CLAIRE WOODWARD FODR PORTFOLIO - SEMESTER 1 2017
915 504 Carl Areskoug, Studio
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CONTENTS
10 - 15 4-9
16 - 21
22 - 27
REFLECTION
28 - 29 3p3
MODULE 1: HOW TO DRAW A CROISSANT
4 p4
ABOUT: Module 1 aims to explore representation through orthographic and axonometric drawings. This is achieved through detailed analysis of the object – a croissant and completing elevation, plan and section cuts drawings, carefully considering their form, variety in depth and texture. Each process needed careful planning and consideration in order to ensure the accuracy of drawings. This required proficient skills using Adobe Photoshop CC to ensure images were at a 1:1 ratio and to create a layout that would work efficiently in future steps. When rendering drawings to illustrate depth and texture it was important to carefully select equipment. An understanding of the differing qualities produced by the thickness of fine liners and density of pencil lead ensured control over the outcome of the drawing and that they accurately reflected the tactility of the real object. Additionally, differing forms of cross-hatching could also be used to create a variety of textures. After preparing these 2-Dimensional drawings, axonometric drawings were created through a projection of the section cuts at a 45-degree angle. This created a 3-Dimensional abstract representation of the croissant while accurately reflecting the dimensions of the real croissant to a 1:1 ratio. This allowed us to explore the importance of drawing as a starting point in the representation of objects. Likewise, the sequential nature of the task assisted in a developing understanding of the nature of design representation and the progression of skills required was easily viewed.
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SCALING
By photographing the croissant, accurate images capturing the texture and form could be obtain which created the basis for later drawings. Moreover, by scanning the plan and section cuts a 1 : 1 ratio is achieved to which the other images can be scaled against accordingly. Good quality images captured with a 50mm portraiture lens and the accuracy of cuts were also essential for successful subsequent steps, as they were reliant on perfecting this begin-
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ORTHOGRAPHIC DRAWINGS
Line hierarchy was pivotal in these drawings and was achieved through variation in equipment. Construction lines were achieved using a 0.1mm fine liner or a 6H pencil. To contrast, a 0.4mm fine liner and 6B pencil were used for section cuts and dark shadows to illustrate depth. They were also used to create detailed cross hatching, layers of thin lines and a variation of lengths, illustrated intricate textures as well as contours and depth. By contrasting the pencil and fine liner drawings it was evident that pencil has the ability to create a larger gradient between shades so they can blend seamlessly – thus forming a more realistic representation. The fine liner, however, produced a dynamic and graphic interpretation of a croissant.
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Axonometric Projections
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MODULE 2: FLATNESS vs PROJECTION
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ABOUT: Module 2 was an exploration on the relationship between flatness – the negative condition with a frontal view, and projection and what could be created in the void where flatness and projection meet. Using two Mario World images as the base, the aim was to design a space that linked the two given images seamlessly. Through colour, characters and texture a world was developed that illustrated adventure, reward and challenge – integral Mario World criteria. Precision and efficient technique skills when using Adobe Illustrator CC was essential to ensure line work accuracy. Moreover, an understanding of gradients and shadows developed depth and enhanced the graphic quality of the product. Finally, an understanding of axonometric projection and drawing precision was integral in assuring the accuracy of scale and ensuring the drawings were easily transferrable to the digital form. Line weight was important, throughout both digital and hand drawn work, to illustrate hierarchy emphasising the section and defining key objects/characters. This task demonstrated the progression of drawings to digital representation and consequently developed the exploration of projection through this new medium. Again, accuracy of steps was essential to ensure easy progression through the task.
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TRIAL AXONOMETRIC
Initial drawings enabled an exploration of the two worlds and the way in which they may interact. The importance of allowing space for design quickly became apparent which then neccisitated reducing wall thickness was required. This quick axonometric projection helped place the pictorial images into a three-dimensional space so that proportion and scale could be noted. This assisted in guiding further design.
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FINAL AXONOMETRIC
The progression to the final axonometric drawings required detailed exploration of the themes; reward, challenged and adventure. This lead to the integration of characters and objects giving life and motion to the world. Inspired by the Penrose Steps the concept of world within worlds developed. What if the whole Mario galaxy lives within itself? What if, when the two dimensional is expanded into the three-dimensional, these worlds begin to reveal themselves, hidden in the walls and floor? What happens inside a pipe? This notion became the basis for exploration – to encourage viewers to challenge and uncover the untold secrets of Mario Worlds.
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MARIO WORLD
15p15
MODULE 3: PATTERN vs SURFACE
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ABOUT: Module 3 illustrated a transition between axonometric and orthographic representation to three-dimensional modelling through the exploration of pattern and surface. By developing an understanding of surface (anything between two lines) a developable geometry was made. Then, with the integration of pattern and the understanding of different forms of relationships, a panellised landscape was created. An appreciation for the capabilities and quality for paper was integral to ensure the surface would be developable. This required, at times, simplifying and modifying the design to ensure the proposed model was achievable. Through trial and error and a detailed understanding of the Rhino software a digital produce was produced. In order to transfer this to a physical model each panel had to be unrolled. Due to the complexity of shapes this had to be done individually with no more than two shapes unrolled together. Consequently, to ensure these pieces could be put together in the direct order a colour coding system was used. Once the shapes were cut out, a sewing machine was used along fold lines to obtain crisp, accurate folds from the thick paper. This task explored the transition from a design concept, to a three-dimensional modelling fabrication, to a physical model illustrating a new form of design representation.
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DIGITAL FABRICATION
Grid Points and Curve Attractors
Module Variable 1
Module Variable 2
Module Variable 3
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The digital fabrication allowed for an insight into the capabilities of Rhino software and more specifically panelling tools. It illustrated the importance of considering the required final product as digital software can produce a myriad of designs and patterns, but these are not necessarily developable. Curve attractors and offset points, as well as three variable modules, created variation in pattern and height across the terrain. The digital fabrication took a lot of exploration, experimentation and simplifying. In turn this refinement developed a design using symmetry and repetition of forms to explored shapes within shapes that appear as the pattern repeats.
JOINING WORK
Making the paper model was a highly involved process that involved patience and precision. As most pieces had to be unrolled separately, it was important to work sequentially and consistently so that pieces weren’t misplaced or put in the incorrect location. Moreover, accurately cutting out the shapes and using the sewing machine to create fold lines ensured a clean and crisp final model. UHU craft glue, bulldog clips and masking tape acted as anchors, adhesive and clamps so that the segments would dry in the correct form before being added to the main model.
Unrolled Templates
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MODEL
20 p20
MODEL
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MODULE 4: FRAME vs FIELD
22 p22
ABOUT: Module 4 explored the notions of field and frame – using perspective images and isometric notations to illustrate a Marco Polo story. The use of frame – spatial and temporal bounding of a set of interactive messages, created an objective perspective image. Field enabled a loose arrangement within a space while still creating a cohesive piece, thus forming the subjective isometric notational representation of the story. Throughout the module it was important to consider the links between the isometric and the perspectives. There had to be an undoubtable relationship to ensure there was a cohesive representation of the story. Likewise, it was essential to consider the dynamics of emotions, movement and passage of time so that these were represented with an equal sense of intensity across both forms of representation. This was achieved through variation in line weight to illustrate depth as well as texture and shading to evoke a sense of darkness. This module required a detailed knowledge and integration of Rhino, Adobe Illustrator CC and Adobe Photoshop CC. By moving across all three softwares an understanding of the abilities of each assisted if the efficiency of process. Developing skills in Photoshop CC specifically helped create realistic and detailed perspective designs. This module enabled an amalgamation of all taught digital media throughout the semester, reinforcing their individual qualities and how they can be used in tandem to produce a finished product.
23p23
ISOMETRIC
Using Rhino modelling the old quad was produced. This acted as the frame for the isometric notations but was also used to capture the perspective views. Line weight was essential to ensure that no feature was overpowering, consequently a 0.01mm line was used for the roof so that it appeared transparent and a 0.25mm line for the outer columns to indicate a section cut. This hierarchy ensured the effective readability of the space.
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ISOMETRIC NOTATIONS
With the addition of notations there was a delicate balance between conveying the necessary information without the symbols becoming overpowering and confusing. Through the use of repetition and exploring how these notations would interact in a three-dimensional space, the emotions of darkness and heaviness were portrayed. Similarly, with the addition of a personally designed symbol, a transition between worlds could be portrayed. This resulted in an isometric projection that reflected the journey of Marco Polo through the city of Tamara also replicated in the following perspectives.
Key Persecptive 1 Perspective 2 Glance Stare People Heavy 0
1m
2.5m
5m
Movement/ Step Darkness Portal
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CITIES & SIGNS: TAMARA
The arrival remains rather untouched. The chaos and life is restricted to the constraints of the architectural forms of the Old Quad helping to integrate these spaces. Moreover, it alludes to the features you will begin to see as you travel through the space. The aim is to create a sense of confusion, but beauty. While most things are hidden and hard to find, there are constant signs of human life and activity. The heavy leaves in the foreground make the city appear as if it is overgrown and untouched, just developing organically with time. Light is highly important throughout the perspective as it indicates a space beyond, while leaving what this could be hidden. This, encourages imaginative exploration. The use of heavy line weight helps create framing which in turn illustrates Tamara’s controls - what and how you view their city throughout your visit - as they only desire to give you a taste of the beauty that lies beyond.
Perspective 1: The Arrival
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CITIES & SIGNS: TAMARA
Perspective 2 – ‘An Insight’ aims to encourage viewers to take their exploration and attention to detail a step further. Some of the hidden features begin to reveal themselves such as the doors to the portal entries, the signs are more obviously placed and the figures hidden in the trees and bushes can be seen more obviously. Even so, the true meaning is never revealed, the content on the signs is often ambiguous; one eye or parts of the figures are still covered, true form is never exposed. Directionality is also predetermined through subtle use of light and dark as well as physical signs and barriers. Animal footprints reflect the path Marco Polo takes as he travels through the city illustrating that this directional dictation is apparent for everything that enters the space. It is also highlighted through the use of warning signs, rock piles and dark shadows which guides viewers away from the spaces they wish to hide.
Perspective 2: An Insight
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REFLECTION: Throughout the semester there was a clear progression of skills and process that developed my understanding of representation and the way different forms link and work in tandem with others. Module 1 allowed for the exploration of projections – orthographic and axonometric - through hand drawing. This provided an introduction to materials and equipment, and processes involved in producing an assessment for pinup. Then progressing to module 2 axonometric drawings are reflected digitally demonstrating the links between hand drawing and digital representation. Module 3 linked digital modelling with producing a developable surface – exploring notions of the vast possibilities with digital design and limitations of the physical manufacturing of that design. Finally, module four demonstrates the integration of all these digital processes to illustrate the progression and flow of work required across the various software. Each module also gave the chance to work on presenting projects both orally and digitally. This allowed for the development of effective verbal communication of ideas as well as layout skills, photographic techniques and writen description in order to celebrate the concepts and aesthetic qualities of your work . Before the beginning of semester, I had had very little exposure to the Adobe suite programs and had never used Rhino software. While at first these processes were challenging, with time, experimentation and collaboration with fellow students I was able to extend my abilities in these programs with added guidance from the workshops. This was essential as it allowed me to challenge my designs and push the scope of the task in order to produce highly detailed and well composed pieces. As the semester progressed, I began to develop confidence with my design capabilities which lead me to deeper explorations of complex ideas. Similarly, I developed a great appreciation for hierarchy across a page and the way a piece can be championed with effective manipulation of line weights and surrounding composition. This lead to a developed ability to cull to ensure that work isn’t over powered by annotation or graphics. Finally, I obtained a more attuned grasp of architectural concepts of elevation (through section cuts), projection (cabinet, cavalier, isometric and axonometric) and perspective through reference to pictorial space, demonstrating the notable links between lecture discussions and progression of module work. To further improve my work in the future, a detailed consideration of the given medium is required. For example, the symmetry of my model did not reflect the irregular nature of the terrain surface given. Consequently, I would adapt my design to reflect a free flowing, sporadic composition. Moreover, with the deeper understanding of developable shapes I have obtained I would manipulate some of my modules slightly to result in a more successful model fabrication. One adaption made, however, was the imagery of the model, in which I aimed to capture more dramatic angles with a shallow depth of field to exaggerate the primary design elements of my model. Finally, across all modules I learnt the necessity of time management and organisation. In order to successfully submit each module, to a high standard, consistent work is required. This is an area I will continue to develop through my degree to ensure I am highly prepared in advance to the day before pinup. Overall, this semester has given me an insight into different forms of design representation, it has pushed me to challenge my ideas, encouraged me to experiment with unfamiliar digital software and given me the confidence to present and feel proud of my finished work. 29
CLAIRE WOODWARD, 915 504 FOUNDATIONS OF DESIGN, SEMESTER 1 2017 CARL ARESOUG, STUDIO 15
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