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Gifting Design: Process

Gifting Design

Design 2310 Fundamentals SP22

Jorie Capper

Design is all about empathy. I am not only designing a product, I am designing an experience. This project focuses on designing a gift for a specific person, a mentor of my choice, that I have to research and learn their interests. My mentor is Carolyn Bonini.

Research

I first texted Carolyn to ask them about their interests. Some of their favorite designers are Alvar Aalto, Alexander Girard, Frank Gehry, and Terunobu Fjimori. They enjoy Eclectic and Expressive interior design, and bright, vibrant colors. We both share a love of nature, hiking, and bears.

Alexander Girard Prints for Color Palette Inspiration

Exercises

Gift Exercise

I reflected on the best gift that I have ever received in order to ideate the qualities I want to include in my gift. The best gift I ever received is my dog, which provides me with new experiences every day, so I wanted to give the gift of an experience as well.

Box Exercise

Working with my partner from my previous Fundamentals project, I created an explosion box to hold an item selected from a provided variety. Incorporating the item within into the box helps the piece as a whole remain cohesive, so we included quotes about the flashlight that the box held.

Box Exercise Prototype
Box Exercise Final, Closed and Open
Box Exercise Detail Photos, Quotes on Inside

Concept Statement

Design is to focus not only on the end result, but the experience of using the object designed as well. I created a puzzle to create a fun experience of creating the imagery the puzzle conveys after it’s put together. I featured the quote from Alvar Aalto, one of Carolyn’s favorite designers, that reads “Form must have a content, and that content must be linked with nature.” This is engraved onto the puzzle, made of Baltic birch, along with a photograph of the Pocono Mountains, where Carolyn grew up. Using a square color palette, I painted the puzzle with inspiration from the vibrant colors of Alexander Girard’s prints that Carolyn enjoys. To incorporate color into the packaging as well, I made an explosion box lined with the same colors. The experience of opening the box to a surprise of bright color, to discover the puzzle pieces within, is exciting and intriguing. Upon assembling the puzzle, they discovered it forms the shape of a bear, one of their favorite animals. The puzzle incorporates many of their favorite things, while remaining cohesive.

Iterations

Puzzle Iteration
Digital Iteration of Puzzle
Explosion Box Iteration
Digital Experimentation with Color on Puzzle

Production

After experimenting with different box lids, I decided to use a simplistic cardstock lid, but cut two slits into it in which to insert a handle, which I wrapped with string for durability and a more finished look.

Handle Prototype
Experimentation with Lid and Handle
Laser Cut and Rostered Puzzle Pieces, Assembled
Interior of Box, Fully Open
Explosion Box Lid Template

Final

Full Composition, Box Closed
Full Composition, Box Open
Full Composition, Puzzle Assembled
Puzzle Pieces, Unassembled

Video of Opening Box

Mentor Assembling Puzzle, Mentor With Finished Puzzle

Every design is a gift. It is specially made for a certain person or community to better their life, whether in the way of aesthetics or practicality. I enjoyed this project because it enabled me to focus on the importance of empathy, building the design around a person or a need rather than a prompt. The focus on presentation of the object, not just the product itself, created a new challenge for me, but the concept is welcome; a reusable box is much more sustainable than wrapping paper that will be thrown away immediately upon opening. Seeing Carolyn happy with their gift was very rewarding and I am excited to make others happy with my designs.

Link to Portfolio Post

Checkmate: Process

Checkmate

Design 2330 Visualizations SP22

Jorie Capper

Changing the narrative of the classic game of chess is a delicate balance; to alter the narrative and make it your own, while enabling the pieces to remain recognizable to the common viewer. By implementing split joints my partner, Kayla Goins, and I were able to create stable and durable chess pieces that convey a narrative of class relations, without compromising the relations between the pieces and their familiarity.

Research

To ensure we had an understanding of the game and how the average person experiences the gameplay, my partner and I played two games of chess. Kayla is a beginner at chess, so using a digital chessboard was beneficial, as it shows the possible places a piece can move when selected. I researched the history of chess and how it has developed throughout history, and how these changes affected the pieces and the gameplay.

Chess Research

Exercises

To establish a working relationship between partners, Kayla and I worked together to draw silhouettes of an object of our choice, and then used the silhouettes created together to form a three dimensional form of the silhouettes using split joints. The relationship between pieces of an object and how they come together to create a whole form in space is very fun to experiment with. Two dimensional to three dimensional translation can be challenging but very fascinating, and I look forward to exploring it further.

Split Joint Partner Exercise, Apart and Together

Concept Statement

Every game has a narrative. By shifting the narrative of chess to represent our modern-day issues, the story transforms from kings battling for land and gold to a battle between the classes, the lower fighting the upper for rights and living conditions. Chess is war and among the two opponents, one always wins. The hierarchy that consists in the pieces themselves is brought into the spotlight, highlighting the hierarchy within society itself. One side is small and weak while another is solid, tall, and strong. The differences of proportion sizes of the pieces display the distinction of who is the consistent winner and who is the consistent loser. The small pieces are colorful and diverse, representing the wide variety of people in the lower class, while the big pieces are black and white, showing the continuity within the group that makes up the upper class. In addition to creating our own narrative, we will be adding in the element of time to the gameplay. By shifting the goal from checkmate to taking as many of the opponent as you can in a limited amount of time, gameplay can be made simpler and help just focus on what each piece can do, instead of strategies employed after understanding the pieces. This makes the game more accessible to players of all levels of experience.

Iterations

Drawing inspiration from the harsh skyscrapers associated with the upper class, I played with maintaining the hints in structure that show how a piece moves, while making each piece imitate motifs from the life of the top one percent, such as being “#1,” having the biggest building, and experimenting with leisure space travel.

Sketchbook Iterations of Chess Piece Designs

Production

After testing the stability of my forms with cardstock prototypes, I proceeded to test the material tolerance, to adjust the sizes of my split joints to fit the final material of chipboard and cardstock. After reaching the right sizing, I used the laser cutter to create clean cut chess pieces of my designs. Due to humidity, the tolerance shifted during production, which led to sanding the split joints of my pieces to ensure a correct fit. Understanding the way materials work and how that can be used in the favor of the design is vital. Before sanding my split joints, I left them in a dry space so they would shrink, allowing me to sand and assemble my pieces before they expanded once more, which created a snug fit and eliminated my need for glue in most pieces.

Cardstock Prototype
Material Tolerance Testing, Cardstock and Chipboard
Chipboard Final Cut Pieces
Chipboard Final Cut Pieces, Detail Photo of King and Queen
Cardstock Covers for Final Pieces
Cardstock Glued to Sanded Chipboard Pieces

Final

Pawn Piece
Rook Piece
Knight Piece
Bishop Piece
King Piece
Queen Piece
My Half of Set
Full Set, Front Angle
Full Set, Side View

Accounting for gameplay in addition to aesthetic, durability, and practicality changed the angle from which I approached this design. Not only did I focus on our narrative, I focused on the pieces themselves and how the player can recognize them in relation to their movements while playing a game. My pieces are stable and durable, ensuring constant use will not be discouraged. This project was very different, but it opened my mind to approaches outside my comfort zone, which expands my capabilities and willingness to experiment with uncomfortable ideas.

Link to Portfolio Post

Mask Up: Process

Mask Up

Design 2130 Fundamentals SP22

Jorie Capper

This project is to work with an assigned partner to create two masks to form a diptych. The masks are in relation to a pandemic, and are intended to push the viewer to think about the narrative they hold simply by existing. We focused on harmony, contrast, and scale and proportion. My partner is Brianna Thompson, and while we worked together to construct our narrative, we did our process post separately, in respect to each aspect of the problem that we worked on.

Research

In groups, we brainstormed preliminary ideas on how the masks could be designed, and shared with the class. Sharing ideas created an open environment and let us explore multiple possibilities.

Group Brainstorm Activity

I researched the origins of the plague mask and its history. I learned about the designer of the mask, Charles De’Lorme, the true timeline as to when it was used, and how effective it really was.

Photos from Research

Partner Exercise

To learn more about our partner, we used a Miro board to discuss our own character traits, as well as what traits we wanted in a partner for our work to be efficient. Communication and openness are both traits Brianna and I value in a partner for a project such as this.

Concept Statement

We created two separate variations of the plague mask, usually seen as a symbol of the Bubonic plague. One variation demonstrates how the plague mask once was perceived; as a harbinger of death and despair. With posies emerging from the eye holes, the dependence on natural oils and flowers to protect wearers and mask the smell of death is portrayed, as well as to allude to the nursery rhyme of Ring Around a Rosie, which is based off the customs that arose due to the Bubonic Plague in the 1300s. The paper posies are scented with essential oils to further relate to their use during the Plague. The mask is black, as is traditional, and daunting due to the emphasized emptiness; there is no wearer, the mask itself is its own entity. The other variation is how the mask is perceived today; a symbol of Mardi Gras, excitement, and fun. It’s full of bright colors, feathers, and beads, as they usually are when worn at masquerades. This raises the question: how long will it be before surgical masks, representative of todays pandemic, can be viewed as a symbol of the past, and maybe even used to poke fun at it, in the same way the plague mask is? Using Bristol paper and string as my primary materials, I sewed together the pieces of the mask to create a sturdy and durable form.

Iterations

Sketches

Iterations One and Two

Production

Material Testing

I didn’t have origami paper in order to make the flowers, so I experimented with white printer paper to see if it had the right amount of give in order to hold the form of the flower. I did not change the color of the paper as to keep continuity with the narrative of my mask as well as keep visual harmony with minimal color and simplicity. Pipe cleaners are used to hold the paper flowers, but to avoid the fuzzy texture of the pipe cleaner they were shaved down to the metal within.

Origami Flower Petals During Testing

Prototyping

I altered a free online template of a stereotypical beaked plague mask, and by altering it I was able to fit the need of my design. Using Bristol and string, I sewed together pieces from the template to test the strength of the string and the flexibility of the paper. After this test I adjusted my template once more, to change the shape of the beak to more closely resemble the traditional length.

Mask Prototype, Side View

By testing different essential oils and how their scents interacted with the paper, I chose eucalyptus and jasmine essential oils. Their strength was ideal, ensuring the smell would linger while the audience viewed our piece to convey the full intended affect.

Final

Full Composition, Right Side View
Full Composition, Left Side View
Detail Photo, Stitching Along Beak
Detail Photo, Origami Flowers
Partner’s Compositions One and Two, Full View
Masks Being Worn
Masks on Display

I thoroughly enjoyed expanding my range of materials, and want to continue to do so. By spreading assorted essential oils onto the petals of the flowers, I am able to make the mask smell like one may have hundreds of years ago, and translated that idea into my final. Stitching and macramé provide sensory elements in the construction as well as add visual texture to contrast the cardstock.  I look forward to incorporating similar tactics in my last two projects.

Link to Portfolio Post

Dynamic Pages: Process

Dynamic Pages

Design 2330 Visualizations SP22

Jorie Capper

For this assignment, we were assigned a partner with whom to create a diptych, chosen for us based off our strengths, weaknesses, and working habits. This diptych would be either a paper mechanism, or a stop motion production with nonobjective paper shapes. As an inspiration for our projects, they must be a representation of an instrumental of our choice. My partner is Alex Cieslinski, and we chose to create a paper mechanism.

Research

We watched various stop motion videos featuring basic shapes and how they interact in time with the music. There are many ways to display visual interaction with music, and this provided us with a wide variety of ideas from which to take inspiration.

We read the article “You’re Not Entitled to Your Opinion,” which gave us perspective on how to work with others in a constructive and efficient way.

Some class time was dedicated to visiting the library, which had many pop up books and other paper mechanisms on display. This gave me inspiration for how to design and create mine.

Paper Mechanisms Found During Research

Exercises

To get to know our partners, we did basic “get to know you” exercises.

Get to Know You Exercises, Sound Interpretation Exercises, Categorization Exercise

We created a basic paper mechanism to practice, and although Alex and I did different mechanisms, it was based off of the same sound of bass vibrations to practice nonobjective representations of sounds.

Paper Mechanism Exercise

Concept Statement

In order to convey the dynamic relationship contained within the instrumental of the song “She” by Harry Styles, we created a diptych of paper mechanisms. The base material is colored card stock, inspired by a square color harmony template. To demonstrate the contrasting but complimentary feelings of the instrumental, newspaper is a shared material, to show the connection between the two lines of music. The underlying bass line is familiar and comfortable, but bustling and constant, while the melody is new and intriguing. When listening to the piece, the imagery of a busy street next to a New York City café fronts in our minds, with both the sounds of the nearby cars as well as the representation of a mysterious subject entering the scene, drawing in our attention. By creating a circular movement with the first paper mechanism, we demonstrate the continuity of the supporting instrumentals. To represent the melody, bright colors and direct, stable shapes are revealed when the background noise “fades away.” The front piece of the diptych opens up to reveal the second piece behind, which protrudes through the open shutter to represent the vibrant personality of the melody. The pieces interact with each other’s space, to further show the close relationship between them, and how one would not be the same without the other; the bass would be repetitive and bland, while alone the melody would be shallow.

Production

Successfully creating the aperture mechanism was very difficult and took a few different tries and designs. At some times the paper was unpredictable within the design, functioning well one moment and getting stuck the next. Precision and patience is key to a dependable paper mechanism.

Paper Iris Shutter Iterations and Prototyping
Background Noise, Bass Representation During Construction

Final

My Half of Design, Aperture Half-Closed
Full Composition, Aperture Closed
Full Composition, Side View
Full Composition, Aperture Open
Partner’s Composition, Front View

Full Composition, During Interaction

Working with paper in this way was invigorating, but hard. I met the challenges happily and am proud to have a working paper iris shutter. Our piece as a whole worked as intended and conveyed the music of our choice well. Nonobjective representation in this way was difficult, but exploring different methods of showing what I saw in my mind was very fascinating. Paper mechanisms as a whole are definitely a concept I will return to in the future, due to their versatility and interactive features.

Link to Portfolio Post

Layering Space: Process

Layering Space

Design 2130 Fundamentals SP22

Jorie Capper

For this assignment, I focused on the use of different layers to convey and emphasize a space within the composition. Using Illustrator and the laser cutter, my goal was to use layers of greyscale card stock to create a layered composition highlighting an idea of my own.

Research

Gestalt principles consist of similarity, continuation, closure, proximity, figure/ground, and symmetry and order. Taking these principles into account help me to create a strong design.

Artistic Influences

Reference Images for Individual Elements
Steven Universe Cartoon Art

Exercises

Vector Initials Exercise

Using Illustrator and the principle of negative space, I used the silhouette of a mermaid intruding upon a letter j to create my initial that conveys my personality. I love the ocean, and the mystic lure of a mermaid fit appropriately into my initial. To continue with the ocean theme, I also created a “C-Shell” by using the negative space in the letter c to portray a classic shell shape without interrupting the core elements of the c shape.

Gestalt Principle Initials
Gestalt Initial Final

 

Concept Statement

Nature is the ever-present force that drives the Earth; it has been here long before humanity began and will continue to exist even after our existence ceases. With layering space, I want to convey my love for nature and its strength. By using a background of the man-made cityscape of Columbus, and a foreground of the forests that it has displaced, I want to show these trees and wildlife will return. The reduced power of nature still stands strong against men’s best efforts to destroy it. Each of my layers consists of multiple pieces of the same color, rather than a single silhouette of the objects featured. Using the principle of unity, I am showing how the separate pieces not only come together to create a single layer, but come to form the entire project as well. This supports my concept as well; although man has created so much that destroys nature, in the end nature will cause the beautifully tragic destruction of the cityscape, and all will return to one once more. The power of nature should never be underestimated. To represent the countless ecosystems harmed by humanity; a lone wolf stands in the woods, a pack animal once surrounded by a strong, healthy family, reduced to howling alone.

Iterations

Digital Iteration One
Digital Iteration Two
Digital Final

Final

Full Composition
Full Composition, Side Angle
Detail Photo, Skyline

I absolutely love the concept of layering, not only digitally but in space. Even when laid flat on paper, layering creates a three dimensional space. Three dimensional space is important to me because it adds physical texture, depth, and spatial relations, as opposed to implied two dimensional texture and depth. Interaction with a design is very beneficial to me, as it provides me with a sensory experience beyond just sight. I would love to not only experiment with this again, but to implement layering into other designs in the future.

Link to Portfolio Post

Sketchbook: Process

Sketchbook

Design 2330 Visualizations SP22

Jorie Capper

The objectives for this project include showing proficiency with the laser cutter, and successfully constructing my own sketchbook that is both functional and shows personality. I was encouraged to explore different techniques and ideas, as well as new materials. By using materials with intention, I am able to create a sketchbook that is multifunctional and useful.

Research

By reading a chapter on sketching and watching a TEDTalk on doodling, I learned the science behind and importance of sketching. I practiced mind mapping, answering prompts provided in class. As a class, we each created a collaborative mind map, taking 30 seconds to add onto a drawn or written prompt, before passing it on to the next person. Each map was very unique, from creating sketched out stories to answering and debating simple questions. Being open to others’ ideas and quickly adding to them improves my collaborative brainstorming abilities.

Exercises

I created a mini sketchbook, inspired by the same prompts as before. Using a mind map, I filled my book with answers to the prompt “what do you find at the end of a rainbow?” To fully dive into the idea, I decided to shape my mini sketchbook into an arch, and color it as a rainbow. Staples are used to strengthen the binding while maintaining the intended shape.

Mini Sketchbook Exercise

Iterations

I had a wide variety of materials I wanted to include in my sketchbook, not all of which were included but all were explored. I wanted to include sandpaper in order to sharpen my pencil when I’m traveling, as well as a cutting mat for portability. I also experimented with what art that would be on the front cover. I appreciate the aesthetic of wood and etching onto its surface, so I played with different images inspired by a mind map I made about my own personality.

Sketchbook Ideas

Sketchbook Cover Mind Map

Pencil Box

The pencil box that is my “hidden surprise” for the project initially had the template as seen below, but due to the size of the binding that I didn’t initially account for, I had to cut it to be shorter using the laser cutter. I continually am reminded in my work to think of all aspects of a project when designing, and have practice in adapting when the mistake of missing an aspect is made.

Pencil Box Template
Front Cover Binding Template
Paper Binding Template

Back Cover

On my back cover, I included a poem that I wrote when I was younger, that I think still reflects the aspects of my personality that I am conveying through my cover art. I rostered it into the wood to be complimentary to the rostered image on the cover, as well as compliment the ideas from the contents of the poem.

Back Cover Digital Design

Front Cover

My front cover consists of a collage of a few images I picked from an online search. I took each image and image traced it, combining it with the others. As a sailor, I wanted to include my love of boats, as well as my love of nature as a whole, both ocean and mountains. This image invokes peace for me, so I see it fitting to be a cover for a personal sketchbook that I will be spending a lot of time on.

Front Cover Digital Design

Production

I experimented with veneer for a good amount of my production time. The difficulties of combining it to the cover in a consistent way was very educational, and improved my knowledge of crafting with wood and veneer. Although I didn’t use this in my final, experimenting with the different materials and how to fuse them together was a great experience. It strengthened my patience and willingness to try new things, and even if they may not be beneficial to the end result of this project, the skills and knowledge are useful for future projects.

Final

Front Cover, Sketchbook Closed
Back Cover, Sketchbook Closed
Pencil Box (Hidden Surprise)
Sandpaper Edges Holding Trace Paper
Detail Shot of Boat, Front Cover
Detail Shot of Mountains, Front Cover

I definitely went outside my comfort zone for this project, and I look forward to improving my craft in future projects as well as learning proper foiling techniques. When designing the initial dimensions, I will be sure to remember to keep in mind the limitations of different materials and how they will interact with each other in this context; for example, including less pages and omitting my idea of a cutting mat due to the size of the binding.

Link to Portfolio Post

Mash-Up: Process

Mash Up

Design 2130 Visualizations AU21

Jorie Capper

In this project, I created a new word by combining two related words, and gave it my own definition. Using Illustrator, I created the word in isometric view and created a graphic that incorporates the word into the illustration itself, as well as the definition, in order to improve my communication and skills in Illustrator.

Research

I looked into how to create isometric text in Illustrator, and how to properly use the Extrude and Bevel command to my advantage. I also listened to a podcast on mash ups, and how they are prominent in so many aspects of life, in addition to design.

Exercises

I spent a good amount of time practicing combining words and giving them relevant definitions. I did not use a word from these exercises, but it opened my mind to how to effectively combine two words.

Word Mash Up Exercise One
Word Mash Up Exercise Two

Iterations

Although I didn’t really stray from my original idea of how to portray my definition, I did go through multiple different ways to create the textures that I wanted, primarily in the water of my illustration. I tried many different types of brush strokes and effects, as well as watched tutorials on how to create wave-like texture.

Final

In the future, I want to try a different style of approach, as well as use more color variation for emphasis and depth. With more details, I think I could portray movement more than I already am, which would be beneficial to the composition.

Link to Portfolio Post

Pattern, Activating Form, and Color Studies: Process

Pattern and Activating Form

Design 2110 Fundamentals AU21

Jorie Capper

Throughout this project, I focused on observing and recreating patterns, both through their lines and their values. By combining those patterns, I was able to create my own mandala.

Research

I spent part of class time exploring outside and taking pictures of any patterns I found, ten man-made and ten from nature. I applied my slow looking tactics that I refined in my Observation and Communication project and captured the most interesting ones I could find.

 Exercises

Taking the patterns I found during research, I created two grids, one for natural and one for man-made patterns, and used them to explore the different aspects of each of the patterns.

Man-Made Patterns Exercise
Natural Patterns Exercise

Iterations

I first experimented with the patterns and their combinations, as well as different radial grids for the base of the mandala.

Iterations One Through Seven

I then realized I wanted to use a simple radial grid, and began to combine the patterns from the sewer grate, the nautilus, the bricks, the plane engine, and the windows.

Final

Final Greyscale Mandala

jorie_capper_A4

Color Studies

After creating a greyscale mandala, we shifted our focus to explore how color influences the work, and how they interact with each other.

Research

I learned about the different relationships in color, and how to define those relationships on a color wheel.

Exercises

I experimented with the Color Guide in Illustrator in order to create multiple color palettes, mainly ones consisting of analogous and complimentary colors. I wanted to use analogous colors in order to emphasis the principle I was activating; harmony. Then, by using complimentary colors I realized I could juxtapose the patterns against each other, bringing attention to how with one color palette a pattern can be harmonious, while with another it can be more contrasting.

Analogous Color Palette
Split Complementary Color Palette
Analogous Color Palette 

Iterations

My analogous color scheme was inspired by the nautilus shell, the object from which I obtained the spiral pattern. I felt the colors to be very tranquil and flowing, just like a peaceful beach at which you would find the shell in the first place. With soft blues, pinks, and greys, I feel my mandala accurately depicts what I envision when I imagine an environment in relation to a shell.

Finals

Analogous Mandala Final
Final Split Complementary Mandala

Link to Portfolio Post

Space and Time Walk: Process

Space and Time Walk

Design 2130 Visualizations AU21

Jorie Capper

In this project, I communicate a path of my choice, starting from Hayes Hall, through observing and effectively conveying which landmarks I passed, and what I experienced on my walk. My goal is to not only demonstrate my ability to recreate what I saw, but also represent what I felt. Using hierarchy, emphasis, and creative expression I created a map that is both easy to understand and evokes a sensorial response from the viewer.

Research

Slow Looking

I read a chapter from the book Slow Looking, which discussed the importance of taking a step back and really taking time to see what you’re looking at. The author provided different categories with which to implement slow looking, including focusing on only color, or only sounds, narrowing your focus to hone in on the small details of one category before moving onto the next. I used these techniques while walking my path from Hayes Hall to Mirror Lake, observing all that I could.

  • Sounds from my walk
    • Plane overhead
    • People talking
    • Lawn mower roaring
    • Fountain splashing
    • Leaves rustling
  • Sights from my walk
    • Hammocks in the trees
    • People sitting on the lawn of the Oval
    • Bikers whizzing past
    • Water rippling
    • Lots of different types of trees
  • Smells from my walk
    • Leaves
    • Flowers
    • Food coming from Mirror Lake Eatery
  • Feelings from my walk
    • Sun warming my skin
    • Wind blowing my hair

On my walk, I took many photos of landmarks significant to me to refer to throughout the project.

Exercises

Haiku

I returned to Mirror Lake for a short period of time to sketch my view of the lake. I also wrote a haiku, to convey what my other senses were experiencing, aside from sight.

“Warm sun, rippling lake // Fresh smell of flowers smothers // Water crashing down”

Mirror Lake Sketch With Haiku Exercise

The entire class compiled their sketches and poems onto a large map layout of the Oval, creating a group collage representing each of our chosen destinations.

Class Oval Collage Exercise

Collage

By creating a collage of the photos that I captured on my slow looking walk, I am able to better convey my experience. I show the general path by arranging the photos in a fashion that fill the space, but waterfall down from start to end point in the order in which I came across each scene. Encouraged to provide more contrast and layering, I added to my collage with newly introduced techniques, such as transferring an image with tape from one surface to another.

Collage Exercise and Collage Final

Depth Sketches

Methods of shading such as stippling and crosshatching are used to show greater depth, but it is important to be aware of how each method interacts with different textures of paper. I practiced using shading to create realistic shadows cast from a single light source, and how light interacts with the shape on which it is cast. In order to convey depth, I followed the contour of the shapes with shading.

Depth Shading Exercise

Shape studies, focusing on how to identify and relay shapes, is very useful both digitally and analogous, and I employed this practice to more accurately draw the whole form of a deciduous tree.

Shape Studies Exercise

Production

Iterations

Taking placement inspiration from my collage, I began iterating on the most effective way to portray my path from Hayes Hall to Mirror Lake. To bring attention to the landmarks I noticed along the way, and the starting point and destination, I used scale to emphasize the importance of those points, as well as perspective to display hierarchy; my start and destination points are in perspective while everything else lays flat, whether that is from a top view or a side view.

Iteration One of Full Map

To lessen the visual noise of my map I used stencils to replicate patches of trees and bushes, adding texture without so much variation that it drew from the main points of the map.

Once I had my vision down on paper, I used Sketchbook to digitally trace the more detailed parts of my map for accuracy, such as Hayes Hall and the Oval paths, resulting in a digital draft of my final.

Digital Iteration of Full Map

I printed out my digital map and used the light table to trace it onto a piece of Bristol paper that I had gone over with a light wash of yellow paint. The warm yellow tones cast across my whole map represent the warmth of the sun that I had felt on the walk. Varying line weights further emphasize the most important subjects of my map, such as Hayes Hall, my legend, and the pinpoints marking landmarks. Additionally, simple hatching gives depth to my trees and buildings without distracting from the path.

As well as showing the warmth of the sunlight, I included an olfactory sense into my map as well. When I walk to Mirror Lake, it’s usually to do homework and grab a vanilla milkshake, so I painted my path in dots of vanilla extract so the viewer could have further insight to why I chose this path, as well as enjoy the sweet smell of vanilla when using my map.

Final

Full Composition of Final
Detail Photo of Hayes Hall on Map
Detail Photo of Legend on Map

From this project, I explored thinking in different ways about how to execute my ideas and how to use size and line weight to convey hierarchy. In the future, I will further explore detailing, stenciling, and shading, and how each of those strategies can help me communicate more effectively.

Link to Portfolio Post

2D to 3D Translation: Process

2D to 3D Translation

Design 2110 Fundamentals AU21

Jorie Capper

Understanding the translation between two dimensional plans to three dimensional objects offers many benefits, such as spatial awareness.

Research

I learned about isometric and orthographic views, and the benefits of using them when designing a net for a 3D form. Additionally, I familiarized myself with the terminology surrounding 2D to 3D explorations.

Exercises

I created a perfect cube from a provided net, focusing on precision in measurements and used scoring to ensure crisp folds at the edges. After getting a feel for 2D to 3D translation, I created my own net for a trapezoidal prism in order to learn how to view a completed form, and mentally deconstruct it in order to visualize its origins. Using that net, I created my trapezoidal prism.

Cube Exercise
Cube and Trapezoidal Prism Nets
Trapezoidal Prism Exercise

I then made an isometric view of both the cube and the trapezoidal prism, as well as trying an orthographic view of the trapezoidal prism.

Isometric Views of Cube and Trapezoidal Prism
Orthographic View of Trapezoidal Prism

Iterations

Iteration One
Iteration Two
Iteration Three
Iteration Four
Iteration Five

 Production

I chose negative space as my principle to invoke with this project, although I do have many iterations including illusion as well. I wanted to communicate the impact that negative space has on an object, and bring that from 2d into 3d emphasizes this, as you can see through the space rather than seeing the implied empty space.

I chose my final shape and created many mock ups of the template and 3d form, in order to determine which proportions would correctly execute my vision. I created a final template to use to create my shape, and glued together my shape from Bristol paper.

Final Prototype

Final

Final Composition
Final Composition Net

Link to Portfolio Project