Fodr - PYTA

Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO

(AlisaPoon) Yuet Tung Alisa Poon

917562 Studio 26 - Emmanuel Alexander Cohen

MEASURED DRAWING OF A CROISSANT

How to measure a Croissant?

Firstly, set a photostage and take photos of the croissant (plan view and elevation views). Next, use a scanner to scan the bottom plan view. Use the scanned bottom view as the base, align the photos of plan view and elevations next to the base. Measure the true length of the croissant with ruler and fix the scale of the pictures with softwares. Afterall, place a tracing paper on a hard copy of the pictures and start sketching. Use 2H, 2B, 4B and 6B pencils to form shadow and tecture. Outline the cut line with fineliner.

Photo of elevation

To production an axonometric view, points are plotted on top of the sections with a grid. With the aid of a 45 degree ruler, plot the points on the axonometric grid. Connect the points and draw the sextion outline of the croissont.

Photo of plan view

Techniques of taking photos in a photostage, pencil sketching and drawing axonometric from a 2D picture are learned from this task.

Photocopied plan

Photo of plan view Photocopied section

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Processing

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NEW MARIO WORLD

The making of new Mario world.

Wind up the key, the story inside the world, is going to starts again.

A nice day for all, up at the bridge, Fishin’ Lakitu is using a croissant as a bait for fishing. Perhaps, the red bulky fish doesn’t likes a croissant, instead, Mario might be its meal for today. ‘No!’ cried Mario. The lifeguard Goomba is not going to leave his dream and save you, poor Mario. Luckily, Mario still got a good friend.

Having telepathy, Luigi jump into the sea bravely with his frog costume from the diving platform.

Can Luigi save Mario? Will Mario eaten by the fish? No one knows. The world stops, without any rewinding.

A 3-dimensional axonometric is created from two 2-dimensional Mario’s world pictures. Getting rid of the restriction of representation in 2-dimensional, hidden spaces are not being concealed anymore. By exploring and designing different objects putting in the hidden space in the axonometric, A 3D Mario’s world with varied characters and a delicated story is achieved and created.

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Axonometric View 20cm x 20cm x 27cm

Original Mario’s world

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Draw the first mario world in axonometric.

Combines the two mario worlds with a thirdlayer of tracing paper on top.Draw the first mario world in axonometric.

Trace the draft with fine liners.

Trace the sketch in Illustrator with the aid of opacity.

Axonometric View, Fineliner, 20cm x 20cm x 27cm

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Match the color of the original pic with eyedropper tool. Add colours, gradient and textures.

PAPER LANDSCAPE

The making of new landscape A paper model with parametric design is created based on a grid of the landscape in Tasmania. Rhinoceros, a digital fabrication software, is used to create the panels.

The digital model is then unroll, print, cut out and fold into 3-dimensional paper model. A flow of surfaces and variation is achieved successfully.

2D panels : 3D panels / 50 : 50 Panel custom 2D variable cut-out; Square represents order and stable. they are varied along a curve attrator. Squre cut-out varied and distributed diagonally (size varied from left bottom corner to right top corner; distributed along every diagonal from left to right bottom; adapted the cocept of “X�), with no presents of them in the complicated area of hexagonal pyramids.

Panel custom 3D variable: The three types of 3D are distributed along cruve attractor (the top and the left base curve). They are distributed towards the right corner. The pattern from the hexagonal pyramids area is an arrows pointing to the the left right corner, being less dense and speads over towards the left right corner.

Rendered plan view

Plan view / 59.4cm x 59.4cm / 160gsm paper

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The height of the 3D shapes was increased gradully (10mm 59.4mm) from the left bottom corner to the opposite corner by applying curve attrator (top and left base curve) when building the offset points. From the shortest and least complicated pyramids to the tallest and the most complicated hexagonal pyramids, our eyes move gradually to the end.

All in all, the variation of the size of different shapes with the slope of terrain decreasing from the left to right, the whole model presents rhythm and balance.

Rendered perspective view

Perspective view / 59.4cm x 59.4cm / 160gsm paper

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Curve used as the curve attractor for the 2D panelling

Unroll templates complex hexagonal pyramids were unroll individually

Final pattern used in panel custom 2D variable

Unroll templates grids of 2D panel and 3D panel were joined together in a roll

Final 3D shape used in panel custom 3D variable pyramid, truncated pyramid, hexagonal pyramids with a square base and a depression inside the centre

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A screenshot in Rhino, showing the process when dealing with the complicated objects. There was a problem unrolling when the hexagonal pyramids at first.

After trying mesh, triangulate mesh, the solution to fix the failure of unrolling is changing the degree of surface to U=1,V=1 and rebuild them in degree 1 again.

A screenshot in Rhino, showing the process when unrolling objects.

After printing out all the unroll templates, cut them with a sharp cutter and ruler.

Use the back of the cutter to edge the folding lines.

Use double tap to stick the tabs together.

Forming the hexagonal pyramid.

Bottom view Lines and number marks as an aid for making the model.

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INVISIBLE CITY

City and the Sky 1 : Eudoxia An invisible city, Eudoxia is created inside the Old Quad.

Follwoing with the description of Marco Polo about Eudoxia in the chapter, The Cities and the Sky 1, a isometric of the Old Quad with notations is designed. Notations are used to show the movement of Marco Polo, perspectives, people and mood etc. Two perspectives relating to the scenes are designed by using the technique of collage.

Starting from the SE, the story starts. following the movement of marco polo . The first perspective comes. He discover the chaotic enviornment with fish smells, mules’ braying, people walking by and throngs. It the dark side - reality of Eudoxia.

He wents on large steps shown with the thick arrow notation as he was quite confused and lost. He walk fast and glance the disorder environment with lots of people walking by.

He went over the quad and enter the center of the quad from the left side. At the end of the story, he enters the hidden place of eudoxia: which is the place where the carpet located. He walks in with small steps to show the tension. A dotted line box is used to show the transitional passage of place. Bringing to the second perspective : the orcle and the bond between the carpet and the city.

With the symbol there, it represent the heavy mood in this divine place. Marco polo looks up and down with the arrow notation to see the carpet and the starry skies. There are a circle dotted line to show the light inside and offset black line to represent darkness outside this divine place.

Key Large Step Regular Step Small Step Gaze Glance Light/Dark Time Passage 0

1m

2.5m

5m

Heavy Mood People Perspective 1 Perspective 2

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Original Story of The Cities & the Sky 1

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Perspective 1 : Confusion In the reality of eudoxia, according to the text “the mules’ braying, the lampblack stains, the fish smell and throngs” is what Marco can see in the incomplete perspective of eudoxia. Corresponding objects are used in this perspective. Victorian people are walking with a cool face, donkey and boxes of fish are shown. Old wooden floor, worn-out wall and alike stairs in the two sides of the background are used to show the chaos.

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Perspective 2 : Carpet and the City This is the scene that Marco saw the moment that an oracle was questioned about the mysterious bond between the carpet and the city. To one way, is the starry sky and the orbits in which the world revolve. To another way, is an approximate reflection that people can see, crooked street, clouds of dust, fire and darkness.

The picture shows a reflective of the two way. The imaginary for the upper part and the reality of what people can see for the below. Theres a chandelier in the middle to show how divine is this place is. I got a round carpet as the text said the carpet is : laid out in symmetrical motives whose patterns are repeated along straight and circular lines.

Techniques like layers of mask, visibility and feather are applied in photoshop for this scene to create such atmosphere here.

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Screenshot in Rhinocerous: building the old quad.

Line work of Perspective 1 The perspective is looking to the right as a side view of eudoxia. Representing how people see eudoxia in confusion.

Screenshot in Rhinocerous: adjusting the sun and shadow.

The layer made for the reflection in perspective two. It is a pictures with layers of the scene itself, fire and the houses.

Screenshot in Photoshop: making layers for perspective 2.

Line work of Perspective 2 Its a perspective looking straight to the end in the middle. I choose this because the carpet is the most important thing in the city where you need to examine clearly to see it.

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REFLECTION

Starting from the beginning, drawing a croissant seems to be an incomprehensible task for me. From purchasing a croissant to producing the drawings, I learnt how to measure a Croissant with scale, use drawing equipment appropriately and techniques of hatching and shading. With the aid of seeing different projects during lecture, I started to try to think in Orthographic space. An axonometric projection drawing of the croissant is then constructed with the new technique I gained.

By learning how to determine differences between ‘subjective’ and ‘objective’ points of view, I started to create 2-dimensional and 3-dimensional spatial constructions by hand drawing to digital drawing. It is never an easy task to draw perfect lines with bare hands. Countless failure and redoing of work result in mastering the skill of precise hand drawing. Afterwards, I learnt how to produce a vector based artwork in Adobe Illustrator. I enjoyed design objects and spaces a lot with digital software.

Regarding to project 3 (Paper model), the operation of Rhinoceros is always the biggest difficulty. One’s inadequate skills in using the software will restrict one’s creation and innovation. I tried my best to research and learn from online resources to solve technological problems (especially in unrolling templates). It might be timewasting though, I will never give up my original design.

The idea of parametric design and digital fabrication inspired me a lot. They are the design of complex geometries and structures and a two-dimensional representation in architectural form and construction with the idea of the virtual model. Both digital and paper 3D modelling skills are learnt from this project.

The interpretation of a story depends on oneself. The last project, the invisible city, allows me to interpret a story with innovation in certain restrictions (the old quad). Despite learning the skills in using Rhinoceros to build an old quad, the acknowledgements of using notations to present character flow and making 2D collage in perspectives are seems to be more important. The use of multiple software in one design can utilize each software’s functions.

Improvements made -The importance of test printing and verbal presentation skills is not negligible.

-Appropriate shadow and light adjustments.

-Make sure works are neat, clear and scale fit.

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