FODR Folio

F O DR PORT FOL IO THOMAS ANDERSON | 757511| JUN HAN FOONG | STUDIO 5

MODULE 1 “Now I’m one of those kids running around the MSD scanning croissants...”

How to Draw a Croissant?

The first module of the semester turned one of my favorite buttery delights into the bane of my existence.

In order to create measured drawings of a croissant, photos and scans had to be taken. Using a photo stage and camera, front and side elevations along with a plan view of the top were taken. A flat bed scanner was utilized to take a plan view of the croissant base as well as 3 section cuts.

The images were cleaned up and arranged in Adobe’s Photoshop. The importance of this step became quickly apparent once drawing commenced as properly set levels made it significantly easier to trace and draw the intricate details required.

2

Drawing Process Three separate drawings were created for each view and section cut. A 0.3mm fine liner was used for the outlines and line work, 0.1mm was used for the fine hatching details and 0.5mm was used to create heavier line weight for all the section outlines. Pencils ranging from 6H to 6B were used for the shading, I found that the direction of the shading and smudging was important for showing the natural grain and texture of the croissant.

Photoshop was once again used to clean up and compile the images after scanning.

3

59mm

FRONT ELEVATION C

SECTION A B

A

SECTION B

94.5mm

59mm

SIDE ELEVATION

MODULE 1: ORTHOGRAPHIC DRAWINGS 4

PLAN VIEW

133mm

SECTION C

THOMAS ANDERSON STUDENT NUMBER: 757511

C B A

Axonometric Projection

5

After finalizing all the drawings and measurements, a 10x10mm grid was placed over the outlines of the section cuts. Three more grids in an axonometric view drawn on top of the top view drawing. By marking all the points where the outline intersected the grid, the points could then be transferred into the axonometric view to create the projection by using the points as a guide.

MODULE 2 “A crash course in Adobe Illustrator”

Flatness VS Projection For some reason, Super Mario was not as fun in this module as I remember it being in my childhood...

Module 2 further developed my understanding of axonometric projections.

Using two images of the original 90’s video game, a 3D axonometric projection combining both worlds was created. The original game is inherently 2D by nature, and whilst there are definitely multiple planes sitting in parallel with each other, there is overall very little perceivable depth. When creating a 3D world from two combined 2D worlds, an extra level of depth opens up. A large part of this module was about what filling this new created space and tieing the two worlds together.

My new Mario world, focused very much on what was below the two worlds.

Maintaining the playful nature of the video game, I created “Toad’s Flight School”, with the top level of the world acting as a training course. The limited depth of the originals meant that a lot of the world was open to interpretation, and for me this meant turning what could have been mountains in the original, into many balloons keeping the flight school afloat in the air.

7

Creating the projection

World 6-3: 02

New world front projection

To represent the 2D world given to me in an axonometric projection, the worlds were rotated 45 degrees and projected on to the pictorial plane of the tracing paper. World 6-3: 02 was used as the front of the new world and 6-3: 18 was used as the rear. Using a set square set to 45 degrees, lines extending from the elements of the original world were drawn to be used as guides for the projection. The height of each block and mountain was measured and used to keep the new world to scale. From there, it was up to me to determine were in terms of depth each element sat.

After finishing the two front and rear projection, a third was created by combining the front and rear. This was then scanned and used as a base in Illustrator to create a new world.

World 6-3: 02

8

New world rear projection

MODULE 3 “UHU glue dries a lot quicker than you expect”

Pattern VS Surface My childhood lego skills were finally being put to use.

Module 3 was a task in digital and physical modeling. A segment of terrain was supplied as a Rhino file and from there, I developed a surface using various modules.

The surface was split into three sections, with the centre area using a module with a large opening to avoid the surface looking clustered yet maintain complexity. The modules followed the flow of the terrain and the highest peaks of the surface are on the highest area of the terrain.

10

Digital Modeling in Rhino As the digital model had to be later constructed using 160gsm card, it was important to ensure the modules used were developable surfaces, meaning that they were truly planar, thus limiting tension and stretching in the material. To do so the Paneling Tools plugin was utilized to develop the modules and arrange them on the terrain to create the surface.

To create dynamics between the individual modules, curve and point attractors were used.

A few trials of different sets of points and curves quickly showed that fewer well placed attraction points created a smoother and more fluid dynamic.

To create further contrast between the outer, inner and centre areas of the surface, the attraction values were inverted in the inner section.

The original terrain and final modules used can be seen below.

11

Physical Model Construction To create the physical model, the surface was divided into segments and the clusters of modules were unrolled into a net. After unrolling the entire surface, Paneling Tools was used again to create tabs which would later be used to construct the model.

To create a clean and accurate model, the nets were laser cut onto 160gsm ivory card. This step create more work on the computer as care had to be taken to ensure all the nets were nested as closely as possible to minimize cutting time as this was a costly procedure. Laser cutting did however mean that the actual construction was relatively straight forward and all pieces fitted together easily with a high degree of accuracy. This was a great skill to learn as laser cutting will be very handy throughout my degree.

After completing the model, it was photographed using a photo stage and dynamic lighting to highlight the different elements of the surface.

An example of an unrolled net is shown below.

12

MODULE 4 “Note to self: make sure charger is plugged in when rendering overnight�

Frame VS Field Thankfully my computer has more processing power than I have patience.

After reading part of Italo Calvino’s Invisible Cities, I developed a story about a small segment of Dorothea. This story is told through the use of notation and a model of the Old Quad of the University of Melbourne was used as a space to develop the story within.

My story has Marco Polo wandering through Dorothea, observing the varied and contrasting characters around. The reading suggested that Dorothea was a place of many paths and opportunities so I developed my story around that concept with a variety of different characters from doctors with dieing patients, wealthy merchants, royalty, and criminals.

Rhino was used to create a model of the and isometric map of the story.

The notation was supported by two perspective images composed of view captures from Rhino models of the quad and collected figures and images.

14

Perspective 1 As Marco enters the scene, he immediately sees a doctor holding a dieing patient. Contrasting to the death and dark mood are a nubile lady and wealthy merchant selling his goods. A wanted poster for a criminal can be seen above the nubile lady. The use of cloud shows the evokes a feeling of uncertainty in Marco and shows how mysterious Dorothea can be.

15

Perspective 2 Marco wanders further through Dorothea and passes a member of Dorothean royalty. Her presence is juxtaposed by the wanted criminal lurking near by. This heavy mood is however offset by the men enjoying themselves with a couple of drinks.

16

REFLECTION

The modules of this course presented a range of ideas, concepts and techniques I had previously never seen or heard. All of the modules really changed the way I view perspective as a concept. The readings of the second module opened up my mind to the idea that the pictorial plane and space of a piece is fixed and whilst there may appear to be perspective in the piece, it isn’t truly perspective as the space can not be entered or shifted. It is fixed and locked based on the creators choice at the time.

Module 3 taught me a lot about complexities of moving from a digital model to a physical product, this combined with the lecture content, showed me the logistics of making something easier to build, such as employing developable surfaces to reduce material strain. This was supplemented with a lot of learning about the rapid development of digital fabrication and it’s important to a field which is becoming increasingly more complex and intricate.

All modules taught me a range of skills such as measured drawing, digital modeling, studio photography and improved many of my skills in a range of software. Module 4, in particular, really pushed my Photoshop skills and taught me the importance of good layer structure and organization.

The biggest skill I’ve probably learnt though has been how to manage my workflow when designing, and how to work in a way which minimizes work down the track if I need to make major changes or develop a new idea. This mostly came in the form of good file management and nondestructive editing.

Whilst the course present a large variety of constant challenges, each challenge meant an opportunity to learn and grow. As a result, I’ve learnt more than I thought I would and grown immensely as a student, designer, and person.