1

911870 - Studio 28 - Han Li

Semester One, 2018

Matthew Blode’sFOD:R Portfolio

2

Module 01

How to Draw a Croissant

01

3

01Scanned Images

The first of three A3 documents displays all of the scanned images and photoshoot images of my Baker’s Delight croissant. My croissant is relatively very large and so the challenge with the layout of this document was to include the necessary information while displaying my images on a 1:1 scale. I ended up using Photoshop to remove the background of the photography and scans and then I used the airbrush tool to create a realistic representation of the shadow cast onto the white background during the photoshoot. To take my photographs, I used a DLSR camera and the key and fill lighting setup on a photo-stage, ensuring that my images were taken from the lowest angle as possible to best reflect the elevation perspective.

4

01Orthographic Drawings

The next presentation document displays my orthographic drawings using a variety of different techniques drawn to a 1:1 scale and based on the scanned images on the previous page. To begin this process, I used tracing paper and a light-box to sketch the plan view of my croissant. In order to accurately render my pastry, I used multiple grey lead pencils ranging from harder 4H to softer 6B. I repeated the drawing process for the two elevations with a focus on reflecting the surface texture and flakiness that is depicted in the photoshoot. Furthermore, I overlaid a piece of tracing paper on my plan view and used 0.05mm fine-liner whilst employing a cross-hatched shading technique to create more contrast and depth in my representation of the croissant’s plan view. The 3 scanned cross-sections of the croissant were drawn using 4B and 6B pencils with a keen aim of displaying the variation in tone created by the inner holes. They were then traced along the perimeter using 0.4mm fine-liner and using a 0.05mm fine-liner, I drew the outline of each of the section’s holes.

5

01Axonometric

The third and final document displays an axonometric projection of my croissant. The first step of this process was to draw a 10mm x 10mm grid over the cross-section drawings, ensuring a consistent origin point. I then drew markers around the perimeter of the cross-sections where it intersected with the grid lines. The next thing I needed to do was rotate the plan drawing 45 degrees clockwise using at-square and a 45 degree set square to prepare it for the axonometric projection. Using the aforementioned tools and a new layer of tracing paper, I redrew the cross section grids on a skewed angle on top of the plan view while aligning the bottom to the section cut lines. Next, I mapped the points markers onto the new grid and used 0.4mm fine-liner to define the outline of the cross-section, thus developing a 3D representation of the croissant.

6

Module 02

Flatness vs. Projection

02

7

Axonometric Hidden Space

Module 2 of Foundations of Design: Representation was based on the concept of flatness and how that translates into an axonometric projection. We received 2 screenshots from a Mario world and had to project lines onto a new document in order to create a new three-dimensional world. This world requires aspects from both of the screenshots, intersecting to create something new. I was given 2 cavernous Mario worlds with an earthy colour palette and a small lake of water as seen in the 2 images above.

To begin this project I printed out my worlds and rotated them at a 45-degree angle, sticking them at either end of an A3 piece of tracing paper. Using a ruler, I measured and projected the lines to begin drawing the world in 3D. Once I had completed drawing the basis of the combined world using the 2 screenshots, I proceeded to lay another piece of tracing paper to innovate and further ideate upon my initial axonometric projection. The next step was the refinement stage where I placed yet another layer of tracing paper and used 0.05 mm fine-liner to clean up all my lines and produce the refined document that I would scan and input into Illustrator.

02

8

New Mario World

The second stage required cleaning up of my line-work and fixing mistakes in my axonometric depth. The next step was to turn the strokes of my document into filled shapes with shade and evidence of a light source. The background of both my Mario worlds includes a series of pillared cave systems that receded into darkness. I extrapolated this concept into my axonometric world by transforming it from a cave into an aqueduct system that transports the water throughout the world, thus maintaining the pillars and the arched design. Continuing on the theme of water, the centre of my world is a canal with two channels that end in a waterfall off the side of the world. I have also added various pipes extruded from the base of the floating island with water leaking over the edge. I exported my Illustrator document and opened it up in Photoshop for some further touch-ups and extra details. Using the soft brush tool, 1% flow, and the magic wand tool, I painstakingly drew the ambient occlusion on all the faces of the illustration. Then I created the sky using a cloud brush and painted it onto a blue background. The final step of refinement was to create a realistic water and a waterfall effect which was produced with various water, smoke, cloud, and soft brushes.

02

9

Module 03

Pattern vs. Surface

03

10

03Modelled Landscape

Module 3 explores the idea of “Pattern vs Surface”. Every student was given a 59.4 cm x 59.4 cm portion of a natural Tasmanian terrain extracted from the real world. Using the 3D modelling software called Rhinoceros, we had to create a 10 x 10 series of panels on top of the surface we were provided. This project was the first time I had used the Rhino and as a novice, my exploration was limited by my limited understanding of my tools. Initially, I developed a very basic repeated square based pyramid geometry mapped onto my surface. In my opinion, I found this relatively ineffective and believe it was too simple. As I iterated further, I discovered some shapes that were too complicated and ones which I would have difficulty unrolling onto a 2D surface due to overlapping shapes and overly complex forms. After an arduous process of trial and error, I decided on using a truncated square based pyramid which is also referred to as the frustum. The four shapes I used for my final model were based on this geometry. However, I decided to create variation between these frustums by distorting the upper plane with rotation, scale, and movement. The final surface uses an attractor point in the centre which creates a highly effective technique where the shapes in the middle are shorter and gradually incline to the tallest panels around the perimeter.

11

03

Developing the physical, paper model entailed the aforementioned 3D modelling in Rhino to create 4 different panels where each one is contained in a 59.4 x 59.4 mm square area. Next, I used the panelling tools to create a new form with an attractor point in the centre creating a concave form. Therefore, it is taller on the outside and is shrinking towards the middle. To produce a 2D package net of the surface, I needed to unroll the surfaces and export to Adobe Illustrator. I then cleaned up the file in Illustrator, including dashed lines and arrange it onto A1 for printing onto ivory cards. Once printed on to the 200-300 GSM paper, I cut using both scissors and penknife. Finally, I scored and glued and left to dry using a bull clip and then stapled together the pieces.

Paper Landscape

12

Module 04

Frame vs. Field

04

13

04Cities and the Skies - Andria

Cities and the Skies: Andria is one of the worlds from Italo Calvino’s Invisible Cities. This world explored a very regimented society that has a 1 to 1 correlation with the events occurring in the stars. The rigid hierarchy and orderliness reminded me of Feudal Japan during the 13th century which is the same epoch that Marco Polo lived in except in an entirely different location. The story of my events is that Marco Polo went on a journey to find a telescope in order to explore the nearby collapsing star. The first perspective shows a prosperous and highly industrious society that propels a seaming inflexible hierarchy. However, the second perspective explores the society after the events of the supernova explosion. This creates a rupture in the structures of feudal Japan, forming a warfare between the different classes in society.

14

04Motionless in Time

“Motionless in Time” is my first perspective world which is from the lens of Marco Polo in a 13th century feudal Japan. He is aiming to explore the upcoming collision and collapse of a major star. This angle is a peaceful and geometric perspective. I have tried to suggest a glance, with the focus on the telescope in the centre. This first perspective explores a stable, regimented society with a rigid relationship in the hierarchy between emperor, warriors and the peasant class. Andria is intrinsically connected with the stars which is depicted in Marco Polo walking towards the telescope to spy on the upcoming supernova event. There is also a contrast between traditional Japanese architecture and the gothic architecture. This is a reflection of the current tension in the stars while the castles in background connote the prosperity.

15

04Celestial Chaos

My second perspective is called “Celestial Chaos”. This perspective view is taken from an asymmetrical linear angle where there is an obvious vanishing point. I have aimed to express the conflict between the regimented society and the underlying tension of collapse. This collapse is reflected in both the society and the stars. This perspective involves the cataclysmic supernova event in which Marco polo is rushing to look at and explore in the previous perspective. However, during the apex of the supernova catastrophe, he sees that the destruction in the celestial body has a direct impact on the emotions and tensions within the feudal society. Thus, exposing the chaos of the underlying the society.

16

Reflection

Throughout the course of this semester, Foundation of Design: Representation has taught me incredibly valuable skills in solving design problems and thinking about problems in creative ways. I have found this to be extremely necessary in cultivating fundamental skills and capability in advanced tools such as InDesign, Illustrator, Photoshop, and Rhinoceros.

Our first project was called, “How to draw croissant” and it placed us instantly in the deep-end. I felt like it was a great experience in following instructions precisely along with getting things done in a condensed time-frame. This project allowed me to focus on an object more thoroughly than I ever have, studying the croissant from all aspects and drawing it in precise detail.

For the second module of this subject, we had to develop a new Mario world utilising the techniques of hidden space and axonometric perspective. Personally, I found this to be my favourite project as it allowed for the greatest creative expression and personal flair within the design. This project spanned multiple mediums including pencils, fine-liner, Adobe Illustrator, and Adobe Photoshop. I felt like this was the most exciting component, where we had to apply skills from across a variety of different abilities.

Module 3 of Foundations of Design: Representation was the exploration of “Pattern vs. Surface” in which we developed a patterned surface on a provided landscape. This project taught me time-management and stress-management in order to produce a labour intensive paper craft model. The project was a great learning experience in this regard while it also put me through an intensive training course to learn the three-dimensional modelling software called Rhinoceros.

The fourth and final module entailed the development of whole new world based on the novel, “Invisible Cities” by Italo Calvino exploring the idea of “Frame vs. Field”. I found it to be an enjoyable challenge where I was forced to think in an innovative way to create a deep understanding of my Japanese world. This project pushed my knowledge of Rhino and Photoshop to the absolute limits and allowed me to apply and learn advanced design technique to develop my two divergent perspectives.

I have truly enjoyed this subject and have found all of the projects to be creatively stimulating and interesting. Therefore, allowing me to broaden my design thinking skills along with my software abilities.