alludes to the impoverished elements of society. Moreover, in juxtoposition with the elegant ladies in scene one, scene two depicts beggars and peasants, some of which crying as described in the story. The country side may be envisaged, to further conrast with the silver domes that can be seen in the distance. This is meant to represent how the city’s opulence, whilst somewhat in existence, is out of touch with the true nature of Diomira.
ISOMETRIC ANNOTATED MAP OF MARCO POLOÊ¼S JOURNEY THROUHGH DIOMIRA
RE F L EC T I ON The completion of Foundation of Design: Representation has provided me with a new array of skills in which I hope to utilise for the rest of my experiences within the field of Design. Throughout the semester, I have been able to not only expand my knowledge and abilities, but also consolidate and build upon the skills which I had already possessed. A combination in all mediums of learning; lectures, tutorials and workshops, enabled me to acquire a set of innovative outlooks and approaches to undertake any design challenges to come in the future.
Of all four modules, my least successful piece would be module 4, frame vs. field. Having investing a lot of time planning, I experienced difficulties attempting to incorporate all my ideas into a single scene, or deciding which elements to integrate. There were also issues in the technical aspects of completing module 4, where finer details were not included and small errors were not amended, due to having Photoshop complications. Further refinement spent on the actual execution of the scenes, and more elements to add context, may have helped resolve such issues.
In terms of the knowledge gained from lectures, the content revealed context of the overall principals and lessons which each module was attempting to convey. It put the development of our own ideas in alignment with the work of others, along with how such implementation of particular skill set is incorporated, or can be, within the expansive field of design.
Overall, I have thoroughly enjoyed exploring this subject, the design challenges which each module presented, and the array of knowledge and skills which I have acquired along the way.
In reference to digital technologies, the modules one through to four enabled me to develop a greater understanding of programs such as Rhinoceros and the Adobe creative suite. The course exposed how such technique in each digital programs can, in conjunction, help to improve or aid non-digital creations.