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P O R T F O L I O CAREY TSIAVES | 910956 | HANA NIHILL | STUDIO 19
CONTENTS MODULE 1
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MODULE 2
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MODULE 3
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MODULE 4
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Portfolio Carey Tsiaves
Module 1 How to Draw a Croissant?
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HOW TO DRAW A CROISSANT? The first module of the semester involved producing technical drawings of a croissant. Using a makeshift photo stage, plan views of the top and underside of the croissant were taken, followed by thefront and side elevations. DImensions were measured, and the photos were composed on an A3 sheet at 1-to-1 scale (left). Drawing then commenced, with the photo page being taped down to a table, and an A3 sheet overlayed. Pencil was utilised first, beginning with outlining the shape and fine details with 2H graphite before progressing to softer graphite for shading. To ensure the shading was as effectivve as it could be at creating realistic shading and detailing, blank white paper was placed between the photo page and tracing page to increase visibility of the drawing. Once complete, a new tracing paper was overlayed to create fine liner illustrations, and a similar process to the graphite drawings was followed.
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Portfolio Carey Tsiaves
Module 1 How to Draw a Croissant?
Penil and fine liner drawings.
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Portfolio Carey Tsiaves
Module 1 How to Draw a Croissant?
After cutting the croissant into four pieces, a scanner was used to obtain a flat image of three sections of the croissant. Like in the sketches of plan, base and elevation views, tracing paper was placed over each these scanned images and detailed drawings of each section was created using graphite pencils. The section line was redone with a 0.4 fineliner to create a clear and bold boundary.
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Portfolio Carey Tsiaves
Module 1 How to Draw a Croissant?
AXONOMETRIC PROJECTION
The next stage of this module involved producing axonometric projections of each croissant, which was a new drawing concept for many students. A grid was laid onto each section drawing, and the points of intersection between the section lines and the gird lines were marked. These markings would provide a guide for the succeeding axonometric drawings of the croissant sections.
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Portfolio Carey Tsiaves
Module 1 How to Draw a Croissant?
Many students decided to went further, deciding to use the project section lines to greate a detailed graphite drawing of half of their croissant.
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Portfolio Carey Tsiaves
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FLATNESS
Module 2 Flatness vs. Projection
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PROJECTION
Module 2 expanded upon the concept of axonometric projection, tasking students with creating axonometric drawings using both traditional hand utensils and a vector based software program, Adobe Illustrator. Each student was given two different stills from Mario World. These would become the basis of their axonometric drawings, which would involved projecting each of the worlds and combining them on square area. In most cases, there was a void between the two projected worlds, which meant students were required to make their own design choices in regards to what would fill that empty space, as well as any alterations they desired. This aspect is where the most significant learning value came of the module arose from, as students were exposed to the idea of the flatness in images and how this can be interpreted in countless different ways through projection. The simplicity of the background objects in the two stills to the right is what inspired a design choice that would make this module a true test in creating accurate axonometric projections through two different mediums, wish pushed it into being an even more valuable learning experience.
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Portfolio Carey Tsiaves
Module 2 Flatness vs. Projection
Combined axonometric projection of both worlds.
AXONOMETRIC PROJECTION
With a T-Square, set square, ruler and pencil, the projection began (top left). World 13 was taped to the table upside down on a 45 degree angle, and an A3 piece of tracing paper was also angled and overlayed, The axonometric projection of world 13 was then completed, and detail would be added later (middle left). World 7 was then projcted onto the tracing paper, combining the two worlds were then combined (bottom left). From here, planning the design of the void space between them began.
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Portfolio Carey Tsiaves
Module 2 Flatness vs. Projection
Conceptual drawings of what form could possible fill the void.
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Portfolio Carey Tsiaves
Module 2 Flatness vs. Projection
Detailed drawing of the chosen concept.
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Portfolio Carey Tsiaves
Module 2 Flatness vs. Projection
Final pencil and fine liner drawings of the entire world. The design for the void has been expanded and integreated into the projected Mario worlds.
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Module 2 Flatness vs. Projection
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Final Mario world drawin using Illustrator
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PATTERN
Module 3 Pattern vs. Surface
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SURFACE
The third module of the semester immersed students into 3D modelling software and fabrication. The task involved using Rhinoceros 5 to model a 3D panelled surface that could be built, using an existing terrain model that was assigned to them. Once a design was settled, the software was used to unroll the model into a series of nets, which could then be printed , cut, folded and glued into a physical model. This project students to the introduced the power of Rhinocerus’ 3D modelling tools, and the process of executeing thier representations through fabrication techniques. After trialing different types of 2D and 3D panelling, a design for the panels was finalised. The 3D panel used was a trinagular prism, and the 2D panel was simply plan view of the 3D panel. These were chosen with the intention that when they’re combined on the surface, it would appear as they the 2D panels are rising into 3D shapes and therefore create a cohesive model. Beginning with the assigned surface (1), an new smooth surface was produced through loft of contours (2). First, this surface was panelled with the custom 2D panel using Panelling Tools, in a checkered pattern (3) . The custom 3D panel was then applied in the same pattern, and a curve attractor was used to create variation in the heights on the panels (4). Finally, the 2 surfaces were combined, and a portion of the 3D panels were erased to create the final digital model.
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Portfolio Carey Tsiaves
Module 3 Pattern vs. Surface
Final 3D model using Rhinoceros 5
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Module 3 Pattern vs. Surface
UNROLLING
Once the model was finalised , it was dissect into seperate sections, and each of these sections were unrolled into nets (right). Each net was then imported into Adobe Illustrator, where linetypes would be altered to signify cut and fold lines, and then finally it would be mirrored (below) to ensure thet when on the ivory card it could be cut and folded into the correct shape without guidelines visible in its exterior.
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Portfolio Carey Tsiaves
Module 3 Pattern vs. Surface
Physical model
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Portfolio Carey Tsiaves
Module 3 Pattern vs. Surface
Scoring was used for the 2D panels
Detail of the 3D panels
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Portfolio Carey Tsiaves
Module 4 Frame vs. Field
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FIELD
The final module required students to harness the software skills they learnt from the previous modules to tell a story through perspective and notations. Each student was given a short story from the novel Invisible Cities by Italo Calvino, which vivid tales of fictional cities from the point of view pf Marco Polo. Student were required to interpret the story and design ways in which they could present these through notations in a real world building space from The University of Melbourne known as the Old Quad , and two perspective view with characters, objects, lighting and textures. Using Rhinoceros 5, students began by modelling Old Quad in 3D. After choosing the two views and exporting an isometric view of Old Quad, symbols were placed in the isometric and scenes were created in the views in order to represent Marco Polo’s journy in the city from their supplied passage. To the right is the story of Raissa, from the chapter Hidden Cities. Raissa is a sad city, and Polo describes the horrible sights and sounds he witnesses throughout his visit. But when he looks closely, he notices that there is still some happiness buried amongst the overwhelmingly melancholic feeling of the city, demonstrating how when you change your perspective of a place, it can change you perception of it.
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Portfolio Carey Tsiaves
Module 4 Frame vs. Field
Drawings of the two chosen perspective views using Illustrator
Isometric view of Old Quad
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Module 4 Frame vs. Field
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Key Isometric view of Old Quad, with notations representing Marco Polo’s journey through Raissa
Sadness
Large group
Happiness
Small group
Heavy & slow steps
Individual
Free & fast steps
Viewpoint 1
Observation
Viewpoint 2
Sleep & wake
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Portfolio Carey Tsiaves
Module 4 Frame vs. Field
POLO’S JOURNEY 2. This left passage represents Polo’s first three days in Raissa. Each of the three zones has a symbol in its centre representing the sadness he feels and witnesses during that time. The thick arrows represent heavy and slow movement, influenced by what he sees around
1. Marco Polo’s journey begins here.
him. The arches at each entry to a new floor symbolise him sleeping and waking up, designating a day for each zone, which links to Calvino’s story; ‘In the morning you wake from one bad dream and another begins. The circular symbols represent the individuals and groups that Polo comes across in the city.
4. From his awakening in the center of the city, Polo’s experience becomes more enjoyable. The remaining four zones have the happiness symbol at their
3. Polo changes course on the forth day. This signifies the moment he sees the
centre. The heavy arrows with linear paths have been replaced with lighter,
little girl and the dog. From here, Polo’s eyes have opened. The central zone
more frequent arrows in free flowing path, also reinforcing his change in mood.
of the Old Quad indicates a turning point in his view of Raissa. The sadness symbol is fused with a happiness symbol, indicating his changing perception. The central position gives him a different perspective of the town; the ‘Observation’ arrows convey how Polo begins to observe everything around
5. End of Journey.
Furthermore, there are only two time he sleeps and wakes up, representing his less sluggish movement in the wake of his new excitement. Although he encounters many people along the way, the state of each zone does not change, as at each moment he notices something happy in the city of
him in the city, and noticed there was joy buried amongst the depression
sadness. Right before the end of his journey he looks back (red Viewpoint 2 symbol) and notices the bond between the lady and the officer, making his visit finish on a high note.
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Portfolio Carey Tsiaves
Module 4 Frame vs. Field
GIRL & DOG
This scene builds upon the ideas conveyed by the chosen perspective view. In the center of the image is a young girl patting a dog, representing the ‘child in [the] window who laughs seeing a dog.’ In Polo’s journey through the city of Raissa, this is the first happy interaction he observes in a long chain that follows. The bond between the two living beings represents the ‘invisible thread’ that Polo discovers, but that the citizens are not aware of. Surrounding the girl and dog are the rest of the citizens of the town. They appear as dark, abstract representations of the human figure, which weave through the columns of Old Quad and engulf the space. These melancholic faceless figures aim to convey the sadness that dominates the appearance of Raissa and its people. At the feet of one person , next to the front right column, are glasses and a bottle, a link to the ‘rows of empty glasses’ mentioned in the story. This imagery from the author Italo Calvino symbolises alcoholism, and it was added to this scene to reinforce the extent of depression that plagues the city. Flying above the girl is a dove, commonly considered an animal that symbolises peace, portraying the ‘happy bird freed from its cage’. While it isn’t the francolin described in the story, the dove, paired with the girl and dog, create a focal point in Polo’s view, which in turn represents a beacon of joy that shines through the overwhelmingly bleak society. Marrying this with the centrality of the viewpoint, it shows how there is some happiness at the heart of the city.
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Portfolio Carey Tsiaves
Module 4 Frame vs. Field
FREE BIRD
The second scene depicts the ‘great lady in love with an officer’. It is viewed from the corner of Old Quad, framing the characters in a contrasting asymmetrical way to the first scene. The murky citizens of Raissa continue to dominate the space, but amongst them stand the great lady with her ‘white lace parasol’ and the officer she is in love riding horseback. Additionally, the dove from the first scene is in the foreground here, sailing through the passage between the lady and the officer. This scene aims to reinforce the idea of an ‘invisible thread’ that Calvino expresses in his story. It “binds one living being to another for a moment, then unravels,”, and this binding is occurring between the the man and woman through their positioning in the passageway. The bird’s flight path is what represents this bond, but it’s movement is random in the space, changing direction at the corner of Old Quad and flying into a new path. The movement of the bird and its link to the two lovers demonstrates how the bond ‘unravels, then is stretched again between moving points as it draws new and rapid patterns.’ Furthermore, this moment occurs after Polo notices the girl and the dog, so he his aware of the happiness that is drowned by the sadness that consumes the city constantly. With this new awareness, he can identify the momentary bonds between citizens from any area of the city, and this scene shows how changing his perspective of the space allows him to discover new moments of high spirits that he couldn’t from only one view.
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R E F L E C T I O N Completing this subject has taught me a myriad of skills and lessons in what makes a design process successful. The semester began smoothly with Module 1. As drawing was a hobby of mine throughout my younger years, working on this project allowed me to refine my skills in technical drawing, whilst also learning new ones. It was also valuable in teaching me how to take accurate photographs that enable these types of drawings to be possible, as well as learning axonometric projection which was an entirely new concept to me. The overall project turned out to be successful and gave me confidence leading into Module 2, which would require me to harness the new skills I acquired. This project was more demanding, with the axonometric requiring precision and persistence, the void left in between the two worlds requiring thorough design planning. Creating the world in Illustrator was a rewarding experience as it furthered my skills in the software. However, this module highlighted that my time management needed improving, and this was only bolstered by my performance on Module 3, which did not turn out to be a success. While the introduction to Rhinoceros 5 was rigorous and immersive, and the 3D modelling yielded some interesting designs, this did not transfer through the the fabrication stage, where the execution suffered due to leaving it for the night before. With the final module, my poor time management was even more apparent, with a late submission of a product that I was at least happy with. Module 4 was great way to combine all the skills learnt throughout the semester, from the new approaches to design and the gaining of knowledge in software, and while it was an arduous experience, it was worth it in the end. The most important lesson I have learnt from the experience in this subject is that I must improve my time management. Having to settle for multiple all-nighters to complete work is not sustainable, and this was almost the only reason why I could not be more successful with these modules. Design projects can take immense time to complete, and in order to be successful you must cater for this. Completing Foundations of Design Representation has changed my mindset for how I tackle projects in the future, which part of why this has been valuable learning experience for me.
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