Fodr portfolio

P R T F o L I Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO Yichen Cao

900359 Studio 15 - Carl Areskoug

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CON TEN TS

M4

M2

M1

M3 2

M1 How to draw a croissant

The plan view, elevations and three sections of the croissant were traced using 2H and 2B pencils, fine liners from 0.05-0.4mm and T-square. This step is to ensure the right scale so as to later turn into axonometric drawings.

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M1 REF LEC TION

MEASURED DRAWING OF A CROISSANT

In Module 1’s learning, it’s my first time to explore different hatching techniques. In the two sketches of the croissant, I used crosshatching, random hatching and scumbling. Overall, my sketches were quite successful.

However, there was still room to improve. My sketch of the plan view was too dark and it can be improved through using thinner fine liners or hatching more lightly. Then I traced the outlines of the three sections, plan view and elevations using 70gsm A3 tracing paper, 0.1 and 0.05 fine liners.

I found the axonometric drawing the most challenging part in this module because axonometric drawing requires high standards of accurate scales and patience. The idea of axonometric drawing was developed, and laid a solid foundation for the Module 2 projects.

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M2 Flatness VS. Projection

This is the axonometric drawing of my Mario world. It consists of the original elements from Mario world such as repetitively occurring cactuses and pipes. I further explored the idea of using pipes as a transportation vehicle for the theme: Space Travelling.

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M2 Flatness VS. Projection

Work in progress: Using the T-Square and set-square to complete the axonometric drawings. 2B and 2H pencils, fine liners and masking tape also used.

Work in progress: Starting to create details like mushrooms and develop the idea of a maze which consists of pipes.

Final Outline: Close to complete the axonometric drawings.

Abundant characters were added. Exploring hidden space base on the idea of using pipes as transportation vehicles in the Mario outspace.

This is the scan of my axonometric drawing. I was at the stage of managing to get the right scale and developing the world.

Completed! Take a closer look at those characters I drew.

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M2 Pin-up VS. Improved

This is the Mario world I handed in for the pin-up session. I put a lot of effort in drawing tiny details like mushrooms using pen tools in Illustrator, and added a lot of Mario characters. By doing so, I want to make my world more vivid. However, there are some shortcomings that I want to improve. As can be seen, the base is quite chunky and the world underground needed to be further explored.

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I improved my Mario world by adding more depths to the base, I controlled the lineweight to make it looks less chunky. I used the pattern tool and clipping mask in Illustrator to create the question mark pattern in my original images, which I had no idea how to use when in Module 2. Also I changed the gradient of the pipes so they looks more cohesive.

M3 Pattern VS. Surface

M2 REF LEC TION In this module the idea of pictorial space was introduced. According to Le Corbusiier, pictorial space is that which cannot be entered or circulated through, and is eternally resigned to frontality. The two images we were given from original Mario world are pictorial space. Therefore axonometric drawing was once again introduced to this module in completing and converting the two images into a three-dimensional Mario world.

The most challenging part about this module is painting the line work in Illustrator. Since it’s my first time get to explore Illustrator, the difference between vector based and pixel based software really drove me crazy. And it took me great amount of time to have a command of the pen tool and understand Bézier curve.

The Mario world that I handed in during the pin-up session wasn’t satisfying enough. Though I had put a lot of effort in drawing characters and patterns using pen tools in Illustrator, I failed to explore the base of my Mario world. At that time, I was really unfamiliar of what effects or outcomes tutors were looking for in this project. And I didn’t realize how powerful Illustrator is for flat design such as the game Monument Valley. On the contrary, I added heavy line weights in my Mario world thus resulting in making it chunky.

Later I improved my Mario world by adding more depths to the base. Also I controlled the lineweight to make it looks less chunky. I used the pattern tool and clipping mask in Illustrator to create the question mark pattern from my original images, which I had no idea how to use back in Module 2. Also I managed to change the gradient of the pipes so they looks more cohesive.

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M3 Pattern VS. Surface

Work in progress: As can be seen, I got a quite curvy terrain.

Therefore I arranged the curve attractor: away to create a transition of lowest in the center and highest on the sides.

Modelling: Firstly draw a square, then using ExtrudeCrvToPoint command to create the pyramid. Use Trim command for creating an opening surface.

Work in progress: Total of six variations; three of each in a roll were created using Rhinoceros. They are grouped with colorful tabs in preparation for later unrolling surfaces.

Printing Process: Printing document using dashed lines to represent folding.

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Work in progress: After successfully unrolling surfaces, using Illustrator to adjust the lineworks. Using red and blue to distinguish which one is folding or cutting line.

M4 Frame VS. Field

M3 REF LEC TION

“It is this continual shuttle between the abstraction of a rchitecture’s graphic instruments and t he unyielding concreteness of the building that defines the work of the architect, and makes it possible for architecture t o work within t he complexity o f the real, and to engage the shifting field of the contemporary city.�

My Module 3 model is focusing on conveying a sense of assimilation or conflict when individuals facing collectives. By saying so, I attempted to create contrast by using open surfaces versus enclosed surfaces; pointed geometric pattern versus flat geometric pattern. There are total six variations in my model. Since I got a terrain which is quite curvy, I designed the surface using curve atrractor: away to create a transition from highest objects sitting on the sides to lowest objects sitting in the center of the surface. I managed to make both the front and the back of the model clean. All of the photos of the model in this portfolio were taken by myself and adjusted in Photoshop using curves; levels; brightness and contrast tools.

From this module, I learned to use Rhinoceros to convert 2D patterns into 3D panels. I learned the difference between Mesh and Nurb when using Panelling Tool. Also I learned how to make a 3D prototype by folding and cutting.

To conclude, Module 3 is originated from the idea of developable surface. It combines paper modeling as a traditioanl and economical way with computerised modelling software to push the boundaries of creativity further.

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M4 Frame VS. Field

CITIES & SIGNS 5: OLIVIA

Key Perspective 1 Perspective 2 Movement Stare Glance Heavy Mood Light Mood

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1m

2.5m

5m

Transition of Thresholds Passage of Time Falsehood Crowds

The Isometric mainly shows Marco Polo’s movement and his emotion crashes when he saw the ongoing conflicts happened in the city Olivia. I created this circle consisting of black and white to represent the falsehood. Its shape was inspired by the idea of the Eight Trigrams from ancient Chinese. The white color and black color conflict and combine. Like in the city Olivia, prosperity is closely associated with poverty and darkness. These symbols were floating everywhere in this city, representing the profound saying from the story: “Falsehood is never in words; it is in things.“ Meanwhile, I deconstructed the story because the original novel is very poetic, and I want to represent those abstract metaphors as much as I can. So I added a timeline and thresholds to the isometric and two perspectives. The way of breaking the sequence of time and space is inspired by the film Pulp Fiction directed by Quentin Tarantino. In the Isometric drawing, I exaggerated the symbol of mood, particularly heavy mood on purpose to create the tension. I arranged most of the symbols in the center of the Old Quad because I want the center to be the most dramatic point or highest tension.

Around the corners I placed those “falsehood“ symbols to make the visual impression more powerful. In order to convey a sense of sarcasm as depicted in the story, I used collage and texture of pop dots as my main representation method.

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M4 Two Perspe -ctives

The falsehood This perspective depicts the scene in the story that a white peacock is spreading it tail, walking on a lawn. I tried to extend the content of the story by making the women on the streets seems to mock at the poor girl. As a saying in the story goes, “Falsehood is never in words, it’s in things.“ I tried to convey that sense of sarcasm and depict the detachment of this city. I use collage in different art forms but closely related to the story on the background and the contrast brought by pop dots and sandstone texture on the column to make the sense of sarcasm even stronger.

A destined tragedy This scene depicts a lady who is trying to escape from the chase of the Mafia. Her plan is to take on a gondola that is leading to the carnival and hide her face under a mask. But unfortunately se failed. There is a white peacock laying in blood, which symbolizes the tragedy. There is a mafia sitting in the bar, on which the wall has seven cutouts of scenes from film noir which foreshadows the lady’s death. For the background I was trying to make it looks like a galaxy pouring into the river by using clipping mask, galaxy texture and water brushes to blur the edges. It was dedicated to collage art. To bring some realness to the river, I use different water brushes and grass brushes.

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REF LEC TION Through this semester’s learning of Foundations of Design: Representation, I’ve obtained the knowledge of fundamental techniques of representation. Each of the four modules are designed either to equip us with the knowledge of software or drawing skills. Lectures are well organized and taught, covering theoretical concepts and precedents, which laying a foundation for each module. To conclude, lectures of Module 1 introduces the ideas of representation techniques in design. Lectures of Module 2 emphasizes on axonometric drawings. Lectures of Module 3 focuses on the concept of developable surface. Lectures of Module 4 introduces perspectival projection. What’s more, one of the most impressive lecture I recalled is given by David Mah, who shared his inspiring insights about frame and fields; besides working experience in AA Visiting School.

With project-making throughout four modules, I learned basic use of Adobe Photoshop, Illustrator, InDesign and modelling software Rhinoceros. Since they are all new to me, a lot effort has been put to catch up those who has a basis. Learning new skills is one of my favorite part in studying FoDR. Now I have a command of how to adjust levels and curves; put texture over the line works; turn 2D patterns into 3D models, etc. To be honest, the fastest way to make progress in learning new software is to practice frequently! And I really appreciate Foundations of Design: Representation for exposing me under such intense practice with the help of workshops, tech tutors and online sources. I only wish the workshop’s duration could be longer so I could have enough time to catch up.

Looking back to my four modules products, evident progress can be seen through my journal-making; reading question answers and the effort put in jumping out of the box. I restrained my creativity when I first came into the studio of FoDR. But after the completion of four modules, I’m satisfied with progress I made. Though I ended up lacking sleep, I still enjoyed learning FoDR. Overall, I think Module 2 and Module 4 are less satisfying. The reason of Module 2 lies in the chunkiness of the base of my Mario world. Also, the heaviness of the stroke and the earthy tone of my color-choosing made the situation worse. For Module 4 I spent so much time on constructing my story and drawing two perspectives that I didn’t have enough time to paint the symbols in Isometric drawing. I’ve made amendments on those two modules and posted them in this portfolio. I Hope you enjoy my work.

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