FoDR Survival Guide 2018 S1

FoD:R

Foundations of Design : Representation

SURVIVAL GUIDE + PROGRAM ARCH10001, Sem 01 - 2018

CONTENTS

Subject Overview

This subject is concerned with building a foundation for design as a discipline. The subject introduces you to the role of representation in contemporary design practices which includes architecture, landscape architecture, graphic design, performance design and digital technology.

A series of lectures will introduce you to a range of vector based representation techniques. Why do designers draw? What is the role of representation? This subject emphasises the importance of developing a critical understanding of representational devices and operative design techniques.

The subject will explore key ideas addressed in the lecture series and put them into practice using a variety of representation techniques including orthogonal projection (by hand), model making, 2D vector based drawing and 3D modelling using common industry software.

You will learn how to manage data, information and representation workflows between different software, how to represent spatial information, how to draw and model with care and develop a critical eye.

At the end of semester, students will design and prepare their own portfolio.

This survival guide contains all the module instructions for weekly tasks as well as other useful information which you may need to build the foundation for your future career as a designer.

2

3

SYNOPSIS

02

INTRODUCTION & USEFUL INFORMATION

04

MODULE 1

19

MODULE 2

31

MODULE 3

45

MODULE 4

61

EXHIBITION

73

PORTFOLIO

75

What is the aim of the subject: The aim of the subject is to facilitate development of skills in careful observation and analysis of information using different forms of media; from hand drawings to using standard industry software. You will learn to prepare and make drawings, digital and physical models as part of each module submission. At the completion of the subject, you will prepare a design portfolio. A portfolio is not a sketch book but a well laid out document that communicates your design thinking and ideas. It reveals your development as well as showcases your most amazing work. As you progress through your degree (no matter which design discipline), you will continue to build on your portfolio and it will form the basis for you to apply for jobs as well as build up your design credentials – in other words, it identifies who you are as a designer. You will also need a portfolio for future entry into some Graduate schools.

What is a studio? Studio comes from the latin word “studium” meaning study and pursuit. It also refers to the place where an artist carries out their work. In a design discipline most work is carried out, explored and discussed in a studio environment. Your studio is led by a tutor who will act as your mentor and instructor.

They will guide you through readings and discuss different drawing, model making and representation techniques. They will provide criticism and evaluate your work as it progresses. This session is hands-on and you must bring in ‘work-in-progress’; coming to studio with no work to show or discuss will constitute nonattendance.

What is a Workshop session? A workshop (or Lab) session is where you learn the technical skill of using industry standard software. We will use multiple software in this subject; refer to LMS for software list and where to access them. Most contemporary design practices utilise an “ecology” of software to develop a workflow. In this subject, we will work through some of this workflow. On the LMS, we have identified additional on-line learning videos and resources. You will be required to watch these videos prior to coming to the Lab session.

Why is it important to attend Lectures? Lectures are where we disseminate key conceptual thinking, ideas and knowledge that will guide you through your modules. It will make reference to specific case studies from various disciplines and make the weekly activities that make up the module legible. Sometime, we will invite guest lecturers to discuss specific ideas and provide you with additional lateral framework for your weekly tasks.

What is an online Quiz and how do I prepare for it? Over the course of 5 lectures (see subject schedule) we will dedicate 15min to run an online quiz. The quiz covers the content presented in the lecture, previous weeks reading and workshop content. This is an assessed task and will contribute to 10% of the subject. You will be required to create an online account (see LMS for details). The quiz will be accessible using any android , IPhone, laptop or IPad. Note: Access to quiz is only provided in the lecture so you will need to attend lecture to answer these questions.

What is a module? A module is a “block” of study that theoretically frames a particular set of representational ideas. The subject consists of 4 modules. Within each module, we have weekly exercises that will lead you to complete the module. At the end of the module, you will be required to “pin-up” the work in class and deliver a short presentation to your tutor and peers. You will prepare a portfolio to document the progression of your work and this together with the final work will be marked. Apart from module 1, you are required to submit a module journal at the end of each module.

If i mess up a module can I re-submit work or redo it at the end? The modules are designed to be independent which means that marks are not carried forward nor do you need to rely on your last module work to make progression. If you mess up, just move on. If you feel strongly to re-work a specific part of your module (either the final drawings or module journal), you must re-submit it by Week 12 and include this in your final portfolio. You will also need to inform your tutor.

While there is no re-assessement of modules past the moderation date, we will take the re-worked drawings into account when moderating the final marks.

Do I need to bring my own laptop to a Workshop session? What if I don’t have one? We suggest that you bring your own laptop and mouse to the Workshop session where possible. All software for the lab session must be installed on your system prior to class; there will be no help available to install software during the Lab session. If you do not have a Laptop, you can borrow one during the class; please bring a USB stick to save your work. The faculty’s recommended laptop specification can be found on the LMS. Is there any other equipment I need for this subject?

We have prepared an equipment list, most of the equipment will last you throughout your Design degree 4

SUBJECT OUTLINE

so see it as an investment for the future.

you to upload your journal onto your online portfolio page, and submitted to turnitin on the LMS. This should be completed before the start of your studio.

What is the LMS? The LMS (Learning Management System) is where we keep all digital content for the subject, including downloadable Module content, software links, lecture recordings, on-line learning resources, readings, where to purchase modelling material and much more. This is accessible from my.unimelb.edu.au

I have problems meeting the deadline due to illness and other family situations. What can I do? You can apply for extension for your assignment, see information on Extension & Special Consideration (p6).

I did not meet the submission deadline due to poor management of time – what do I do? You should complete the work to your best ability and submit the work as soon as possible. As we require you to submit your journals and portfolio on turnitin on the LMS, the submission time will be recorded. There is a penalty of 10% deduction in mark per day until a complete submission of all components is received. An outline of what a complete submission consists of can be found on the rubric page for each assignment.

What are the learning outcomes of this subject? A complete list of learning outcomes are listed in the handbook: https://handbook.unimelb.edu.au/view/ current/ARCH10001 How is my work assessed? The marks for the subject are allocated as follow: Module 1 (5%), Module 2 (20%), Module 3(20%) and Module 4 (20%)

Staff:

Final Design Portfolio (25%)

Subject Co-ordinator:

Online Quiz during each selected lecture (10%)

Scott Woods E-mail: woods.scott@unimelb.edu.au Room: 218, Melbourne School of Design Contact Hours: 10:00 - 16:00 (Tuesday & Friday)

Although each module’s content is independent, they do rely on a progressive build-up of knowledge and skillset over the course of the subject. We therefore require you to attend 75% of all lectures, workshops and studios as a hurdle requirement for the subject.

Attendance at lectures will be calculated through each quiz at the end of lecture and attendance will be taken at every studio class and workshop session.

Senior tutor: Matt Greenwood E-mail: greenwood.m@unimelb.edu.au Room: G01 Baldwin Spencer Building Contact Hours: 9:00 - 5:00 (Tuesdays & Fridays) Please e-mail Matt minimum 24hrs in advance if you wish to book for a consultation time.

Each module will be accompanied by an assessment rubric which is used by your tutor to assess your work. At the end of each module, all work is moderated across the studios to ensure equity in marking. Your marks for each module will not be disclosed but you will receive a rubric indicating your performance. If you have any question regarding your level of performance during the semester, please contact your tutor in the first instance. You can also contact the senior tutor and the subject coordinators if you have specific concerns.

Please note that at the end of the semester, you are required to submit a portfolio and this is a hurdle requirement.

What is the deadline of each module? Deadline of each module is at the pin-up presentation of each module. This is typically in Studio 1. Where we require 5

HANDBOOK INFORMATION

Overview: This subject is concerned with building a foundation for design as a discipline, introducing students to the role of representation in design and architecture in contemporary practice. The subject aims to develop student’s skills by teaching them how to carefully observe and analyse information using different forms of media.

architectural drawing conventions • • Developed representation and compositional skills • An understanding of the role of representation and its function in contemporary design and practice

A series of lectures will introduce students to a range of vector based representation techniques. Why do designers draw? What is the role of representation?

This subject emphasises the importance of developing a critical understanding of representational devices and operative design techniques.

• An understanding of portfolio design and layout using common industry software • Ability to integrate digital tools in presentation and communication of design ideas and thinking Generic Skills: On completion of the subject, students would have developed the following skills;

The subject will explore key ideas addressed in the lecture series and put them into practice using a variety of representation techniques including orthogonal projection (by hand), model making, 2D vector based drawing and 3D modelling using common industry software.

• Observation and visual analysis skills; • Developed a familiarity with basic techniques in drawings undertaken with analogue and digital media;

Students will learn how to manage data, information and representation work flows between different software, how to represent spatial information, how to draw and model with care and develop a critical eye.

• Develop communication skills through drawings and other media; • Developed capacity for independent critical thought, creative inquiry and self-directed learning;

At the end of semester, students will design and prepare their own portfolio.

• Developed an understanding of how such techniques are related to creative thinking.

Note: Students are encouraged to purchase a laptop with suggested faculty specifications. Further information can be found on https://msd.unimelb. edu.au/abp-specialist-it-support

Contact Hours: 52hrs Total Time Commitment: 170hrs

Intended Learning Outcomes: Students who have successfully completed this subject should have;

The University’s Grading Scheme:

• Developed skills in drawing and representational techniques to communicate design ideas and thinking

N

0% - 49%

Fail

P

50% - 64%

Pass

• Developed skills in working across different media and common industry software

H3

65% - 69%

Third Class Honours

H2B

70% - 74%

Second Class Honours Division B

H2A

75% - 79%

Second Class Honours Division A

H1

80% - 100%

First Class Honours

• Developed observational and analytical skills through drawing and making • An understanding of scale, orthographic projection and other representation techniques including architecture drafting • An

understanding

of

the

application

of

6

SUBJECT OUTLINE

Assessment Overview: • Online Quiz at the end of lectures or studio during Semester, (10%); • Module 1 containing composed drawings with verbal presentation (equivalent to 5-8 hours of work) due week 3, (5%); • Module 2 containing composed drawings with verbal presentation. Drawings and sketches collated in draft journal format (equivalent to 2025 hours of work) due week 6, (20%); • Module 3 containing models with verbal presentation. Drawings and sketches collated in draft journal format (equivalent to 20-25 hours of work) due week 9, (20%); • Module 4 containing composed drawings with verbal presentation. Drawings and sketches collated in draft journal format (Equivalent to 2025 hours of work) due week 12, (20%); • Final Portfolio submission: formatted journal containing collated and composed drawings and sketches with reflective writing and references to lectures (equivalent to 25 hours work) due first week of examination period, (25%) Hurdle Requirements: • Studio and Workshop attendance of at least 75% of all classes • Submission of Final Portfolio is a hurdle requirement

7

STUDIO TIMES AND LOCATIONS Studios Tuesday:

Studios Friday:

Studio 01/01

Tuesday

10:00 - 12:00

MSD 141

Studio 02/01

Friday

09:00 - 11:00

Studio 01/02

Tuesday

14:15 - 16:15 MSD 142

Studio 02/02

Friday

11:00 - 13:00 MSD 314

Studio 01/03

Tuesday

16:15 - 18:15

MSD 236

Studio 02/03

Friday

09:00 - 11:00

MSD 236

Studio 01/04

Tuesday

18:15 - 20:15

MSD 141

Studio 02/04

Friday

11:00 - 13:00

MSD 244

Studio 01/05

Tuesday

10:00 - 12:00

MSD 140

Studio 02/05

Friday

11:00 - 13:00

MSD 125

Studio 01/06

Tuesday

14:15 - 16:15

MSD 139

Studio 02/06

Friday

15:15 - 17:15

MSD 117

Studio 01/07

Tuesday

16:15 - 18:15

MSD 138

Studio 02/07

Friday

13:15 - 15:15

MSD 228

Studio 01/08

Tuesday

18:15 - 20:15

MSD 241

Studio 02/08

Friday

15:15 - 17:15

MSD 244

Studio 01/09

Tuesday

10:00 - 12:00

MSD 138

Studio 02/09

Friday

09:00 - 11:00

MSD 216

Studio 01/10

Tuesday

14:15 - 16:15

MSD 236

Studio 02/10

Friday

11:00 - 13:00 MSD 216

Studio 01/11

Tuesday

16:15 - 18:15

MSD 125

Studio 02/11

Friday

13:15 - 15:15

MSD 216

Studio 01/12

Tuesday

18:15 - 20:15

MSD 213

Studio 02/12

Friday

15:15 - 17:15

MSD 213

Studio 01/13

Tuesday

10:00 - 12:00

MSD 226

Studio 02/13

Friday

09:00 - 11:00

MSD 117

Studio 01/14 Tuesday

14:15 - 16:15

MSD 138

Studio 02/14 Friday

09:00 - 11:00

MSD 227

Studio 01/15

Tuesday

16:15 - 18:15

MSD 239

Studio 02/15

Friday

11:00 - 13:00 MSD 215

Studio 01/16

Tuesday

18:15 - 20:15

MSD 226

Studio 02/16

Friday

13:15 - 15:15

MSD 215

Studio 01/17

Tuesday

10:00 - 12:00

MSD 125

Studio 02/17

Friday

13:15 - 15:15

MSD 117

Studio 01/18

Tuesday

14:15 - 16:15

MSD 239

Studio 02/18

Friday

15:15 - 17:15

MSD 125

Studio 01/19

Tuesday

16:15 - 18:15

MSD 226

Studio 02/19

Friday

15:15 - 17:15

MSD 215

Studio 01/20

Tuesday

18:15 - 20:15

MSD 236

Studio 02/20

Friday

09:00 - 11:00

MSD 314

Studio 01/21

Tuesday

10:00 - 12:00

MSD 236

Studio 02/21

Friday

13:15 - 15:15

MSD 125

Studio 01/22

Tuesday

14:15 - 16:15

MSD 226

Studio 02/22

Friday

13:15 - 15:15

MSD 124

Studio 01/23

Tuesday

16:15 - 18:15

MSD 137

Studio 02/23

Friday

11:00 - 13:00

MSD 117

Studio 01/24

Tuesday

18:15 - 20:15

MSD 138

Studio 02/24

Friday

15:15 - 17:15

MSD 241

Studio 01/25

Tuesday

10:00 - 12:00

MSD 241

Studio 02/25

Friday

09:00 - 11:00

MSD 213

Studio 01/26

Tuesday

14:15 - 16:15

MSD 125

Studio 02/26

Friday

11:00 - 13:00

MSD 213

Studio 01/27

Tuesday

16:15 - 18:15

MSD 118

Studio 02/27

Friday

13:15 - 15:15

MSD 213

Studio 01/28

Tuesday

18:15 - 20:15

MSD 125

Studio 02/28

Friday

15:15 - 17:15

MSD 213

Studio 01/29

Tuesday

09:00 - 11:00

MSD 142

Studio 02/29

Friday

09:00 - 11:00

MSD 215

Studio 01/30

Tuesday

11:00 - 13:00

MSD 124

Studio 02/30

Friday

11:00 - 13:00

BS 109

8

MSD 142

SUBJECT OUTLINE Lecture 05 Surface Week 06 Situated at the starting point of module three this lecture begins with an introduction to the assessment tasks before exploring the idea of Surface. Themes interrogated in this lecture include the fold, how to distinguish developable and non-developable surfaces as well as their implementation in constructed form. References extend from furniture design, to interactions with the human body and pavilion architecture.

Workshops Friday: Workshop 01 Friday

09:00 - 11:00 MSD B121

Workshop 02 Friday

11:15 - 13:15 MSD B121

Workshop 03 Friday

13:15 - 15:15 MSD B121

Workshop 04 Friday

15:15 - 17:15 MSD B121

Workshop 05 Friday

17:15 - 19:15 MSD B121

Lecture 06 Pattern Week 07 Lecture six provides a critical examination of pattern across multiple diciplines. It looks at themes of repetition and scale in Modern and Contemporary Australian Art before exploring similar principles in landscape and constructed envelopes.

*Workshops run weeks 3,4,6,7,8 & 9 and replace Friday’s Studio 2.

Lectures Monday Lecture

Monday

Lecture 07 Frame Week 09 This lecture has as it’s focus the history and theory of Perspectival representation. Both concept and technique are considered via examples derived from the birth of Renaissance perspective painting to modernist conceptions of spatial depth and recess within French cinema. Gilles Deleuze’s conception of the Frame as subject-maker is also considered.

13:00 - 14:00

Sidney Myer Asia Centre - B02 Carillo Gantner Theatre Lecture 01 Why Do Designers Draw?

Week 01 This lecture examines the role of representation in design by looking at contemporary and classical references. As the title suggests, it also poses the question of why designers draw and the importance of representation for the communication of ideas and intentionality. Lecture One additionally provides an overview of the subject, administration, modules, assessment and learning outcomes.

Lecture 08 Field Week 11 The lecture on field examines the concept of notation in design and representaion. References are presented from a variety or disciplines including film, dance, landscape and design. It looks at the layering of various forms of notation in order to effectively communicate information from object to subject.

Lecture 02 Thinking In Orthographic Space Week 02 Lecture two provides an introductory point to orthographic projection through the interrogation of plan, section and elevation. This is explained through multidiciplinary examples including Andrea Palladio, Giambattista Nolli and Nintendo’s Mario World.

Lecture 09 Portfolio & Exhibition Week 12 The final lecture for the semester explores the importance of the portfolio in the design industry.

It looks at the curation of work both within a portfolio and in the context of exhibitions.

Lecture 03 Flatness Week 03 Lecture three delivers a chronological exploration of flatness, planes and viewpoints. It looks into both the reinforcement of the boundary, or line as well as the breaking of clear deliniation. The confrontation of object and subject is explored through the examination of references that include Renaissance, Minimalism and Contemporary Art sources. Lecture three also introduces Module two.

Lecture 04 Projection Week 05 The lecture on projection provides an explanation and critical analysis of projection as a method of both representation and narrative. It covers the various methods of constructing projected space as well as their cultural and historical foundations.

9

FURTHER INFORMATION Extensions

Policy

Students may be granted an Extension of up to 10 working days if the student’s capacity to complete work by the due date has been affected by significant factors beyond their control and which can be verified by supporting evidence. These factors include the following circumstances: illness or medical condition; trauma arising from a significant event such as a car crash; jury duty; illness of a person for whom you are the primary caregiver. Extensions will not be granted for the following circumstances: Computer failure, assessment tasks in other subjects, employment responsibilities, social commitments, stress or anxiety associated with completing assessment tasks, study difficulties, language difficulties, moving house, minor illnesses, and similar.

The ABP Student Policy Guide can be accessed via the LMS page for all ABP subjects. It contains: important information on student responsibilities and expectations, including time commitment requirements and key enrolment dates; instructions for extension and special consideration applications; instructions for requesting a review of results; and important information on academic misconduct, especially regarding plagiarism, collusion and cheating.

Academic Skills Unit The University’s Academic Skills Unit provides handouts, skills guides, booklets, and videos to guide and support students in developing time and task management skills, writing skills, speaking and presentation skills, language skills, and, importantly, research and referencing skills. These resources can be accessed from the Academic Skills Unit website. There is a link on the LMS.

All extensions requests must be submitted via email to the Senior Tutor before the assignment submission deadline. Supporting documentation (e.g. medical certificate) must be submitted along with the extension request.

Further information about applying for an extension can be found here: http://ask.unimelb.edu.au/app/ answers/detail/a_id/5667 Special Consideration Extensions for all assignments for duration of more than 10 working days need to be made via an application for Special Consideration.

Information about eligibility for Special Consideration and application processes can be found here: http:// students.unimelb.edu.au/admin/special Special Consideration is available to students who have had their studies significantly impacted by shortterm circumstances reasonably beyond their control such as acute illness. In addition, information about more serious, ongoing and long-term circumstances can be found here: http://students.unimelb.edu.au/ admin/special Please inform the Senior tutor if you have applied for a Special Consideration after you lodge the application.

This is so we can follow it up on the system.

10

AVOIDING PLAGIARISM

11

MATERIAL & EQUIPMENT

Detail paper; this is usually thinner than tracing paper and you can use this to draw and sketch up ideas.

Its also good to use them to practice drawing on.

You can get expensive rolls of detail paper from art supply shops or use greaseproof paper from most supermarkets (do not use Baking paper).

The following is a recommended list of equipment for drawings and graphic communication. For those majoring in Architecture, Graphic Design and Landscape Architecture, we have made specific recommendations which you may find useful.

Sketch book: there is no set rule here – we suggest A5 to A4 size. We recommend you start off using a sketchbook with lines or grid to help you with scale and proportion. Keep your sketchbook with you all the time (so find your convenient size).

Cartridge paper; modules will suggest different paper types.

Model making tools: A3 Cutting mat; you can also get a cheaper but smaller version from Daiso.

Pen: Uni Pin Fineline - black colour only; you can invest in expensive Rotring pens but for this subject, a fine line set will do; 0.05 or 0.15, 0.2, 0.4 & 0.6

Pen Knife; Get a medium weight knife, Daiso has cheaper alternatives.

Kneadable Eraser & PVC Eraser; you are likely to use both types of eraser.

Scalpel/Precision Cutting Knife; best for fine and intricate cutting. You may need to use this in Module 3 and 4.

Graphite Pencil; we suggest the following hardness grading – 6H, 4H, 2H, H, HB, 2B, 4B & 6B. You can also explore other grades of pencil. The sequence above runs hardest to softest. The softer the pencil the more likely it is to smudge. Alternative option: Clutch Pencil, Lead pointer & Leads ; this is recommended for those majoring in Architecture, Graphic Design and Landscape architecture.

Pencil sharpener is required.

Adhesive & Tape: Glue stick; suitable for paper and cardboard UHU; suitable for plastic, metal (beware: does not dry clear and can be messy) PVA glue; suitable for gluing timber or thick cardboard, dries clear

Fixative; fixative is used on pencil or charcoal drawings to stop smudging. We recommend you use cheap hairspray which will do a similar job compared to expensive fixative from an art supply store.

Adhesive spray; this is used for mounting paper or drawings onto board.

Masking tape; useful for taping down paper for drawing or temporary hold for glue to dry.

Drawing instruments: Ruler; a plastic or metal ruler 300mm long.

Bull nose clip; small. this is useful for model making.

Set Squares; we recommend an adjustable setsquare. If you purchase non-adjustable set squares, they usually come in a pair (30/60 & 45 degrees).

Folios and carry case: Plan Tube for large format drawings A2 Carry sleeve; If you are planning to Major in Architecture, Graphic Design & Landscape Architecture, you may want to invest in an A1 carry sleeve as it will last you throughout your education.

NOTE: do not use a folio with sleeves as this is clumsy to use and the glossy surface makes your artwork difficult to read.

T-Square; a smaller length than usual is recommended. Approx 600mm. Plastic or wooden.

Triangular scale ruler; ensure scale ruler has 1:100, 1:20, 1:250, 1:300, 1:400, 1:500. You can purchase a small one from Daiso as well. Those not majoring in architecture and landscape, a flat scale ruler will be adequate for this subject.

Paper: A3 tracing pad; you will need a 50 gsm A3 size tracing pad for the subject.

Empty shoe box; this is great for storing small physical models.

12

MATERIAL & EQUIPMENT

Material & Art supply shop: Co-op, corner of Grattan and Swanston Street Daiso - sells a variety of objects, materials and drawing equipment. http://www.daisostore.com.au/ (there is a store on Swanston St) Melbourne Artists Supplies – large selection of paper & cardboard: www.melbourneartsupplies.com.au Eckersleys - Art supply store: www.eckersleys.com.au Deans Art – Art supply store: www.deansart.com.au Riot Art and Craft – General craft material with limited range: www.riotstores.com.au

Computer: We recommended that you acquire a laptop for the course. A good laptop will last you throughout your study. Note: this is not a requirement. If you do not have a laptop, you can use a computer in the Faculty computer lab or computers distributed around MSD and Baldwin Spencer building. Important: Only MSD and Baldwin Spencer computers have the software.

You can find a faculty recommended specification suitable for most software here: https://msd.unimelb. edu.au/abp-specialist-it-support. Student licences for common software can also be found on the above link.

Please bring a USB stick to Workshop session.

13

PROGRAM

M1: How to draw a Croissant?

LECTURE 02

LECTURE 03

(quiz)

(quiz)

W4 NO LECTURE

5%

WORKSHOP 2

WORKSHOP 1

WORKSHOP

14

Mar 26 - 30

W5 LECTURE 04

Studio 1

W3

Mar 19 - 23

Studio 1

STUDIO

Mar 12 - 16

Studio 1: M1 SUBMISSION

Studio 2

LECTURE 01

W2

Studio 2

W1

Mar 05 - 09

Studio 1

Feb 26 - 02

M2: Flatness vs Projection

SEM 1 , 2018

W9

W10

LECTURE 07

W11 LECTURE 08

May 21 - 25

W12

WORKSHOP 4

Studio 1: M4 SUBMISSION

20%

15

June 04 - 08

Wk 13

Wk 14

(quiz)

Studio 2

Studio 1: M3 SUBMISSION

20%

WORKSHOP 5

Studio 1

20%

May 28 - 01

LECTURE 09

(quiz)

(In Class Tech Tutors) Studio 1

(quiz)

NO LECTURE

May 14 - 18

PORTFOLIO SUBMISSION

NO LECTURE

May 07 - 11

Friday 8th June, 11:59PM

LECTURE 06

W8

Apr 30 - 04

Portfolio

SWOT VAC

W7

Apr 23 - 27

Studio 1

LECTURE 05

Apr 16 - 20

WORKSHOP 6

W6

WORKSHOP 3

NTW

Apr 09 - 13

Studio 1: M2 SUBMISSION

Apr 02 - 06

M4: Frame vs Field

Studio 2

M3 : Pattern vs Surface

25%

16

NAVIGATING THE LMS This is accessible from my.unimelb.edu.au

Announcement: From time to time, we will make specific announcements to draw your attention to specific aspects of the subject.

Download your survival guide and programme here.

Module content can be view here.

All workshop session information is located here.

We have identified precedent studies for each module that is relevant for the various disciplines.

Drawing equipment, software and hardware suggestions.

Lecture is captured on a weekly bases. It usually appears 24h after recording.

MSD resource containing all you need to know about the workshop and how to access it.

If you have problems printing, check out the information on Fablab website.

Lynda contains thousands of tutorials for various software including those you will be using in this subject.

Link to handbook.

We will need you to fill in the SES survey in week 12!

17

18

MODULE 1

HOW TO DRAW A CROISSANT?

19

WEEK 1 LECTURE 1: WHY DO DESIGNERS DRAW? The role of representation in design? What the subject teaches? Origin of line - notion of plan and section. What material and equipment (inc computer spec) to purchase? LMS and online learning Resources. House-keeping & rules. Assessment etc. Introduction to M1 task.

INTRODUCTION: In this module, you will learn to measure a Croissant and construct orthographic projection drawings by hand. You will learn to use drawing equipment appropriately and explore techniques of hatching and shading.

Photo of elevation

Photo of elevation

photocopied plan

photocopied sections

Photo of plan view Layout Example Page 1 - Scanned Images

Previous Page: Student Work Semester 1 2017 - Samuel Ng 20

MODULE 1 Tutorial content: Tutorial introduction, Drawing seminar during studio & instruction for Week 2. Tutor to discuss portfolio, Wix interface and go through basic photoshop on how to clean up drawings from Scan, move image to alignment - see task below.

Reading: Miralles, Enric,1983.: How to layout a croissant?

STUDIO 2

WEEKLY TASKS

CHECKLIST

1. Purchase drawing equipment and a croissant [1h] 2. Set up Wix page [0.5h], watch online tutorial (on LMS) and email your Wix page address to your tutor [0.5h] 3. Set up a photostage at home and take photos of your croissant. Take one photo of plan view and two elevation (long and short side) views of your object. Ensure camera is at the same level as your object [1.5h].

4. Use a scanner and scan (in colour) the bottom plan view of your croissant.

Save it as a Jpeg or Jpg. See LMS for how to use scanner in MSD. Please do not use the library or print room scanners. There will be a dedicated scanner for FoD:R students to use.

5. Cut your croissant in equal halves along the short length (it is easier to leave your croissant out for 24h before cutting it). Take half of it and cut a parallel section - repeat until you have 3 cuts. It is important that the cuts are parallel to each other. (If your croissant is curved DO NOT angle the cuts to follow the curve).

6. Use a scanner or a photocopier, make a scan and copy of your sections, one section per A4 page (grey scale) [1h] 7. Watch Online Tutorial: How to Fix Scanned Drawings in Photoshop, you can watch via LMS, under Module 1 or you can follow instruction in the M1 Appendix. Using the scanned bottom view as the base, align the photos of plan view and elevations (from step 3) next to the base. [2.5h] 8. Print the composed sheets on an A3 paper (unless you have a giant Croissant, it should fit on the page) and bring it to the next class (Note: do not scale to fit page). Bring the following equipment to Week 2 studio class: -

Your cut croissant A4 Tracing pad and a roll of greaseproof paper Pencil, 4H, 2H, 2B, 4B + pencil sharpener Erasers Scale ruler, a ruler, set square and T-Square Masking tape A3 card board (You will need this as an edge for your T-Square) Do not throw your other half of the croissant away, every croissant is unique so you will need to keep it, freeze it and take it to your M1 presentation.

Note: The Fablab has a photostage that you can use. This can be booked on the fablab website.

21

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WEEK 2 LECTURE 1: THINKING IN ORTHOGRAPHIC SPACE Tutorial content: Discuss seminar reading [15min].

Tutor to show how to set up drawing equipment in class and draw plan and elevation on tracing paper over scanned images [1.5h].

Reading: Zell, 2008. Chapter from The Architectural Drawing Course.

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Complete 1 x top view, 2 x elevation and section drawings of your Croissant; use the reading to assist you in understanding the drawing techniques.

Ensure your section cut lines are annotated on the plan drawing.[1.5h] 2. Overlay tracing paper over your top view and apply hatching to show depth, use 0.15 fineline pen to make hatches. Use 0.4 pen to outline the cut line.[0.5h] 3. Overlay tracing paper over the two elevations and apply shading using 2B and 4B pencil to show depth, apply fixative when complete. [0.5h] 4. Overlay tracing paper over the three sections and use 0.15 fineline pen to trace the section profile. Use 4B and 6B pencil to show depth. Use 0.4 fineline to outline the cut line. [0.5h] 5. Bring these drawings to the next studio class.

Student Work Semester 1 2017 - Samuel Ng Layout Osaka Example Pavilion, Page Peter 2 - Orthographic Salter Drawings 22

ďƒź

MODULE 1 Tutorial content: Discuss seminar reading [15min]. Tutor to show how to construct axonometric projection in class using information from plan and section + how to reduce image resolution for Wix page[1.5h].

Recap on submission requirements for M1 [15min].

STUDIO 2

WEEKLY TASKS

CHECKLIST

Attempt to set up an axonometric of your object using information from the sections, complete this within a timeframe of 3 hours. Note: we want you to understand the principal of setting up the axonometric so the Axonometric drawing does not need to be finished.

1. Overlay tracing paper over your section drawings and draw a grid that is 10 x 10mm. Identify the intersection points of the section line with the grid. [0.5] 2. Photocopy your plan and set it up as the base for your drawing; rotate the plan 45 degree. Along the section line, project a set of 10mm spaced lines vertically. You can then transfer the intersection point identified in item 1 onto the plan base to construct your axonometric drawing. Refer to LMS for further instruction [2.5h].

3. When you are done, scan the drawings (Make sure you are scanning at 300dpi); use photoshop to adjust levels so the background is white. You may want to adjust contrast to make your lines more visible. [1.5h] 4. Arrange your work on 3 x A3 Pages. (Refer to layout examples) Bring a hard copy of your drawings and trace paper to Week 3, Studio 1 for pin-up. Keep your drawings flat.

Submission Checklist • 3 x A3 Sheets, Printed Landscape to Pin Up:

Page 01: Cleaned croissant scans.

Page 02: 1 x top view, 2 x elevation view, 3 x sections + hatching overlays

Page 03: 1 x axonometric, leave the construction lines to show how you constructed it.

• Uploaded your 3 Sheets to your Wix Page as jpeg image files.

(You can reduce the image resolution to 72 dpi)

What is a pin-up? At the end of each module, we will ask you to pin-up your work in studio. You will prepare a 2min verbal presentation of your work.

In this module, use the following as a checklist for your presentation: Is your drawing accurate and how you can improve on this?

Discuss how you use graphic elements, such as shadow or hatching to create a sense of depth in your drawings.

23



PHOTOSTAGE This easy setup is intended to remove distracting background detail and enhance your ability to control the kind of lighting that falls on the model.

LIST OF EQUIPMENT • Camera (can be compact or SLR) • Backdrops - a large sheet (A0 size) of clean uncreased white drawing paper. Different colored paper may also work (black or grey) something that will contrast the model remaining neutral + something to attach it to a wall/vertical surface. Place the backdrop so it curves between a vertical and horizontal surface.

• Lights - Use a directional desk or standing lamp. Two light sources is ideal. If you only have one you can also use a reflector (piece of white foam core approx. 50x50cm). You can also take photos using daylight coming through the windows or set up outside on an overcast day

© Alison Fairley

24

MODULE 1: APPENDIX MODEL PHOTOGRAPHY Lighting Setup Note: A key light is the main light source in a photo, it should be the one that casts the shadow. A fill light fills in the dark side of a subject, it’s the secondary light source, if you only have one light, this can be a reflector close to the subject.

Standard lighting setup

MODEL PHOTOGRAPHY Lighting Setup Note: A key light is the main light source in a photo, it should be the one that casts the shadow. A fill light fills in the dark side of a subject, it’s the secondary light source, if you only have one light, this can be a reflector close to the subject.

Standard lighting setup

Standard lighting shots

25

Standard lighting shots

•

Try to get into the space of the model, either by placing the camera inside, zooming into the space or using focus to pull the view into the space. (remember if you can’t focus the camera while close to the model move back until you can and then crop the image in photoshop to zoom in further)

MODEL PHOTOGRAPHY

The eye will always look at the area in focus first. Focus the image on a section of the model that is most PHOTOSTAGE

•

interesting and the most important to the design.

Composition • Use light and focus to highlight details, texture and form. Move them around to see what gives the best results..

The composition of the image is the second most important element of great model photography. Here are a few beginner rules to follow (and perhaps think of ways to break when you’re more experienced) • Remember the rule of thirds. Objects placed anywhere on a third line in the image have more punch than • either centre or randomly placed areas. The intersection of the third lines are important points to consider.

Get down to the models level. No “God Views” unless the whole focus of your design was to be viewed from above.

•

Try to get into the space of the model, either by placing the camera inside, zooming into the space or using focus to pull the view into the space. (remember if you can’t focus the camera while close to the model move back until you can and then crop the image in photoshop to zoom in further)

•

The eye will always look at the area in focus first. Focus the image on a section of the model that is most interesting and the most important to the design.

•

Use light and focus to highlight details, texture and form. Move them around to see what gives the best results..

•

Remember the rule of thirds. Objects placed anywhere on a third line in the image have more punch than either centre or randomly placed areas. The intersection of the third lines are important points to consider.

Rule of thirds

Rule of thirds

26

MODULE 1: APPENDIX

MODEL PHOTOGRAPHY Photoshop

As long as photos are in focus and well composed then almost anything else can be fixed up in photoshop.

The more time you take getting a great photo = the less time in photoshop and vice versa.

A few easy steps to fix common model photograph problems are as follows.

•

Open your file in photoshop

•

Right click on the background layer in the layers pallet

•

Make a duplicate layer (this is the layer we will work on, the background layer maintains a copy of the original photograph incase something goes wrong)

•

Add a levels adjustment layer by hitting the black and white cookie button at the bottom of the layers pallet and choosing “levels”

•

Move the little triangle sliders under the graph so the outer ones are located under the beginning of the graph (assuming there is white and black in your photograph, otherwise move them until the image looks good with enough contrast). Move the middle triangle slider until the image looks bright enough.

•

Once your levels are correct, go back to the black and white cookie and choose “photo filter”. Most images taken with home lighting solutions are very warm (yellow / orange / red). To combat that try adding one of the cooling filters and change the density until the white areas of your scene look white. You may need to add two photo filters, a cooling one to remove the yellow and a green one to remove the red tones.

•

If your image still has an incorrect colour wash over it you can always put a black and white adjustment layer on.

It’s also located under the black and white cookie.

•

Finally use the crop tool (fourth tool down in the tool pallet on the left hand side of the screen) to fix any composition issues (not close enough, getting sections onto the third lines) once you’ve drawn a crop box you can rotate it if the image isn’t quite horisontal to straighten it out.

•

Make sure you save your images as a photoshop file (.psd) to retain all the layers and adjustments you have done. To place into indesign / email or place the image on the web you should make a second .jpeg save of your file.

Finally the best way to take a great model photograph is to take a lot. Just keep shooting and trying different ideas, angles, lighting and focus points. It doesn’t cost anything and you’ll be sure to get at least one killer image for your folio or presentation.

27

RUBRIC

Student Work Semester 1 2017 - Anna-Lena Mueller Layout Example Page 3 - Axonometric

28

MODULE 1

Proportion of Total Mark: 5% Individual Mark

Drawing Skill & Presentation

Drawing Convention

Website

40%

30%

30%

H1

As H, plus student has exercised dexterity over drawings skill and techniques. Excellent verbal presentation.

As H, plus annotative elements add further complexity and refinement to the overall composition. Skillful application of technical drawings convention.

As H, plus drawings are composed and presented clearly on website with annotation.

H

As P, plus drawings presented are precise in execution and demonstrate a range of skill in hatching and shading. There is a good attempt at the axonometric drawing. Drawings are clean and well composed.

Good verbal presentation.

As P, plus drawings are precisely annotated following technical drawing conventions.

Section cut lines, fonts and scalebars are all present and composed with dexterity.

As P, plus drawings are cleaned up using photoshop and levels adjusted.

P

Student attempts the orthographic drawing task and have presented the required set of drawings as outlined in Survival Guide.

Weak verbal presentation.

Student attempts to apply technical drawing convention to the images. Drawings are to scale with required annotation.

Student has scanned and unloaded drawings to website as instructed but not completely clean. There is an attempt to personalise the website.

N

Set of drawings is incomplete or poorly executed with untidy layout.

Drawing fails to demonstrate an understanding of orthographic projection and has major flaws in its execution. No verbal presentation.

Student has not attempted to follow drawing convention in the construction of the images.

Drawings are not to scale.

Student fails to upload content to website or set up a Wix page.

PLEASE NOTE: A complete submission for Module 01 consists of: - 3 x A3 Sheets of Printed Drawings Submitted to Tutor.

- 3 x A3 Sheets Uploaded to Wix Portfolio Website.

29

30

MODULE 2 world:

8-2_8

LOUIS ZHANG (914946)

FLATNESS vs PROJECTION

31

WEEK 3 LECTURE 3: Flatness

Tutorial content: Pin-up of Module 1 [1.5h] Discuss Module 2 task. [0.5h]. Tutor will distribute Mario World Templates (2 per student) via email and show students where to access the How-To Guide on the LMS.

Introduction: In this module students will begin to determine differences between ‘subjective’ and ‘objective’ points of view, the thought that begins to define 2d and 3d spatial constructions, and their impact on perception.

Reading: Krauss, Rosalind, 1972.: Leger, Le Corbusier, and Purism..

STUDIO 1

Before you start: Have you down loaded the module journal and the assessment rubric?

What is the module journal? From this module onward, you will keep a module journal (the template can be downloaded from LMS). Follow the template and you will have a Module journal which forms part of your module submission.

WEEKLY TASKS

CHECKLIST

1. Complete reading for Week 4, Studio 1 and answer the questions in your Module journal. [2h] 2. Your tutor will email you the two elevations for you to print out on A4 paper in colour (do not scale image) and bring them to class. It should be 200mm x 200mm [0.5] 3. Bring the following equipment to Studio 2 Week 3: • T-Square • Set-square (with 45 degree angle or adjustable angle) • Pencil, 4H, 2H HB & 2B • Fineliner pen, 0.1, 0.2, 0.4 • Eraser and sharpener • A3 Tracing paper (or Greaseproof paper) • A3 mounting board • Masking tape

Previous Page: Student Work Semester 1 2017 - Louis Zhang 32

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WORKSHOP SESSION 1 Workshop Session 1: This workshop session will introduce you to vector and image based graphics.

Prior to this session, you will need to watch the online tutorials, Vector vs Pixel based Graphic on the LMS.

In this session, we will go through basic Photoshop and introductions to vector based artwork. We will look at InDesign for your module journal layout.

The session will conclude with a brief introduction on how to use the plotter in the MSD building.

You will need this for your M2 submission.

WORKSHOP

Each workshop is accompanied with workshop note (see next two pages).

It contains useful infromation on the software and list the commands you will learn in the Workshop session. You will also find a folder on LMS under: Workshops & Software In this folder, you will find additional online tutorials if you wish to extend your skills,

WEEKLY TASKS

CHECKLIST

1. Using the online How- To Guide on the LMS. Set-up (axonometric) workspace on your desk and project the first 2d elevation template forward at 45 degree angle using A3 tracing paper or greaseproof paper overlaid on the template.

Use 2H pencil and set square to project lines forward from the template. [4h] 2. Layout your second 2d elevation template parallel (at a diagonal) to the first 2d elevation at 200mm apart. Project it backward so it touches or interacts with your first projected world. Refer to item 1 for material and techniques. [4h] 3. Using an additional layer of trace paper retrace the 2H pencil lines with 0.1 or 0.05 fineliner. Outline sections cut edge with a 0.4 fineliner. [1h] 4. Bring hard copy of your drawing to Week 4, Studio 1

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WEEK 4 Foundations of Design: Representation - Workshop Session 1, Week 4 Introduction & Software Info - Refer to LMS for information regarding any software purchases - To access the Fablab web-page and material prices: https://msd.unimelb.edu.au/ About us> Fabrication workshop> Fablab> Material prices > Training and access> Lvl 00 & 01 - For printing and scanning visit: https://msd.unimelb.edu.au/ About us> Fabrication workshop> Print & media hub> Print & bind> Print & media guide Adobe Photoshop CC 2017 Adobe Photoshop is the predominant pixel based image editing software in the industry. The software is used by artists, designers and photographers for editing single or multiple photos. Below are some useful hints for the software: - RGB vs CMYK Image> Mode *RGB is mainly used for digital media such as projections or computer monitors while CMYK is used for printed media *PPI (Pixels Per Inch) define the resolution of the image. A higher PPI indicates an image with high resolution which leads to a large file size. For web based images a 72 PPI is sufficient and for printed media the image should be kept between 150 to 300 PPI - Photoshop navigation shortcuts: To start with an image drag and drop the image onto Photoshop Use Ctrl and either + or - keys to zoom in or out Hold down the Space key to pan Use Ctrl Z to undo, Ctrl Alt Z to move backwards or Ctrl Shift Z to move forwards - Adjust the levels through Image> Adjustments> levels *If the button is grey and does not work, make sure the image layer is selected - Adjust the colour balance using Ctrl B or Image> Adjustments> Colour balance - Clean up the edges of the image using the brush tool and with the colour set as white - To transform (Rotate, Scale or distort) the image use Ctrl T or Edit> Transform *Hold down the Shift key to maintain the original image ratio or rotate the image by multiples of 15 degrees - Hold down any icon to access alternative versions of a command - Make a colour selection through Select> Colour range * Deselect the previous selection using Ctrl D or Select> Deselect * While in selection mode, press the Delete button to create a transparent image - Adjust the image transparency from the Layer window *Arrange overlapping objects through the Layer window (Order, Visibility and Lock) - Save your file as a PSD, JPG, TIF or PNG using File> Save as *PSD file is Photoshop’s native file format which saves all the layers used in the file. JPG is a compressed image format which is suitable for web based projects. TIF format saves the file uncompressed which are large and is mainly used for publications. PNG are capable of preserving the image transparency and are useful for web based application.

34

Page 1

WORKSHOP SESSION 1 Adobe Illustrator CC 2017 Adobe Illustrator is a common vector based image manipulation software used by the industry. The software is used mainly by artists and graphic designers in conjunction with pixel based programs such as Photoshop.

Illustrator is suitable for designing logos, diagrams and single page layouts. Below are some useful hints about the software: - Pixel vs Vector based software. for more information refer to: https//: - Turn pixel drawings into vector lineworks using Image Trace *Image trace works best when the image has high contrast with well defined edges - Use layers to separate various objects and create folders *Layers are important to break down your workflow into separate steps. It also allows you to share and collaborate with others. As a result it is necessary for the layers to be named appropiately.

- Use the Pen tool to draw your own vector lines and geometries *Use Illustrator’s primitive geometries *Use the add anchor, delete anchor and anchor point tools to edit the geometry - Change the line thickness using the Strokes panel *Turn the curve into an arrow and dashed line - Change the line and infill colours and reduce opacity *Use Eyedropper tool to match colours *Use the colour guide to find matching colours *Use the Gradient tool (Add colour, rotate and radial) - Use geometry as clipping mask for an image, then release the mask.

- To save as PDF go to File> Save as *Try exporting to DWG format to be opened by Rhino Adobe InDesign CC 2017 Adobe InDesign is a common industry standard layout software. The software is suitable for creating posters, documents or books. InDesign primarily will be used for this subject’s portfolio layout.

- Drag and drop to place an image onto the page - To crop the image, first select the image and resize the image boundaries *Hold down Ctrl to change the image size *Hold down Ctrl Shift to keep the original image ratio while changing the size - Separate objects such as text and images by creating different layers - Drag the side rulers into the page to create a new set of guide lines * To edit the page margins go to Layout> Margins and columns - Use T command to start a new text box *To edit paragraph style go to Windows> Type & tables> Paragraph Ctrl Alt T - To manage a document layout, use Master pages from the Pages panel *Add page number on master pages Type> Insert special character> Markers> Section marker - To export file as PDF go to File> Adobe PDF presets 35

Page 2

WEEK 4 No Lecture this week!

Tutorial content: Discuss seminar reading [0.5h] Tutor to review student axonometric drawings [1.5h].

Reading: Stan Allen, 2000.: Axonometric projection: new geometries and old origins, in: Practice, While tutor is reviewing drawings, students can use Architecture, Technique and Representation.. this opportunity to discuss and review their work with their peers. Discuss how to add complexity, detail and refinement to the scene. [0.5h].

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Complete Axonometric drawing based on your tutor’s feedback.

There are to be NO characters or objects that embody a form of life. The focus is on the generation of form and space.

2. Once drawings are completed scan them. Use Illustrator to trace the drawings; all lines to be 0.25pt, section cut line to be 0.5pt . Print drawings on A3 sheets; center your image to an A3 page. It will be easier to complete this task after you have attended Workshop 1.[2h] 3. Bring hard copy of your drawings to Week 5 Studio 1 class for review with your tutor.

4. Complete reading for Week 5, Studio 1 and answer the questions in your Module journal. [1.5h]

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WORKSHOP SESSION 2 Workshop Session 1: This Workshop session will introduce you to a 3d modelling software called Rhino 3D which we will use in M3. This is a standard software used in a number of industries from engineering to architecture. Prior to the class, you will need to complete the online tutorials on Introduction to Rhino Interface (see the LMS).

Note: Please download and install the software prior to the class, refer to LMS for instruction. There wil be no assistant in class for software installation.

WORKSHOP

Student Work Semester 1 2017 - Louis Zhang Example of work at the beginning of Week 04

37

WEEK 5 Foundations of Design: Representation - Workshop Session 2, Week 5 Rhinoceros 3D is an industry standard software used in various design disciplines. Rhino is capable of dealing with complex 2D and 3D geometry with high precision. IThere are typically two types of modeling; NURBS and MESH modeling. The difference between the two is very similar to the difference between Vectors and Pixels which was covered by previous workshop. Rhino is also capable of running in conjunction with plugins such as Vray or Grasshopper to complete rendering, parametric modeling or fabrication tasks. This lab session focuses mainly on the software interface, 2D and basic 3D modeling. The last half of the session will be dedicated to exploring the modeling of the M1 object. Before this workshop, you will need to have watched Online Toutorial C: Introduction to Rhino 3D and Online Toutorial D: Rhino 3D interface.

Rhinoceros 5.0 Interface - Rhino uses four view ports which are constantly linked to each other. This allows for 2D and 3D views to the project and a faster workflow. Any of these view ports can be turned into full screen mode by double clicking on the view port name. Double click the view port name again to switch back to a quad view.

- The viewports allows the user to work on a flat 2D plane (XY,YZ,XZ) or in a 3D (XYZ) environment.

- To change the view type from 2D to 3D click on the small arrow next to the view port name > Set View and then select the desired view type. *Each view port is able to show the project in various modes. To change the display mode, click on the arrow beside the view port name and choose the desired display style.

Perspective View No Scale

Isometric View 30-120-30 With Scale

Axonometric View 45-90-45 With Scale

- The modeling environment can use various units. To change the project unit, simply type Units and choose the desired unit. In Australia, millimetres (mm) is the standard unit of measuring in most design disciplines.

- Similarly to the Adobe softwares Rhino also uses Layers with similar functionalities.

- Rhino commands can be initiated by clicking on icons on the sides of the screen or by typing the command names. The history of used commands can be found in the command bar at the top of the page.

- Rhino uses five types of geometries: Points, Curves, Surfaces (Nurbs and Meshes) and Solids. .

- By selecting (left mouse button) any geometry in Rhino, the object properties will be shown on the right hand side of the page, displaying more information about our selection.

- For an accurate project activate Osnap on the bottom of the screen. Osnap or Object Snap is a useful set of tools that allow the user to accurately snap the cursor to the geometry being worked on.

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Page 1

WORKSHOP SESSION 2 Below is a list of useful 2D and 3D commands explored in this workshop: 2D Geometries - Points, lines, Polylines and curves - Primary geometries: Circles, Ellipse, Rectangle, Polygons - Offset curve - Control Points On (F10) Manipulating Objects - Gumball (Move and Rotate) -Move and Rotate - Copy and Array - Scale, Scale 1D - Mirror - Set Point X,Y,Z Editing Objects - Split and Trim - Extend Curve - Join and Explode - Group Vs Join - Fillet and Chamfer - Tween curves 3D Geometries - Beginners - Creating surface from Planar Curves - Extrude Curve - 1 rail sweep and 2 rail sweep - Loft

39

WEEK 5 LECTURE 4: Projection

Tutorial content: Discuss seminar reading [0.5h]. Tutor to review student axonometric drawings + instruction for this week’s task and module submission [1.5h].

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Complete drawings based on your tutor feedback.

Continue to work up the drawing in illustrator. [2h] 2. Use your original elevations as base colour palettes to fill in your drawings.

Add in lighting and shadow. Consider how colour is used to demark the edge and changes the perception of the plane, refer to lectures for inspiration. [4h] 3. Compose the drawings on the given A1 crop InDesign template - download this from LMS. [1.5h] 4. Print your drawing on A1 plotter using 160gsm paper, matt only. Crop your drawing and bring it to Week 6 class for pin-up. Refer to LMS for printing in MSD, use Plotter 3. Do not fold your drawing. [1.25h] 5. Upload Jpeg drawings to your portfolio website and insert a JPEG copy in your module journal. Upload your journal on your WIX page [1.25hr] M2 Submission Checklist • Axonometric drawing composed on A1 paper and printed.

• A1 Print trimmed to crop marks and brought to Studio 01 Week 6.

• Journal Completed.

• Journal submitted to turnitin prior to Studio 1 Week 6.

• Journal and Jpeg of Axonometric added to the Wix site prior to Studio 01 Week 6.

Guide for M2 pin-up: For your two minutes presentation, present the following: 1. How does the use of colour change the perception of your drawings?

2. How did you decide how the two projections met / interacted with each other - what was the outcome……?

3. What can you say about the revealing of the ‘hidden space’ that is opened up to view?

40



WORKSHOP SESSION 2

NO CLASS

World: 8-2

Lachlan Barnett, 834525

Student Work Semester 1 2017 - Lachlan Barnett Example of scanned and coloured work.

41

RUBRIC

World: 8-2 Jing Kang (111222)

Student Work Semester 2 2017 - Jing Kang Example of final presentation Module 2.

42

MODULE 2

Proportion of Total Mark: 20% Individual Mark

Hand drawing skill

Digital drawings and presentation

Journal & Website

40%

40%

20%

H1

As H, plus creative use of drawing techniques to develop further intricacy and refinement. Highly considered exploration and creative approach to communicating the new world in axonometric.

As H, plus Drawings show animated detail and developed 3 dimensionality with precise line work. Presentation skill is professional.

Excellent verbal presentation.

As H, plus journal are visually well composed. Drawings are composed and presented clearly on website with annotation.

H

As P, plus an attempt to execute with consistent care and precision at a high level. Drawings follow convention and begin to exemplify detail that adds depth and gestural content.

As P, plus completed set of digital drawings demonstrating consistent convention, inc. line weights to give depth. Presentation layout is clear and visually ordered.

Good verbal presentation.

As P, plus an articulated response to reading. Graphic layout of journal and website is clean and page is composed.

P

Students demonstrate an understanding of axonometric drawing techniques. There may be inconsistencies and a lack of detailed exploration but drawings are legible.

Student has attempted to translate hand-drawings in illustrator but fails to execute with care or the drawing set is not completed successfully.

Presentation is legible, but limited care and precision with layout and general visual communication.

Weak verbal presentation.

Student compile the journal as per given template. Most work is included and to satisfactory level.

Student has uploaded drawings to the website as instructed.

There is an attempt to personalise the website. Student has submitted the journal to turnitin.

N

Students did not attempt to utilise drawing types to attempt a projection of their Mario templates. A wholly unresolved or incorrect drawing.

There is little understanding of correct drawing convention.

Digital drawings are not attempted, completed or poorly executed which demonstrates a lack of understanding of the workshop content. Visual and verbal presentation is not coherent. No verbal presentation.

Student fail to complete journal or journal has missing pages.

Student fails to upload content to website and/or to turnitin.

PLEASE NOTE: A complete submission for Module 02 consists of: - A1 Mario World Printed and Submitted to Tutor.

- A1 Mario World Uploaded to Wix & Turn It In. - Journal Uploaded to Wix & Turn It In.

43

44

MODULE 3

PATTERN vs SURFACE

45

WEEK 6 Week 6 Lecture: Surface

Tutorial Content: Pin-up of Module 2 _ A1 crop drawing with 2min presentation per student.

[1.5h] Discuss Module 3 task and tutor to issue digital file of landscape topography [0.5h]

INTRODUCTION: In this module students will manipulate topography as surface using Rhino 3d panelling tool. You will learn to use digital tools to manipulate form to create effects and produce a physical model.

Reading: Pottmann, A, Aspel, Hofer, M & Kilian, A (eds), 2007.: Surfaces that can be built from paper in Architectural Geometry, p534-561, Bentley Institute Press.

References: Schilling, A. (2007). Basics modelbuilding. Boston, MA : Birkhäuser.

STUDIO 1 Before you start: Have you down loaded the module journal and the assessment rubric?

WEEKLY TASKS

CHECKLIST

1. Watch Online on LMS: Introduction to Panelling tool [0.5h] 2. Follow the tutorial to apply 2d pattern (_ptPanelGrid) to your assigned topography; import your file into Rhino and test out 3 iterations of pattern. [3h] 3. Complete reading for Week 7 Studio 1 and answer the questions in your Module journal. [1h]

Previous Page: Student Work Semester 1 2017 - Jack Le Riche 46

ďƒź

WORKSHOP SESSION 3 Foundations of Design: Representation - Workshop Session 3, Week 6 This workshop explores Google Terrain and importing terrains into Rhino 3D as well as advanced 3D modeling and basic 2D paneling tools.

Creating a Terrain Landscape - Open Google Sketchup - From Window> Model Info> Units make sure the units are Decimal/mm - Activate View> Toolbars> Location so the location bar is added to your sketchup toobar - Select Add Location and using Google Maps choose a 1Km x 1Km area - Once a flat image is added to your 3D environment, select Toggle Terrain to create height variations on the image surface - From File> Save As save your file - Open Rhino and type Import as a command and select the Sketchup file saved previously - From the Top view select the final boundary of your landscape and Trim the mesh using Meshtrim - Use the Contour command to extract a series of parallel curves - Recreate the nurbs surface from the generated curves using the Loft command 3D Geometries - Advanced - Dup Edge and Dup Border - Control Points on (F10) - Rebuild Crv and Srf - Join and Explode - Trim and Split and Untrim - Offset Srf - Primitive Solids - Extrude Curves and Surfaces - Cap and Patch - Boolean Difference - Fillet and Chamfer Edges - Section 47

Paneling Tools 2D Paneling is the technique of dividing a surface into smaller pieces for design and fabrication purposes. This process includes representing base geometry in terms of a two-dimensional point grid and to apply patterns to that grid.

- To define a point on a surface, instead of a XYZ coordinate UV coordinates can be used.

- Go to Paneling Tools> Create Paneling Grid> Surface domain number *The larger the number for U and V count, the more detailed and complex the paneling will be *Make sure the points are Grouped - To apply a paneling pattern onto the surface go to Paneling Tools> Paneling from grid> 2D Grid - For a custom panel, draw a planar module and go to Paneling Tools> Paneling from grid> Custom 2D - To create a variable 2D pattern, an attractor geometry is needed to initiate the variation. This geometry can be a line or a point. The process also requires a bounding box and a centre point for the panels. **Complete workshop session 3 weekly tasks before attending workshop session 4. Prepare required materials for Week 7 tutorial.

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WORKSHOP SESSION 3

Workshop CHECKLIST

WEEKLY TASKS Apply the panelling technique you have learned to your topography.

Import your given segment into Rhino 3D. The topography landscape should be 594 x 594mm; ensure your unit is in mm.

1. Apply 3D panelling to your landscape; adjust and try out different settings; produce minimum 3 iterations in total. As you explore different iteration, your aim is to develop patternation techniques described in Lecture 6 on the topography. How do you use pattern, the grid or changing in flow direction to achieve the effects? The grid is 10 x 10. [4h] 2. Print 2 copies of iso view (use the same view) of your panelised landscape; scale to fit on an A3 paper. [1.5h] 3. Bring the following materials to Week 7 Studio 1: • 2 x A3 print copies of your landscape pattern • Cutting mat, metal ruler, small bull nose clips (x10), scissors & pen knife • Glue stick • A1 Ivory card. You can purchased this from Fablab in MSD.

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WEEK 7 Week 7 Lecture: Pattern

Fabrications: Architectural and Material Techniques, Princeton Architectural Press.

Tutorial Content: Discuss Seminar reading[15min].

In class workshop with provided template [0.5h].

Tutor to review panelised geometry and explore 3 dimensional paper modelling in class. [1hr] Reading: Iwamoto, L 2009.: DIgital

STUDIO 1

Weekly task:

CHECKLIST

• Continue task from Studio 1; explore a small fragment of folding panels (minimum 6 panels) and glue them together.

Use tabs to explore jointing techniques. [2h] • Watch Online tutorial before Workshop 4: Panelling tool with 3D panelling and Creating labels and tabs with Panelling Tools [1h] • Complete reading for Week 8 Studio 1 and answer the questions in your Module journal. [1h]

Example of panalised terrain in Rhino. Top View.

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WORKSHOP SESSION 4 Workshop Session 4: 3D Panelling tool, unroll, annotation, panelling. Techniques on making template and paper model.

WORKSHOP

Weekly task:

CHECKLIST

1. Explore Custom 3D Panelling to your terrain. Again, try to achieve patternation effects discussed in Lecture 6. Ensure you use the same number of grids (i.e 10 x 10) as your previous exercise. [2h] 2. Test out a variety of custom panels, you want to have at least 50% of the custom panels no taller than 10mm and the remainder up to a height of 59.4mm. You may want to test out several versions before deciding on the one you want to make. [2h] 3. Unroll your 3d panel and allow for tabs to the 3 edges of your panel. Watch the online tutorial from Workshop 4 again if you are not clear on how to make tabs: Creating labels and tabs with Paneling Tools [3h] 4. Start to make the panelised landscape; using tabs to make the landscape rigid. This should be a work-in-progress model aiming towards your final output. Use Ivory Card 290gsm. [3h] 5. Bring your work in progress model and rhino file to Week 8 Studio 1.

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ďƒź

Workshop Session 4 Foundations of Design: Representation - Workshop Session 4, Week 7 Paneling Tools 3D - To create a 3D panel on a surface, a U and V coordinate does not suffice as a 3rd dimension is needed (W).

This dimension is created by offseting the point grid to a certain height from the original grid. This can be done through Paneling Tools> Grid Utility> Offset Point *If the offset points are created on the wrong side of the surface, use the Flip command to swap the topand bottom side of the surface and retry the offset point step - If a pyramid type of panel is being used, it is more suitable to create the second layer of the grid points using the Centre Grid from Paneling Tools> Grid Utility> Extract Centre Grid - Once a secondary grid of points is created, the basic 3D panels can be accessed from Tools> Paneling from grid> 3D Grid - A 3D object can be created and used as a custom panel through Tools> Paneling from grid> Custom 3D - Similarly to 2D paneling, a varied 3D patern can be created. However this process requires for the variation to be modeled through a series of varied panels. *It is highly recommended to use a Mesh geometry as your custom 3D panel as it is very likely that any Nurbs geometry will be distortet in the paneling process. *Use MeshtoNurbs command to turn the mesh panels into Nurbs Unrolling Geometry Rhino is able to unrol geometries with flat faces onto the XY plane which can be used for printing or fabrication methods such as laser cutting.

- To unrol and label the panels go to Paneling Tools> Panel Utility> Unrol Faces *Multiple panels can be joined to each other and unrolled together to reduce the amount of work needed to assemble the cut panels. This technique might result in surfaces clashing or overlapping with each other, as a result it might be necessary for some panels to be unrolled separately. *Rhino is not capable of unrolling Mesh geometries, as a result it is needed to work with Nurb surfaces.

- To create tabs go to Paneling Tools> Paneling Utility> Tabs - In many cases the unrolling process flips the geometry and the wrong face is showing. To differenciate between the top and bottom of a surface go to: Options> View> Shaded> Backface settings> Single colour for all back faces> Select colour Capture View and Make 2D - To capture an image from a Rhino viewport use the -ViewCaptureToFile command. This command allows the user to select the image location on the compture and set the image Width and Length *When increasing the image size, make sure the Width to Length ratio stays the same - To change the colour of the viewport background, use the Options command. From View> Display Models select the view style and change the background to Solid Colour and select the desired colour - To create lineworks from a 3D object, select the object in the desired view (Top, Perspective, Iso, ...) and use the Make2D command. The lineworks will be placed on (0,0,0) and can be viewed from Top view *These lines can be exported to Adobe Illustrator and laid onto the image from from -ViewCaptureToFile *The export command allows for the geometry to be exported at a desired scale - To import any image into Rhino for tracing purposes, the Import command can be used to simply drag and drop the image into the Rhnio enviornment. Then use the scale command to fix the image size 52

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Nesting example of unrolled 3D Panel.

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WEEK 8 Tutorial content: Discuss Seminar reading[15min].

Tutor to review progress on Module journal.

Mounting instruction of panelised landscape. Discuss basic photography techniques. M3 submission requirements.

There will be technical tutors visiting studios to answer any technical and workshop related questions regarding module 3.

Studio 1

Weekly task:

CHECKLIST

1. Complete your physical model with care [7h].

2. Set up a simple photostage at home or share among your tutorial group. [1.5h] 3. Take photos of your model and select two images that best describe the effects you are trying to create and print it on A4 paper - see module journal for format. Hint: a plan view with strong lighting will pick up some beautiful shadow. Use photoshop to clean up your image, refer to Module 1 Appendix. [1h] 4. Complete Module Journal [0.5h] 5. Bring Journal printout and your model to Week 9 studio 1 class for pin-up.

M3 Submission Checklist • Model has been completed with care and ready to bring to Studio 01 Week 9.

• Model has been photographed using a photostage.

• Journal Completed. And submitted to turnitin prior to Studio 01 Week 9.

• Journal and model photography has been uploaded to the wix website prior to Studio 01 Week 9.

M3 Pin-up Presentation Guide: What effects are you trying to achieve and how?

How does the material change the topography of your surface?

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WORKSHOP SESSION 5 Workshop Session 5: Preparation for Module 04. Set up camera perspective / hatching / Modelling of Quad / Advance modelling / surface from 4 edge / patch etc

Workshop

Student Work Semester 1 2017 - Joshua Tsang Example of final panlised terrain for presentation. Top View.

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Foundations of Design: Representation - Workshop Session 5, Week 9 This workshop has two segments; in the first part Old Quad building is modeled on Rhino. In the second part a series of Isometric and Perspective images are produced by exporting the geometry from Rhino and processing them in Adobe Illustrator and Photoshop. By the end of this workshop students should have an understanding of a workflow from 3D modelling in Rhino to producing presentation images.

Old Quad Building - Download a series of pre-prepared CAD drawings as reference for modeling from the LMS and use the Import command to place the CAD drawings in Rhino environment *It is crucial for this excersize to use layers e.g. Columns, Ceiling, Vault and Lines *Make sure the Rhino units are set to melemetres - Use the Project option from Osnap bar at the bottom of the page to ensure flat line works - To create 3D objects, use the ExtrudeCrv command to turn curves into surfaces *To create brick details for areas such as the columns, use the Split command to break surfaces into smaller segments *To add edge details to the columns, use the ChamferEdge command - To subtract or join solids (or closed polysurfaces) use BooleanDifference or BooleanUnion *There is possibility for the boolean commands to fail if the geometry in use is not carefully modeled or not fully closed as a solid - The coordinates of geometries can be matched to other geometries using the SetPt X,Y,Z command - Vaious commands can be used to create complex surfaces: SrfPt allows the user to select 3 or 4 points to create a triangular to rectangular surface EdgeSrf functions similarly to the previous command, however it uses 3 or 4 curves to define a surface NetworkSrf allows for more complex surfaces using a series of Edge and Iso curves 1:50 Isometric Drawing To begin this excersize use the Rhino template file and place the Old Quad 3D model inside this template.

You will also be able to use an exisiting Isometric viewport to generate the 1:50 line drawing. The line drawing is then fine-tuned in Illustrator.

- In Perspective place the Icons responding to your selected reading. *Remember to place every Icon into the correct layer - Once completed, use the exisiting isometric view to extract the model’s outlines using Make2D command *Make sure the Maintain source layers box is selected - Before exporting the lines to Adobe Illustrator, scale down the line drawings and place them onto the correct location on the template page *The scaling can also be done while exporting to Illustrator, however the methos above allows the artwork to be places exactly on the centre of the page *When exporting from Rhino, make sure the geometry is located on 0,0,0 which will ensure when imported into Illustrator, the image is within the canvas *It is easier and quicker to fix defects in Rhino rather than in Illustrator, as a result check your line drawings before exporting to Illustrator - Once the lines are exported, adjust the line weights in Illustrator and use the infil to color the Icons *To use the infil, the curves need to be a closed curve *Sometimes it is easier to use the Live Paint Bucket 56

Perspective Drawings & Camera Placement To begin this excersize, a series of PNG images need to be prepared and traced using Adobe Illustrator.

These traced images are then placed on the 3D model and scaled to match the 3D environment. Similarly to the previous excersize, a series of lines are exported using the Make2D command from a perspective view and then places in Illustrator. Finally the PNG images are placed onto the drawing using Photoshop.

- Open any of the PNG images and use the Image Trace button to create a silhouette and save the Ai file.

- Place the silhouette into the Rhino environment using the Import command or simple drag and dropping the file into Rhino window.

- Scale the silhouette and turn it into a surface using the PlanarSrf command. Then place the surface into the 3D Old Quad model - To set up a camera inside the 3D model, change your viewport to a 2 Point perspective and set the Lens Length to 30 from the Properties tab. Set the camera Z location to 1600 (standard human height) - To save this view go to the viewport dropdown arrow and select Set View> Names Views... > Save *In case the camera is moved by mistake or the viewport is rotatetd use UndoView command to go back to the previous view or View> Names Views...and select the desired view *Mark your camera location on the 1:50 Isometric drawing using the provided icon - Similarly to previous excersize use Make2D command and place the lines into the template file and export them to Illustrator. Adjust the lines in Illustartor and save the file as a PSD file.

- In Photoshop create Masks regions for every single image and point the regions with various solid colours. *Use distinctive colours such as Cyan, Magenta, Green and Blue. Block colours allows for regions to be selected easier and quicker in a Photoshop project - Place the PNG images onto the Photoshop file and ajust the images using the Transform command (Ctrl T) and Perspective and Distort. Once in place, Mask the images using the regions.

- Finally the images can be turned into Black and White by reducing the image’s saturation from Edit> Adjust> Hue and Saturation - Save the File and JPG and place into Illustrator, under the Line drawings

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RUBRIC

Student Work Semester 1 2017 - Joshua Tsang Example of presentation quality detail photography to be included in Journal.

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MODULE 3

Proportion of Total Mark: 20% Individual Mark

Digital skill

Model Making and pinup presentation

Journal & Website

40%

40%

20%

H1

As H, plus creative use of techniques to articulate effects in the model.

The assembly process is well considered and carried forward to the model making process.

As H, plus model is exquisitely executed and assembled. Photography of model demonstrates a creative or design sensibility. Excellent verbal presentation.

As H, plus journal are visually well composed.

Content is composed and presented clearly on website with annotation.

With skilful photography and editing.

H

As P, plus an attempt to explore a range of patternation techniques with the digital tools. Digital model is used to produce successful template for model making.

As P, plus physical model is made and well executed; i.e. assembled with care. The effect is visible in the model and clearly presented during pin-up. Photograph of model is well executed. Good verbal presentation.

As P, plus an articulated response to reading.

Graphic layout of the journal and website is clean and page is composed.

P

Students demonstrate an understanding of developable surface and the use of panelling tool evident in journal. There may be flaws but there are attempts in using the digital model to make useful template for model making.

Student has attempted to construct the physical model as per weekly task but fails to execute it with care or it is not assembled successfully.

There is some effect visible in the model and presentation is legible. There is an attempt to photograph the model using photo stage as evident in the journal. Weak verbal presentation.

Student compiles the journal as per given template. Most work is included and to satisfactory level. Student has uploaded photos to the website as instructed.

There is an attempt to personalise the website.

Student has submitted the journal to turnitin.

N

Students did not attempt to use panelling tool to explore patternation technique. There is little or no attempt or little understanding in 3-dimension modelling and its work flow to model making as evident in the journal.

Model is not completed or poorly executed which demonstrates a lack of understanding of the module content. Presentation is not coherent. No verbal presentation.

Student fails to complete journal or journal has missing pages. Student fails to upload content to website and/or to turnitin.

PLEASE NOTE: A complete submission for Module 03 consists of: - Model Presented to Tutor in Studio.

- Photography Uploaded to Wix. - Journal Uploaded to Wix & Turn It In.

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MODULE 4

FRAME vs FIELD

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WEEK 9 Week 09 Lecture: Frame

Tutorial Content: Pin-up of Module 3 [1.5h]. Discuss Module 4 task and Tutor to issue stories from Italo Calvino’s Invisible Cities (1 story per student) [0.5h].

Introduction: This module will introduce students to perspective, a technique of representation first theorised in Renaissance Italy and further developed as a tool in cinema. We will see how this differs from a less ‘subjective’ and more ‘open’ mapping of movements and figures via Notation.

Reading: Erwin Panofsky, Perspective as Symbolic Form (pp. 27-31)

STUDIO 1

Before you start: Have you down loaded the module journal and the assessment rubric?

CHECKLIST

WEEKLY TASKS 1. Read your allocated story and begin visualizing your city by identifying one scene (This will form the basis for your first perspective drawing). [1h] 2. Identify your characters from your selected scene. Source appropriate images: characters and objects to depict your first scene. Images can be found in magazines, newspapers or online; use PNG file where possible.

Note: There are to be no cartoon characters or ‘light humour’. [2h] 3. Import QUAD Plan and Section into Rhino to generate 3D model.

Download the plan and sections from LMS and start modelling. You may find it easier to do this after you have attended Workshop 5. [3h] 4. Perspective 1. Set up your first perspective from your digital model based on your scene. See Online video on how to set up camera view in Rhino. [0.5h] 5. Insert your figures into your scene in Rhino as discussed in Workshop 5. Export your camera view to make 2d image and import it into illustrator. Do the same for the Isometric view. [3h] 6. Print out your drawings (3-d model in isometric view and and 1st perspective) on A4 paper, scale to fit. Bring hard copy of your drawings to Week 10 Studio 1. [0.5h] 7. Complete reading for Week 10 Studio 1 and answer the questions in your Module journal. [1h]

Previous Page: Student Work Semester 1 2017 - Amelia Wells 62

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WORKSHOP SESSION 6 Workshop Session 6: Portfolio workshop.

Covering advanced InDesign, Illustrator and Photoshop commands.

Workshop

Example of fully modelled Old Quad with lineweights and hatches adjusted in illustrator.

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WEEK 10 No Lecture

Tutorial Content: Discuss seminar reading [0.5h]. Tutor to review QUAD drawing and perspective 1. Tutor to review found images [0.5h]. Tutor to introduce plan notation [1h].

Reading: Stan Allen, 2000.: Mapping the Unmappable: on notation, in: Practice, Architecture, Technique and Representation.

STUDIO 1

CHECKLIST WEEKLY TASKS 1. From your isometric quad model make 2D and export the drawing, at 1:50 scale. Scale this in Rhino before importing into illustrator; as discussed in Workshop 5. [1h] 2. In Rhino, map the movement of Marco Polo (the narrator in your story) onto your isometric drawing by using the symbols (some or all, as relevant) provided on LMS. Consider Marco Polo’s speed, distance travelled, time taken and orientation. Refer to lecture for inspiration. [3h] 3. Create a new layer in Rhino and map Marco Polo’s experiences and encounters onto the same drawing by using the symbols (some or all, as relevant) provided on LMS. Consider phenomenological impressions which may correspond to Polo’s feelings or his context, ie., proximity to columns (which may imply spatial compression), closeness to the centre of the QUAD (closure, balance, density) vs, its periphery (exposure, vulnerability, freedom). Refer to lecture for inspiration. You may design one symbol to add to your isometric drawing. [3h] 4. Perspective 2. Create one more perspective view from the 3d model.

This has to be a different view from Perspective 1. Use this to generate another scene from your story. Be strategic about where your view is taken from – It must coincide with your isometric drawing. Mark the view-points on the isometric using the supplied symbol. Note: this view should be the same size as the template supplied in Workshop 5. [3h] 5. Give each of your perspective drawings (scenes) a name. [0.5h] 6. Export your file as PDF and print on A3 sheets, do not scale to fit. Bring hard copy of your drawings (1 isometric with Notations and 2 perspectives) to Week 11 class. [0.5h] 7. Complete reading for Week 11 Studio 2 and answer the questions in your Module journal. [1.5h]

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No Workshop

Student Work Semester 1 2017 - Ali Azamy Example of final presentation quality axonometric.

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Foundations of Design: Representation - Workshop Session 6, Week 10 This workshop has two segments; in the first part will explore using Rhino to create shadows and place it on top of the Perspective views to create a sense of depth. Second half of the session will focus on InDesign and Portfolio template and exporting and packaging InDesign files for publication and submission. These will be followed by discussions about formats and tricks with the aim of creating attractive graphic layout.

Creating Shadows - Using your saved perspective view, change the viewport style to Artistic and use -ViewCaptureToFile to export the view as an image. *The sun direction can be changed through the Sun command. By enabling manual control, the user is able to change the sun direction and angle.

- Open the image in Photoshop and by adjusting levels and reducing saturation create a Black and White image. Delete the white background of the image by Select> Colour Ranges> White and delete. Save the image as PNG. - Overlap this new image onto your existing Illustrator image and reduce the image translucency.

Adobe InDesign and Importing Ai Files For this excersize download the InDesign template file from the LMS. Place your 1:50 Isometric and two perspective drawings into the template file and update the name of the project - To create additional guides on the page, simply drag either of the rulers (Top or Left side) and place the Guide line on the page. By selecting the Guide line you are able to adjust the X or Y of the line from the top of the page tab *If there Rulers are not visible, Right click on the page and select Show Rulers (Ctrl R) - Press W to switch between normal view and preview mode - To view the page as Overprint view go to View> Overprint View (Ctrl Alt Shift Y) - To place the drawings into InDesign it is recommended to place the Illustrator file directly onto the page. rather than saving the Illustrator file as an image and then placing it in InDesign. If any new changes has been made to the Ai file, InDesign will automaticly update the link to the file. This is not true for any image saved from Illustrator - Use the Line tool to draw the scale bar on the page. The inDesign top bar is capable of processing mathematical equasions e.g. to increase the length of the curve by 50, simply type +50 in the length bar - Select the used icons on the 1:50 drawings and import them into InDesign - To add page number to your portfolio pages go to your Master pages and using the Text command create a text box. While the text box is active go to Type> Insert Special Character> Markers> Current Page Number - To export your file to PDF go to File> Adobe PDF Presets and select your desired option *To save the project as the smallest file possible choose (Smallest File Size) or for the highest quality possible, choose (High Quality Print) *Enable Crop Marks for trimming after print from the Marks and Bleeds section **InDesign does not place the physical image onto the page and uses links to attach files. As a result if the file is opened on a different computer, InDesign is not able to link the files back to the worksheet. Therefore it is crucial in addition to saving the InDesign file, to have all the used media in the same folder.

- To Package an InDesign project go to File> Package (Ctrl Alt Shift P) 66

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1m

WORKSHOP SESSION 6

2.5m

5m

Key People

Perspective 2

Light Mood

Stare

Dark Mood

Glance

Observing

Slower Pace

Perspective 1

Normal Pace

Perspective 1: A Time Traveler’s Dwelling

Perspective 2: Aeonian

Perspective 2: Aeonian

Student Work Semester 2 2017 - Shao Yang Final perspective views showing characters and materials.

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WEEK 11 Lecture 8: FIELD

No Studio 1: use the time to complete task from Week 10.

NO STUDIO

Student Work Semester 1 2017 - Ali Azamy Eye level analysis of perspective view, provided as additional journal content.

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MODULE 4 Tutorial Content: Discuss seminar reading [0.5h].

Tutor to review plan notations and perspectives [1h 45mins]. Submission requirement for M4 [15min].

STUDIO 2

CHECKLIST WEEKLY TASKS 1. Complete your isometric and perspective drawings. [4h] 2. Layout your final drawings onto the A1 crop template, download the template from LMS. [1h] 3. Print A1 drawings, do not scale to fit. Export your PDF with crop mark and trim after printing. The drawing to be 594 x 594mm. Bring hard copy of your drawings to Week 12 class for pin-up.

Remember to print on 160gsm matt paper. [1h] 4. Upload drawings to your portfolio website [0.5h].

M3 Submission Checklist • Drawings have been composed on the A1 Templated and Printed • Journal Completed. And submitted to turnitin prior to Studio 01 Week 12.

• Journal and A1 Drawing as a jpeg have been uploaded to the wix website prior to Studio 01 Week 12.

M4 Pin-up Presentation Guide: Described the two scenes you have constructed in the perspectives.

Described the narrative through your notation on the isometric drawing.

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RUBRIC

70

MODULE 4

Proportion of Total Mark: 20% Individual Mark

Digital skill

Notations and presentation

Journal format

40%

40%

20%

H1

As H, plus exceptional care and clarity evident in the construction and staging of perspective views - clear narrative with detailed execution.

Clean and considered.

As H, plus exceptional interpretation of story through to graphic notation and presentation sensibility throughout.

Graphics take on there own identity and transcend the story. Presentation is clean and crisp. Excellent verbal presentation.

As H, plus journal is visually well composed. Drawings are composed and presented clearly on website with annotation.

H

As P, plus all required workflow are present in the 3D model.

Correct line weights, scale and proportion are evident in 3D model and perspective views.

As P, plus graphic notations show a considered and at times creative approach to interpreting the story. All graphic content is considered and applied with intent. Presentation is is well staged and connection between perspectives and isometric is clearly articulated. Good verbal presentation.

As P, plus an articulated response to reading. Graphic layout of journal and website is clean and page is composed.

P

Students understand how to develop a 3D model from 2D drawings. There may be inaccuracies and required detail omitted. Perspective views are all included although with some inconsistencies and scale or proportion abnormalities.

Student has attempted to comprehend the story and make notations related to it within the isometric drawing. Relationship of the story to the visual notations demonstrates a base-level of engagement with some inconsistent graphic communication.

Presentation is not fully considered with some graphic elements missing or disorganised. Weak verbal presentation.

Student compiles the journal as per given template. Most work is included and to satisfactory level.

Student has uploaded drawings to the website as instructed.

There is an attempt to personalise the website. Student has submitted the journal to turnitin

N

Students did not successfully produce 3D model of Quad with the required level of detail or technical proficiency. There is no attempt or little understanding in 3D modelling and its work flow to produce perspective views. Perspective views are not completed, only partially completed or indecipherable.

Notations do not relate to the story with any certainty or depth. Poorly executed isometric demonstrates a lack of understanding of the module content.

Presentation is not coherent or displays any rigour. No verbal presentation.

Student fails to complete journal or journal has missing pages.

Student fails to upload content to website and/or to turnitin.

PLEASE NOTE: A complete submission for Module 04 consists of: - A1 Panel Printed and Submitted to Tutor.

- A1 Panel Uploaded to Wix & Turn It In. - Journal Uploaded to Wix & Turn It In.

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WEEK 12 Lecture 9: Portfolio & Exhibition

Tutorial Content: Pin-up of Module 4 [1.5h]. Discuss exhibition installation and portfolio requirements [.5h]

STUDIO 1

CHECKLIST WEEKLY TASKS 1. Finalise all Module presentation drawings for exhibition (A1 Crop format only). If you have re-worked any drawings, this should be shown to your tutor and re-printed for Studio 2. [2h] 2. Bring the following material to class: • Module 2 A1 Crop.

• Module 3 Model.

• Module 4 A1 Crop.

Note: All paper should be Matt, 160 GSM. If you are using the plotter in MSD Print room, please use Plotter 3. In order for your work to be included in the exhibition, your tutor may require you to reprint some of the module outcome, please consult with your tutor.

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M4 PIN-UP & EXHIBITION Studio content: Students should use this studio to get feedback on Portfolio progress.

Further detail and location of exhibition will be announced closer to date on the LMS.

STUDIO 2

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PORTFOLIO SUBMISSION

Portfolio Requirement: You will need to compile M1, M2, M3 and M4 work into an Indesign Document.

The portfolio will need to be PDF and uploaded onto your WIX page and Turninit on LMS. This will form the final hurdle assessment worth 25%. You have the opportunity to improve your work, take new photographs of your models during the swot vac period and include this into your final portfolio.

Download the Portfolio template from LMS and use it as a guide. [9h] Submission: Upload your pdf to ISSUU (ensure PDF is less than 10MB). Embed issuu to your WIX page the submit your portfolio to turnitin on the LMS. References: Linton, H. (2012). Portfolio design. New York : W.W. Norton & Co., c2012.

Marjanović, I., Lokko, L. N., & Ray, K. R. (2003). Portfolio : an architecture student’s handbook. Amsterdam ; Boston : Architectural Pr., 2003.

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RUBRIC

Mode of Assessment: Submission of Portfolio in PDF format on Turnitin.

Proportion of Total Mark: 25% Individual Mark

Graphic format and layout

Engagement

70%

30%

H1

As H, plus portfolio is of high standard with little or no graphic flaws. There is a clear design and graphic sensibility towards lineweight and image treatment.

Graphic is delicate and/or innovative without overpowering the content.

Consistently high work level across M1, M2, M3 and M4. Far above and beyond requirements.

H

As P, plus the portfolio is well formatted, layout is balanced and composed. Format is clean, with minor fault and mistakes in spelling, text or image alignment.

Contents, which includes drawings and photographs of physical model from M1, M2, M3 and M4 is well presented.

Sustained engagement and rigorous work quality evident throughout M1,M2,M3 and M4

P

Student compiled and submitted a portfolio in PDF format and upload the journal on studio website

Some consistency is seen throughout M1, M2, M3 and M4. Minimum requirements are met.

N

Student fails to submit portfolio and therefore fails to meet hurdle requirement for the subject.

Low out-put levels are seen throughout M1, M2, M3, M4.

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