Author: celestina.9

Research:

The first step I took in the research stage, after ensuring that I understood the assignment prompt, was to research different design quotes to use.  The different quotes I gathered are shown below.

• • “Every great design begins with an even better story” ~Lorinda Mamo
  • “Good design is a child of the past as well as the future.” ~Elena Miller
  • “Design can be art. Design can be aesthetics. Design is so simple, that’s why it’s so complicated.” ~Paul Rand
  • “If you think good design is expensive, you should look at the cost of bad design.” ~Ralf Speth
  • “Design is thinking made visual” ~Saul Bass
  • “Good design is obvious.  Great design is transparent.” ~Joe Sparano
  • “Art is not what you see, but what you make others see.” ~Edgar Degas

Exercise 1: Best Gift

For the best gift exercise, we were instructed to compile a list of the best gifts we have received, and the reasons that made them the best.  My iteration of this exercise can be found in A3 – Gifting Design – Exercise 1

Exercise 2: Container

For the container exercise, we were instructed to wrap one of our supplies in a container.  The utensil I chose was a pair of scissors.

The next step in the research process I took was to learn more about my mentor.  To do this, I put together a list of questions that I felt would give me a general understanding of her personality and who she is.  The questions I asked her can be found in Getting to Know My Mentor.  I chose not to include the completed version of this document, as I felt it was not my information to disclose.  The items I used from this document, however, are contained later in this process.

Now that I understood her personality and past better, I decided to start brainstorming different ideas with the research I collected.  My initial brainstorming ideas resulted in four possible gifts: cookie cutters for baking, a complex board game, such as the Game of Life, or Monopoly, something resembling her home town, and a simplified board game, similar to Candyland.  My initial sketches are shown below.

When sketching initial ideas, I realized that I the questions I asked my mentor did not allow me to fully understand her and her interests.  I knew that I wanted to work with one of our common interests, so the board game ideas stood out among the rest.  With this in mind, I decided to compile another list of questions to ask her, which can be found in Getting to Know My Mentor – 2.  For this file, I included her answers to my questions, as the information wasn’t confidential or too important.

Jodi’s responses to my questions (specifically the emotional or logical thinking) helped push me in the route of creating a ‘Candyland’-like board game that included her favorite and most memorable spots on campus.  From the questions I asked, I inferred that her most impactful spots on campus were: Baker West (freshman year dorm), Kennedy Commons (favorite and most visited dining hall), Thompson Library (favorite spot to study), Orton Hall (this was her destination for the map project she did in foundations), and Hayes Hall (her ‘home’ now).

During the iteration phase, my TA, Mae, was making her rounds through the class, checking on everyone’s progress.  I told her about the board game idea, and the problem I was having, specifically with regard to opening and closing the board on hinges.  I could not figure out how to make hinges with the three material I chose, so I asked her if she had any solutions or ideas around it.  She told me about a technique for bending wood simply by laser cutting a specific pattern in it.  This technique is called kerf bending.  I used researchgate.net to find a research article with many different kerf bending patterns and each one’s malleability.

Iterations:

With the general idea for the gift being a board game, I decided to start sketching more visuals. I made two possible layouts for the board that were a proportional scale of 1:1: one horizontal, one vertical.  The initial dimensions for the game were 12 by 24 inches.  The sketches that I developed are shown below.

When examining these two board layouts, I noticed that I liked the vertical layout (Iteration 2) better.  I chose this one due to the less compressed nature of the building spots, along with the fact that the surface area for the hinge would be minimized.  However, I noticed that the dimensions of the game confined it, and made it look clustered.  I decided to change the dimensions to 16 by 28 inches.

With new dimensions for the box, I sketched out another layout, of which I was much happier about.  This sketch is shown below.

I realized that the box hinge would pose a problem if I didn’t test it early in the iteration phase, so I started sketching ways to make it.  I originally planned on using hollow wooden dowels, cutting them down to 2 inch measurements, and running a smaller dowel through the precut holes, allowing the exterior parts to rotate.  However, when testing this idea, I quickly ran into problems, as I couldn’t get ahold of a small enough dowel to use as the axis.  During class, when my TA Mae was checking everyone’s progress, I ran this problem past her.  She told me to research ‘flexible laser cut patters’, which I later found out was ‘kerf bending’.  I did some research on this topic, which is included in the ‘Research’ section.

Having learned quite a bit about kerf bending, I created four different patterns to test on the 5 millimeter wooden board I bought at Home Depot.  The results of the test weren’t what I had hoped, as the 5 mm board was too thick to bend.  The patterns allowed it to bend more than it did prior to the cuts, and some were more malleable than others.  The four patterns I tested are shown below.

In the picture shown above, the two patterns on the outside were the only two that proved useful, as they were the only two that improved the malleability of the board.  As shown in the picture, each test snapped at a certain point, which left me a bit worried.  Zach Sanderson, at the Innovation Studio, helped me laser cut the two patterns from this test on another board, this time it was 3 millimeter thin balsam wood.  This test worked perfectly, as both patterns could bend past the point I needed them to.  The second kerf bending test is shown below.

I started mapping out the box design for the gift, specifically the enclosed section that the game will sit on and that the kerf bending hinge would need to follow.  I did this by mimicking the rectangular shape of the bottom of the board, incorporating cross hatch patterns, then designing walls that would fit into those patterns.  The result from this test is shown below.

With this test, I noticed that I didn’t leave enough room for the kerf bending to close around the circular side.  In order to fix this, I adjusted the surface area that I used for the arch.  Similarly, I calculated that I wanted the surface area of the kerf to be 6 inches by 16 (as it is one of the dimensions of the board), so I shortened the box length to be 11 inches.  This test also showed me that the cross hatch pattern I used to hold the boards together was too frequent.   Instead of the entire bottom of each piece being a cross hatched, puzzle pattern, I used it sporadically, just enough for the stability aspect.

The next step I needed to take was to design the buildings for the game.  As stated earlier, I knew which buildings I needed to include: Baker-West, Kennedy Commons, Thompson Library, Orton Hall, and Hayes Hall.  I gathered reference images for most of the buildings, and simplified a previous drawing of Hayes Hall. The sketches I drew for each building are shown below.

Then, I moved my sketches into an illustrator file, and simplified the lines and forms.  I also added in my mentor’s foundations project to use as the character icons. An image of the illustrator file I created is shown below.

The final step in the iteration process that I took was figuring out how to make the spinning movement indicator.  Like most games, I wanted to have a color wheel that indicates the next space the player moves their icon to, but I wasn’t sure how to make it.  My initial idea was to have a circular disc that sat on top of the point of a toothpick (this way, I would stick to the three materials I laid out). However, when quickly testing this, I noticed the tip of the toothpick would not allow for the stability I needed, and resulted in the spinning movement indicator being off balance.  I needed a solution that had the most surface area in contact with the mechanism.  I remembered back to the days that I watched the DIY channel with my dad.  There was an instance where I saw someone mix sawdust and wood glue to make their own plaster, which dried and held its shape well.  I tried this method out, using left over sawdust from other projects to mix with the wood glue.  When well combined, I made a nub for the circular mechanism to rest on.  When testing this, I noticed it worked great, only occasionally falling off the designated path.

Concept Statement:

For the Gifting Design project, my mentor is a senior studying Visual Communications Design.  The quote I chose for the gift is by Elena Miller, and says, “Good design is a child of the past as well as the future.”  As my mentor and I share a common interest in board games, I decide to base the gift off the simple and popular board game Candyland, changing the layout, movement indicators, and buildings. I want it to inspire feelings of reflection and fond memories from her time at Ohio State, so I use the elements of line and shape to convey buildings and landmarks that hold sentimental value to her, along with the element of proportion to ensure that these sentimental aspects are apparent above the rest of the game.  To further instill a sense of memory and reflection, I base the character icons off her projects she submitted when she was in the Design Foundations Program, again focusing on line, shape, and proportion.  My intent for the box it to contain the board game within it and having the two attached, so the box opens into the board.  Rather than having two halves of the board that separate, I work with different methods of kerf bending to make the wooden brace of the box malleable.  In order to precisely cut out all the pieces for the game and box, along with the kerf bent hinge, I utilize the laser cutter.  I limited myself to using wood and glue to create the shell for the gift, along with the game board and buildings, as it is the most durable and cost-effective material I had available.  I also use pigment to detail the movement indicators.

Production:

The first step in the production process that I took was to laser cut all my pieces.  I had to use the laser in two passes on the 5 mm. board: one to cut through, and one to etch the top patterns.  Once all the pieces were cut from that board, I laser cut the kerf bending pattern into the 16×28 inch balsam board.  Once each of the pieces were cut out, I laid them out on each other to ensure that they matched.

Once I was sure that the board fit together nicely, I disassembled it, and started sanding each piece.  I first used 120 grit sandpaper, then moved to 220 sandpaper to give the wood a smoother texture.  After I removed all the burn marks from the laser cutter, I used a tack cloth to remove all the sawdust and remaining soot.  With the initial sanding completed, and the pieces cleaned up, I started staining each part of the board.  I used a lighter pigment stain to bring out the wood grain, while still showing the etched pattern on the board.  The stain made the two different kinds of wood look like they were the same.

While the stain was drying, I shifted my focus to the game trail, which still needed to be painted.  I bought acrylic paint from Blick, and started mapping out the number of colors I would use for the trail, and the order they went in.  The final color order I chose was: Red, Yellow, Blue, Orange, Green, and Purple.  With the help of my roommate, I started painting the trails and circular movement indicator, then moved on to painting each increment of the bridge with the corresponding color and order.

Once the stained pieces and painted trail dried, I used 220 grit sandpaper and a tack cloth, once more, to ensure a smooth finish.  I, then, started assembling each piece, starting by gluing the trail to the backing board, then putting up the walls that the kerf bending would form to.  This process took a bit longer than I thought, as each glued section needed half an hour to dry before attaching it to a larger section.  Once both of the interior boxes were glued and dry, I attached them to both sides of the balsam wood with the kerf bending pattern in it.

One aspect that I did not account for was the kerf bending brace, when both interior boxes were together.  I did not factor in the 3mm thickness of the balsam wood, and just accounted for it being a planar material with no thickness, like paper.  As the board was already glued together, I couldn’t disassemble it, so I needed another solution to slowly shave parts of the arch away.  Initially, I used a Dremel with a sanding attachment to shave away material, but it took too long, and wore the attachment down.  I reached out to the Innovation Studio, hoping they had a belt sander I could use, but the only sanding equipment they had was a circular sander.  I decided to carefully remove the balsam wood, and secure the interior boxes of the board together, and slowly (and carefully) sand away material from the arch.

This worked better than I thought it would, and the only problem that arose was that the sanded arch no longer had the black char from where it was cut from the laser.  In order to match the rest of the pieces, I used some black paint to go over where I sanded.

With the arch being the right size for the kerf bending to form to, the box opened and closed flawlessly.  After I was happy with the final product, I took it back into the Innovation Studio to get the cover design and quote etched on the top.

The final images for the project are included below.

I am pleased with the work that I put into this assignment.  I did many more tests and iterations for it, and I think it showed in the final product.  I am also happy with my detailing of the project process, as I took many more pictures of the different aspects that I was testing.  If I were to work more on this project, I would have given myself more time to play with the scaling of the buildings in regard to the rest of the board.  I would also adjust the individual character icons, decreasing their base, while increasing the width of the game trail, so more than one piece can sit on each tile.  Another aspect that I would change would be the wood that I used for the interior shell and board.  When laser cutting and sanding, I noticed the fill layer between the two exterior layers of the 5 mm. board was falling apart.  I did my best to seal the cracks and openings with the sawdust and glue mixture, but I would have liked to use a more durable wood.

Link to Portfolio Project:

View the Gifting Design Project at Gifting Design.

Research:

After thoroughly reading through the assignment brief, my group began researching the different pieces used in chess.  The results of our research are shown below:

1. 1. King
      1. Most important piece.  The objective of chess is to capture the other person’s king.
      2. A slow moving piece
      3. Only one per team
   2. Queen
      1. The most dynamic piece.  It is the king’s final line of defense.
      2. Can move in 8 directions; the ‘strongest’ piece
      3. Only one per team
   3. Bishop
      1. Can move on a diagonal, unless blocked by another piece
      2. 2 pieces per team
      3. Recognizable by the diagonal slit in the top of the piece
   4. Knight
      1. Moves in an ‘L’ Shape pattern
      2. Only piece that can ‘jump’ over other pieces
      3. 2 pieces per team
      4. Recognizable by the ‘L’ Shape structure
   5. Rook
      1. Only moves straight in the vertical, or horizontal direction
      2. 2 pieces per team
      3. Recognizable as a tower figure, demonstrating the straight movements
   6. Pawn
      1. The first line of defense.
      2. It can only move 1-2 spaces per turn, and can only move straight unless capturing an enemy on a diagonal
      3. 8 pieces per team
      4. Recognizable as the smallest and most plentiful pieces

Source: https://www.chess.com/

We began thinking of ideas, either conflicting or related, that we could use for each side of the three person board.  We did this to get as many ideas down as possible, so we had a large list to chose from for the final.  The list we created is as follows:

• • Elemental dominance
    • For example: Grass, Fire, and water
  • Abstractions
    • Similar to Mondrian
  • Medieval
    • Dragons, Elves, Trolls, Orcs
  • Royalty based off different countries, cultures, and status
    • For example: Ancient Egypt, and its caste system
  • Heaven, Hell, and Earth
    • Modern Christianity approach
  • Games
    • Mario, Legend of Zelda, Pokemon
  • Thunderstorm
    • Thunder, Lightning, and Rain
  • Politics
    • Democrats, Republican, Green
  • Food
    • Breakfast, Lunch, Dinner
  • Geometric Abstractions
    • Squares, Circles, Triangles
  • Time
    • 70’s, 80’s, 90’s
  • Music
    • Each person choose their favorite music genre
    • Mimics how everyone is pushing their own music tastes on others, and feels that their taste is superior
  • Emotions
    • Anger, Happiness, Sadness
  • Superheroes
    • DC vs. Marvel vs. Invincible
  • Science Fiction

With this multitude of ideas written down, my group decided to choose two ideas to work with, one primary, and one as a back up.  The two ideas we chose to work with were:

1. 1. Lightning, Thunder, and Rain
   2. Heaven, Hell, and Earth

We decided to create a mind map of the first idea, as it would help us come up with ideas and ways to convey each aspect of a thunderstorm.  The mind maps for each word are shown below.

During class, after we completed the mind maps, my group worked to create an object using slip joints.  As we did not have our final ideas formalized enough to work with the lightning, thunder, and rain idea, we created a tree.  Emily and I created the side view pieces, and Zoey created the top view pieces.  The test form we made is shown below.

With the general ideas, mind map, and test slice form completed, my group divided the sides of the chess board, and chose which theme each person was going to use.  I chose to work with thunder, as I had an idea to use sound waves to convey the sound of thunder. Zoey chose to work with rain, as she had different abstraction that conveyed the feeling and tough of rain, and Emily chose lightning, as she could convey the flashing/light aspect of it.

Iterations:

With the different sides of the chess board split between the group members, I could start working to ideate the feeling of thunder.  I had the idea to work with sound waves, adjusting the frequency and height for each piece. Similarly, I wanted to distinguish which pieces could move in a more fluent manor, as opposed to those moving one or two spaces per turn.  To do this, I made the slower pieces (King and Pawns) with sharp edges, and the more rapid moving pieces (Queen, Knight, Rook, and Bishop) with curved edges that lead into each other.  With these principles in mind, I worked to create sketches for each piece.

I realized that I needed to test a couple of these pieces if I wanted to get them laser cut, so I made a basic chess piece (similar to the sketch of the rook).  I needed to test the tolerance for the slip joint to ensure that the profile view and front view fit together; in addition to this, I needed to find a height for the royal pieces and pawns that fit the proportions of the three-person board.  The initial test for the pieces are shown below.

This test showed me many flaws with my design.  The most important result was the inaccuracy of my tolerances for the slip joints.  As the wooden board I was using was 5 millimeters thin, I made the tolerance 5 mm.  I did not take into account the extra room that the laser would need to burn away material.  The joints for this test were too loose, and caused the two pieces to wiggle when put together.  One positive result from this test was the height of the pieces; I cut out 2 of each piece, changing the height to 3.5 in. and 4.5 in, respectively.  I found that the royal pieces would be most stable and apparent if they were 4 in. tall.  I adjusted the height and tolerances once more to create a stronger piece that fit together better.  The resulting piece is as follows.

With this new test, I noticed that the tolerances were still off a bit.  While the piece fit together much more snug than the last test, there was still a bit of wiggle room.  Aside from that aspect, I was happy with this test-the height was strong, and the base circle piece fit perfectly with the bottom tolerances.  As time was winding down, and the laser cutter availability was running low, I decided to start making the illustrator file for the rest of the pieces so I could cut them.

I initially tried to cut the pieces out at the laser cutter in Hopkins Hall, as I figured the bed size was perfect for the board I needed cut.  When cutting out the file, which I did with Zach, I tested the different speeds and laser strengths.  Once I had levels that cut through the board, I ran the file through the laser.  When I removed the board from the laser cutter, I noticed that the cuts did not go all the way through the board, even though the test did.  I attempted to sand the back of the wooden board so I could find how far the laser cut through.  To my surprise and dismay, the laser cut through different thicknesses of the board.  Rather than risk losing more materials, I went to the laser cutter in Pomerene Hall.

The laser located in Pomerene Hall worked perfectly- the chess pieces cut through the board, and came out clean, with no fray marks.  I took these home and organized them based on the different piece and where the slip joint was cut from.

 

Concept Statement:

With the checkmate project, my group focused on the components of a storm: thunder, lightning, and rain.  Each component corresponds to a bodily sense; for instance, thunder-sound; lightning-sight, and rain-touch.  As my side of the board centered around thunder, I made abstractions based off the movement of sound waves.  I worked with the element of line, creating hard corners, and rounded edges.  This indicates the movement of the specific pieces: hard cornered pieces move slower and more stagnant, whereas the smoothed indicate swift and further movements.  I utilized the principle of proportion, making the royal pieces taller, and the pawns shorter.  The element of color was important to this concept, as sound waves are not visible.  I used a stain with a very dark pigment to conceal the pieces, while still giving a rustic, grain-like texture.

Production:

After getting all the pieces laser cut, and ensuring that the edges were cut out clean, I attempted to assemble the pieces before I painted them, to make sure that they all fit together nicely.  When assembling the side and profile views, I noticed that the side tolerances for the slip joints fit well, but the top of the slit hindered it from fitting flush.  I tried to assemble the other pieces, but they had the same problem.

As I couldn’t recut the pieces because the laser cutter was booked, I tried to adjust it by hand, working with a Dremel and precision sanding attachment to slightly increase the tolerance.  I first tested this method of slowly sanding parts away on the pawns, as I had an extra one if something broke.  The first attachment I used was a rounded course stone, which proved to be too big, and would not fit in the slit.  It also destroyed the slit of the extra pawns that I made, which meant that I had no extra pieces to test on.  Rather than using sanding attachments, I switched to engraving attachments, as they were more precise and allowed me to adjust the corners of the slip joints.  This proved beneficial, as the slip joint was the perfect size for a flush connection.  After adjusting the pawns, I moved on to the other pieces, again, slowly increasing the vertical tolerances.

With the pieces fitting flush, I sanded the exterior faces, and the sides that the laser burned, ensuring that no soot remained.  I first used 120 grit sandpaper, then moved on to 220 to give the pieces a nicer finish and feel.  Once the texture of the pieces was to my liking, I cleaned off each piece with tack cloth, removing the remaining soot and sawdust.  I then moved onto staining each piece.  I chose a dark ebony stain to bring out the grain of the wood, and to also mimic the invisible nature of sound waves.  After staining the pieces, however, I noticed that the pigment was too dark, and that the wood grain was not visible.  The pieces looked as they do below.

In order to better see the wood grain and structure of the chess pieces, I decided to disassemble them and, once more, sand them with 220 grit sandpaper.  This greatly improved the appearance of the pieces.  Once I was happy with the depth of the stain, I worked to assemble to chess pieces, fitting the slip joints of the side and profile views together, then adhering the bottom, locking piece to the perpendicular slip joint pieces.  Once the glue dried, I adhered the structure to the bottom disk for stability. The final pieces are shown below.

Each individual piece is shown below.

 

 

 

 

 

Link to Portfolio Project:

View the Checkmate Project at Checkmate.

Research:

The first step I took in the research process occurred during class, where I learned the different parts to music, and brainstormed ways that I could use the different design elements to demonstrate these parts.  The different aspects to music, or sounds in general, as outlined in class, are listed below.

• • Rhythm
  • Pitch
  • Tempo
  • Volume
  • Tone/Timbre

In order to demonstrate those categories and help the class understand the project, Zach introduced an activity to the class in which he played a number of different songs without revealing the name or place they came from.  The class would listen to each song twice, then Zach would start a short timer during which the class drew how they visualized the music.  The different sketches that I drew are detailed in In-Class Activity Sketches.

After this activity, my partner, Jiacheng Zhang, and I felt that we were ready to start picking music.  We decided to each pick at least five songs.  The compiled list is as follows.

• • Somewhere Over the Rainbow, by Thomas Kassler
  • Imagine, by Edy Hafler
  • Whiplash, by Hank Levy
  • El Michels Affair – C.R.E.A.M., by El Michels Affair
  • Hung Over, by the Martinis
  • Things are Changing, by Papa Don McMinn
  • First Class, by Henry Jackson
  • Down, by Marian Hill
  • The Antagonist, by mabanua
  • Determination, by mabanua
  • The Theme of Liu (Slow), by mabanua
  • Megalobox (The theme of Megalobox), by mabanua

We both listened to each other’s song suggestions and agreed to narrow the list to two songs.  From my list, Jiacheng selected Hung Over, by the Martinis, and Whiplash, by Hank Levy.  I selected two songs by mabanua from his list: Determination, and the Theme of Liu (Slow).

After having a general idea of the music we would use for this project, I began researching how to make different pop up mechanisms.  Zach provided the class with many different links, which I have included below.

Links: cutfoldtemplates.com – Many different pop up mechanism examples, without instructions
www.youtube.com – The Pop-Up Channel, contains detailed step by step instructions how to make mechanisms

When initially browsing through cutfoldtemplates.com, there were three mechanisms that I was interested in:

• • 360 Degree Rotary Reveal Dissolve – uses four parts: two circle pieces (one larger than the other), an axel, and a handle
  • Paper Rotary Relief -uses four parts: square top cover with blinds cut out, a circle piece, an axel, and a handle
  • Traditional Venetian Blinds Dissolve Effect- uses three main parts: top cover, inside sliding panel, and a handle.  There are many different windows glued inside the panel and top cover.
    • https://www.youtube.com/watch?v=kC6_mBdrMaE

After I determined which mechanisms interested me, I started looking for reference images that show how to depict music abstractly.  The purpose of these images was to show the many different routes and feelings I could depict in my work.  The reference images, and their sources, can be found in Reference Images for Visualizing Music.

Iterations:

Prior to the iteration stage of the project, the song possibilities had been reduced to four options: Determination, by mabanua; the Theme of Liu (Slow), by mabanua; Hung Over, by the Martinis; and Whiplash, by Hank Levy.  Rather than just blindly picking a song from this list, we agreed to sketch ideas, feelings, and notes about each.  My sketches are shown below.

Upon reviewing these sketches with Jiacheng, we both agreed that perhaps it would be best to explore more abstract ideas for the music.  We also agreed to narrow the music choice to one song: Determination, by mabanua.  With the song finalized, I was able to sketch more iterations for the movement and feelings within the music.  The iterations I drew are shown below.

Each iteration I drew has its own purpose and focal point.  The first is meant to break down the music into four different parts, or feelings.  The second iteration demonstrates the intensity and volume that the music reaches, while the third exaggerates the underlying beat of the song.  The next class, when comparing my sketches and ideas with Jiacheng, I got a better understanding of his approach to the project.  He wanted to use one complex pop up mechanism to convey the overall feeling of Determination.  After hearing this, I felt that iteration 1 worked with his idea and complimented it well.

I started working to detail my iteration, ensuring that all the moving parts and mechanisms would operate as planned.  To do this, I layered each mechanism, putting the two rotational mechanisms on top, followed by the four string tabs, and finally, the decibel indicator.  The detailed plans for each mechanism are shown below.

Mechanism 1: Decibel Indicator

This mechanism indicates the changing volume of the music.  As the volume increases, the mechanism expands outwards; as the volume softens, the tabs retract.  This mechanism is controlled by pulling two strings on opposite sides of the paper; as there are two pairs of opposite strings, the mechanism has a full range of control.  I decided to use a combination of green and red to further this mechanism.

Mechanism 2: String Pull Tab

This mechanism indicates the underlying drum beat that occurs throughout Determination.  I wanted to have four of them in the piece, spacing two mechanisms on two opposite corners.  I had many iterations for this part, the first being about an inch thick.  It relied on a folded piece of paper sitting in a deep box, operated by pulling a handle.  I decided against this method, as it would add about a half inch to the depth.  After more testing, I came to a method that I liked; it relied on pulling strings on opposite ends of the frame, similar to the decibel mechanism, to simulate the drum beat.  I felt that having flashes of yellow in the grate cutouts would best demonstrate this feeling.

Mechanism 3: Rotary Mechanism

This mechanism indicates the keyboard sound that occurs throughout the song; it has somewhat of a ‘scale-up’ feeling, which I thought best to represent with circular movement.  Testing this mechanism proved beneficial, as I initially wanted to include two colors that spin in opposite directions.  After a couple tries, I realized that this mechanism would have a similar flaw as the string pull tabs: it would make the piece too thick.  Moreover, the bottom rotary handle would interfere with the strings from the other mechanisms.  I decided to simplify it by keeping only one moving circle, rather than the two spinning in opposite directions.  Originally, I wanted this mechanism to be two shades of purple, light inside, and dark outside.  After simplifying it, though, I decided to use light purple, as it complimented the other mechanism colors well.

Concept Statement:

This piece is created in order to demonstrate many different abstract movements within the song Determination, by mabanua.  Within the song, there are three main instrumental parts, each unique to its own feeling and representation.  I first use movement and 360-degree rotary mechanisms to demonstrate a feeling of constant spinning related to the keyboard portion of the music.  The repeated uptick in the music resembles a circular pattern, ticking as the music changes.  The second instance I use movement was to depict the changing drum beat throughout the song, which I use tabs and pully systems to increase and decrease the intensity.  The drumbeat is an instant sound that seemingly comes in and goes out easily. The final use of movement within the piece conveys the overall volume of the song, similar to decibel levels.  I use a mechanism similar to the drumbeat, allowing for the manipulation of the volume level.  I utilize the principle of contrast, incorporating different colors of cardstock, and gray scale, to best emphasize the diversity of each part and mechanism.  As Determination has a heroic, overcoming sound, the principle of balance was important in this piece.  Rather than create a feeling of chaos, and uneasiness, I want to create a visually pleasing piece that mirrored the mechanisms on each side.

Production:

The first step that I took in the production process was to get the top (cover) layer laser cut.  This needed to be cut by a laser because there were a lot of small, intricate shapes that required detailed cuts and I did not trust myself to cut out.  I decided to use a white sheet of cardstock for this layer as it contrasted nicely against the colors I was using for the mechanisms.  After the cover was cut, I worked to assemble each layer, separately, ensuring that the mechanisms on each worked.  I wasn’t worried about getting the mechanism parts laser cut because I planned to cover the exterior of each mechanism with the white top sheet.  I started with the rotary mechanisms, using a light purple sheet, marking the spots I would need to cut.  I cut out holes for the string pull tabs, as they needed to show through this layer.  I connected the hidden grey circle to the axle, then to the control handle.  Once the glue was dried, I worked to interlock the circle piece with the purple sheet.  This step is shown below.

With the basic mechanism working, I needed to make sure it was secure and wouldn’t disconnect.  In order to do this, I cut a backing piece with a slit for the handle to go through.  The slit was just big enough to allow the handle to fill the circle with purple, and then back to the original position;  this was the only motion the mechanism could make.  This piece made for a more controlled mechanism, ensuring it would only function how I wanted it to.  The final rotary mechanism is shown below.

After I completed this mechanism, I repeated the steps to make another one on the opposite corner, reversing the direction it spins.

The next layer I worked on was the string pull tab.  I started this by cutting out a template for the decibel mechanism to show through, and outlining the position I would need the tabs to sit.  Then, I cut out four tabs, ensuring that they would cover the holes.  I cut 12 1-foot pieces of cooking twine to use as controls for the tabs, tying two strings to the front of the tabs, and one to the back; I secured the two front strings together by making a single knot.  I repeated this step for each tab, and positioned them on the sheet over the holes.  String by string, lined the cooking twine through the paper, making holes in the corners of the layers, then running the twine through the hole.  I ensured that the tabs were covering the hole; then I secured the mechanism by knotting the string outside the layer, then moving the tab over so it was no longer visible over the hole.  Again, I secured the string by knotting it, and tested it by opening and closing the pull tab.  I realized that I would need a guiding track for the tabs, as they didn’t move as nicely as I wanted them to.  Once I was happy with the one side’s tab mechanism, I repeated the process three more times on the other sides.  The final string pull tab mechanism is shown below.

The final layer that I worked on was the decibel level indicator.  I tried using 3 tabs that were interlocked with each other, allowing them to move vertically.  On the top tab, I glued a paper hook, allowing for the string to attach and be secure; two strings wrapped around the hook, and continued off the paper (they lay under the rotary mechanism), allowing for the mechanism to be pulled outward.  I also attached two hooks to the bottom corners, opposite to the rotary mechanisms.  Each string was wrapped around one of the bottom corner hooks, then led off the paper, again, allowing for easy control of the mechanism.  I lined the mechanisms up, and secured them to the paper.  However, to my surprise and upset, I realized that it didn’t function properly.  The mechanism opened at an angle, and never followed the same path.  It was also extremely difficult to retract the tabs with the string.

By the time I realized that the decibel indicator didn’t function properly, it was very late.  I tried adjusting the hooks and sizes of the tabs, but nothing make the mechanism function.  With the deadline rapidly approaching, I needed a temporary substitute for the decibel mechanism.  I decided, rather than lose a full nights sleep adjusting it, to use a green cardstock sheet as the back layer.  With this, the mechanism looks appealing and clean, although it lacks functionality.

Included below are five pictures of the Dynamic Pages assignment, which demonstrate the movement capabilities.

 

If I were to attempt this project again, I would simplify certain aspects of my design.  I like the many different moving parts, but I feel that the decibel indicator was too ambitious and complex.  Rather than having as many rounded, rectangular windows, I would like to cut back and only have 5 or 6 columns, with 5 or 6 rows stacked on top like a pyramid.  This would allow me more space to work in, while decreasing the number of tabs I would need to interlock.  With the Dynamic Pages and Mask Up project deadlines falling within a day of each other, I found myself spending more time on the Mask Up project.  This being said, my time management skills for this project has been much more efficient than in the past.

Link to Portfolio Project:

View the Dynamic Pages Project at Dynamic Pages.

Research:

To begin the research for this project, I put together a list of pandemics throughout history.  The list I compiled is as follows:

1. 1. Prehistoric Pandemic, ~3,000 B.C.
   2. Plague of Athens, ~430 B.C.
   3. Antonine Plague, ~165-180 A.D.
   4. Plague of Cyprian, ~250-270 A.D.
   5. Plague of Justinian, ~541-542 A.D.
   6. Black Death, ~1346-1353 A.D.
   7. Cocoliztli Epidemic, ~1545-1548 A.D.
   8. American Plagues, ~16th Century
   9. Great Plague of London, ~1665-1666
   10. Great Plague of Marseille, ~1720-1723
   11. Russian Plague, ~1770-1772
   12. Philadelphia Yellow Fever Epidemic, ~1793
   13. Flu Pandemic, ~1889-1890
   14. American Polio Epidemic, ~1916
   15. Spanish Flu, ~1918-1920
   16. Asian Flu, ~1957-1958
   17. Aids Pandemic and Epidemic, ~1981-Present
   18. H1N1 Swine Flu Pandemic, ~2009-2010
   19. West African Ebola Epidemic, ~2014-2016
   20. Zika Virus Epidemic, ~2015-Present

Source: www.livescience.com/

Continuing with my research, I wanted to define the word ‘pandemic’ in order to open my research up to more abstract concepts.  The definition that I found, according to www.merriam-webster.com, is as follows:

Pandemic – Adjective
1. occurring over a wide geographic are (such as multiple countries or continents) and typically affecting a significant proportion of the population
2. characterized by very widespread growth or extent

Pandemic – Noun
1. an outbreak of a disease that occurs over a wide geographic area (such as multiple countries or continents) and typically affects a significant proportion of the population : a pandemic outbreak of a disease
2. an outbreak or product of sudden rapid spread, growth, or development

With a concrete definition of the word ‘pandemic’, I was able to expand this list beyond contagious diseases, and open it to human nature, as there are many vices that are common among diverse groups.  The list I made continued:

21. Smoking as a Pandemic, resulting in lung cancer and poor health
22. Vanity as a Pandemic, seeing self as better and more important
23. Over-eating/under-eating, resulting in mental illnesses

Now that I had a comprehensive list of different pandemics and behaviors I could choose from, I decided to narrow it down to a couple ideas, and expand on those.  The different possibilities I had are as shown below:

Pandemic: Lung cancer as a result of smoking, and justifying that behavior by any means.  The mask would look like a normal reusable face-mask, with a

Who?  Adults who smoke tobacco products or other addictive substances
Anyone who interacts with the individual in public
What?  Lower face covering, with the eyes and top half of face showing.
Where?  Around the world when the Spanish Flu became more apparent.
When?  Used during Spanish Flu, which started in 1918.  During this time, there was a shortage of materials needed to combat influenza.
Additional Notes: Self-centered mask, making self comfortable, while disregarding others or making them uncomfortable

Pandemic: During the initial outbreak of the Coronavirus, social gatherings were attended with a certain degree of caution.  People needed to be aware of those they were coming in contact with, as anyone could be a potential host for the virus.

Who?  People who attend social gatherings and who interact or regularly see others with compromised immune systems or health problems
What? Full face covering (physical).  The relationship between mask and body: the mask indicates to others that the wearer does not want social interaction.  It gives off an aggressive feeling, which backs peers away;  Only those who are close to the wearer and know them well, will understand the meaning behind the aggressive nature of the mask and still interact with them.
Where?  This mask is to be worn at social gatherings with many unknown people.  It would also be effective in public spaces that people crowd into.
When?  After January 2020, when the Coronavirus pandemic numbers reached a new high, this attention to social interaction became crucial in people’s lives.  People had to monitor those they were around to ensure that that they did not spread the illness to people with compromised immune systems.
Additional Notes: Need of space (6 ft.), pushing people away, Protection vs. scary, Aggressive vs. protective.
1 Passive – Turtle in shell
1 Aggressive – Dog barking

After I had these two ideas mapped out more, I decided to stick to the Coronavirus route, as I related more with the need to distance myself from my friends in order to protect my family.  I furthered my exploration of this idea by making a list of features which best exemplified the aggressive nature of the mask, making it scary and almost uncomfortable to look at.  The list of features is as follows:

• • Horns
  • Exposed Bones
  • Grin
    • Sharp Teeth
  • Nose Bone
    • Similar to Voldemort from Harry Potter
  • Pointy Corners
    • Chin
    • Edges of Smile
  • Armor-like textures
    • Chain Mail, Metal Patterns, etc.
      • Paper Tessellations?

The next step I needed to take was to figure out what materials I wanted to construct the mask from.  As the assignment brief calls for the majority use of planar materials, I had a very limited number to choose from.  The list of possible materials that I could use is as follows:

• • Bristol Paper, and Heavy Duty Cardstock
  • Aluminum Foil
  • Parchment Paper
  • Paper Mache
  • Cloth or Fabric
  • Tracing Paper

I needed to test these materials in order to find which worked well together and ensured that the mask would be durable.  I came up with three categories to test each material for: durability (making sure the material is strong and won’t fall apart), malleability (making sure I can shape it to the form I want) and convenience (the amount of material I have available and how long it takes to shape and secure it).  Each category scores from 1-10, 10 being the best.  My findings from testing the materials are detailed below:

Material	Durability	Malleability	Convenience	Total
Bristol	8	2	9	19
Cardstock	7	6	10	23
Aluminum Foil	5	9	6	20
Parchment Pap.	4	7	6	17
Paper Mache	6	9	8	23
Fabric	6	8	2	16
Tracing Paper	2	7	6	15

After analyzing the results from these tests, I decided it would be best to construct the mask out of cardstock, as it is more malleable than Bristol paper.  I also wanted to make the base out of paper mache, as I could easily form it to my own face.  One material that stood out during the test was the fabric.  Initially, I thought it would be the best to work with, as it is easy to shape to my face;  however, the tests showed that it would be the most difficult material to work with; I would have to sew it to the paper mache base, and weather the fabric to match the grooves of my face.  For these reasons, I decided to stick with a paper mache base, with a cardstock exterior.

Iteration:

I started the iteration phase by sketching a couple ideas for possible masks.  There were two completely different designs that I wanted to explore: a mask with animal features, and a medieval knight mask.  The sketches are as follow:

When analyzing these sketches, I gravitated more to the center, animal drawing.  Aside from the over-rounding of the face, I thought that the horns, teeth, and nose worked well together.  Additionally, I noticed that the textured patterns on the forehead and side of the face further emphasize the aggressive nature of the mask.

After completing these sketches, I did an activity in class, in which I was given time to make rough iterations of masks.  For this activity, my partner and I would each spend 20-30 minutes working on our iteration.  After the timer sounded, we traded our masks, and worked on the other person’s for another 20-30 minutes.  This process repeated two more times, until we were each left with a collaborative mask.  The mask I made from this process is shown here:

Perhaps the biggest takeaways from this activity are the horns, and the straps used to hold the mask to the head.  First, the straps used to secure the mask did not fit the size of my head.  I realized that this method of holding a mask up would not be the best, as this measurement on every person varies drastically based on their head shape and size. Additionally, I was not happy with the horns on this iteration.  Rather than just being smooth cones, I wanted the horns to have some texture, similar to the bumpy nature of ram horns. I had another idea, which layered paper cylinders inside of each other, descending in height.  This attempt is shown below.

Once I had a method of making horns that I was happy with, I shifted my focus to the texture on the forehead and sides of the mask.  I originally wanted to make a hill texture, incrementally wrapping paper around a skewer, giving it ‘hills’.  However, after much trial and error, I decided to go another route.  In class, my partner Danny was working with a specific paper tessellation: Origami Magic Ball.  I tested this folding method using drawing paper, as it was more malleable than  cardstock.  Once completing the tutorial, I taped the tessellation to the forehead of a styrofoam bust.  This test is shown below.

This method of wrapping the forehead was extremely successful, as it forms directly to the curves of the bust.  It was so effective that I decided to use a simplified folding method for the cheeks and under the nose. I felt that these patterns strayed from my initial sketches, so I sketched another iteration, which is as follows.

This iteration of the mask better utilizes the tessellation patterns.  Additionally, rather than being a full face covering, this mask only covers the top half of the face.  When sketching this iteration, I had the idea that the person would be able to wear a face mask underneath, in order to better protect the individual from harmful bacteria and viruses.   Keeping the mouth open made it easier to to put on and remove the mask.  Additionally, it made the mask easier to breathe in, and gave it another level of functionality.

Concept Statement:

During the initial outbreak of the Coronavirus in March of 2020, people started realizing the changing reality of their day-to-day lives. Because of the pandemic, we have to wear masks when we go out for safety, so masks became very important accessories. The mask becomes part of our daily outfit, just like clothes. It can express our personality as well. The chosen mask is an expression of attitude and personality and communicates with others nonverbally.

Two college students, Mark and Danny, both design foundation students, are in the same social circle. One day, one of their friends was throwing a party at his house.  Having never been to this friend’s house, both Mark and Danny were worried about the party being too crowded. Additionally, both have family members they interact with regularly who have compromised immune systems, leaving them more at risk for coronavirus complications. Having discussed the possible consequences, both Mark and Danny decided to go to the party, but they had a plan on how to promote social distancing, at least in their direct vicinity.

Both students planned on wearing masks to the party, but the mask each chose varied.  Danny was aloof and decided to wear a mask that resembled armor to show that he was very attentive to the personal space and didn’t want random people to disrupt it easily. This passive approach does not frighten familiar people into staying away. Rather, like armor from the medieval period, the mask protects its user from harmful bacteria and unidentified people, while promoting a curious nature from peers.

Mark had a slightly different attitude toward the party, hoping to see his friends, but not wanting to be around a lot of people.  He decided to wear a mask that resembled a combination of a wild mythical beast, incorporating horns and animal-like characteristics, and a warrior, having armor-like textures that appear weathered.  The stand-off nature of the mask encourages people to back away from the individual wearing it, unaware of how the individual will respond to crowding. This outward approach promotes a sense of isolation, and more protection from the crowd.

Production:

The first step I had to take in the production process was to make a paper mache mold of my face.  I did this by cutting strips of old news paper and setting aside a bowl of .5 cup glue and .5 cup water.  I then applied a heavy coat of Vaseline to my face, where I intended the mask to cover.  One at a time, I dipped the newspaper strips into the glue mixture, then applied them to my face.  Once finished with this process, I let the paper mache dry a bit before removing it.  Once dry, I cut the paper mache to the size of my mask.  I then vertically folded three rectangular pieces of paper, using these as supports for the forehead tessellations.  To make the mask more durable, I put a strip of cardstock overtop the forehead.  I noticed that this only made the top of the mask more stable, so I put the nose piece on, and sealed it to the paper mache.  This helped strengthen the entire mask, and made it easier to see the next steps I would need to take.

Once I had the base of the forehead set, I needed to further strengthen the rest of the mask.  I cut out a template to use for the bottom (cheekbones), which would seal underneath the nose.  In addition to adding stability, this layer of cardstock would make it easier to adhere the different layers to the mask.  Once the cheek cover was dry, I noticed the paper at the bridge of the nose was fraying, so I covered it with a brighter shade of gray cardstock.  I, then, adhered the armor tessellation to the forehead super glue, bending it to the contour of the eye sockets.

After the glue dried, I could move onto covering the lower half of the mask.  I needed to create another tessellation, similar to that of the forehead piece.  However, I decided to simplify it by getting rid of the cross folds.  This left the tessellation in a 2D form, rather than a 3D form, making it easier to shape to the bottom of the mask.  Once the tessellation was set, I traced the template for the cheekbones onto it, and cut it out.  When adhering it to the mask, I tucked the tessellation under the nose piece, giving a cleaner look and hiding the fray marks.  While setting, I wrapped squares of cardstock around a skewer, making a smaller horn.  I repeated this process three times and tested the possible positions for them.  I found that two horns on each side looked too crowded, so I simplified it to one per side, and secured them to the mask.

Now that the majority of the mask was completed, I needed to work on the horns and the mechanism that would hold it on a person’s head.  As stated earlier, I tested the possibilities for the horns, and found a method that I liked. This additive method that I used to make the horns is shown below.

Adhering the horns to the mask proved to be a problem.  I tried using super glue to hold it, but the glue couldn’t support the weight of the horns.  After using many different types of glue, I decided to try using hot glue.  However, this proved to be a problem, as the nozzle for the glue gun wouldn’t fit in the horn.  Rather than use a glue gun to heat the glue sticks, I used a lighter to melt the glue and carefully put the melted glue in the interior of the horn, holding it together.  This method worked well, both with holding individual sections of the horns together, and holding the horns to the top of the mask.  Now that the front of the mask was completed, I shifted focus to the strap that would hold it to a person’s head.

I wanted to continue my strict use of planar materials, so I decided to, once again, use cardstock.  I cut three .75 x 12 inch strips of cardstock, joining one corner of each, making two supplementary 90 degree angles.  From there, I had assistance to help find the correct positioning of each strip to hold it comfortably on my head.  My friend held the mask up against my face, and I guided the strip of cardstock over my ear and held it against the mask where I wanted to adhere it to.  I took off the mask, and glued the positioning strip to it.  We repeated this process on the other side of the mask, then on the top, to ensure the mask would not fall down.  My Mask-Up final project is as follows.

As this was a group project, my partner, Jiacheng Zhang’s final product is shown below.

The two masks are shown in the same space below.

Link to Portfolio Project:

View the Mask Up Project at Mask Up.

Research:

When beginning this assignment, we were instructed to get into groups and create a list of adjectives and verbs. The list my group created is as follows:

Adjectives:

• • • Vast
    • Immense
    • Dark
    • Light
    • Concave
    • Convex
    • Forward
    • Inward
    • Spacious
    • Empty
    • Hollow
    • Full
    • Busy
    • Crowded
    • Overwhelming
    • Complicated

Verbs:

• • • Rolling
    • Dig
    • Opening
    • Emptying
    • Jumping
    • Pushing
    • Elongating
    • Stretching
    • Expanding
    • Pulling
    • Moving
    • Shrinking
    • Pouring

Along with the list of verbs and adjectives, I created a list of ideas or concepts that I felt conveyed depth. This list is shown below:

• • Mountain scene
  • Window into the mind: glowing ball at center for soul
  • Passage of time: baby to older person
  • Hole opening to many paths
  • Lost loved ones: like the horizon scene from Lion King
  • Falling down rabbit hole: like in Alice in Wonderland
  • Star Wars
    • Map of galaxy or just thematic
  • Music
  • Depth of a snowflake
  • Continuous paradox: like a repeating soccer ball pattern

With these ideas written down, I began filtering through them to find one that I liked working with and that demonstrated depth well.  I was interested in the introspective themes, specifically the one that looks inside a person and depicts their soul.  To work with this idea, I conducted research around what makes a soul, what aspects and parts there are to a soul, and what imagery helps identify it.  The results of my research are below:

What makes up a soul?

• • • Immaterial substance
    • Resides deep within one’s self
      • Source: britannica.com

Different philosophical categorization of a soul:

• • • Platonic Soul
      • Logos (Mind, Reason), Thymos (Emotion and Spirit), and Eros (Desire)
        • Source: philosophycourse.info
    • Kemetic Soul
      • Ka, Ba, Ib, Ren, and Sheut
        • Source: theguardian.com

Exercise 1: Test – Figure, Ground, and Closure

The point behind this exercise was to create a ‘puzzle’ out of initials.  In the negative space within the initials, we were instructed to hide an image or some object that communicates something about our identity. I chose to work with imagery from Star Wars, specifically the helmets of Boba Fett and the Mandalorian.  In the ‘C’ of my initials, I chose to embed the Death Star, as it is one of the most recognizable images.  My final iteration for the exercise is shown below:

Before using the laser cutter, I had a different design; it was much more complex, and had smaller parts that weren’t well attached.  The feedback I received indicated that I needed a simpler design that would hold together better.  My exercise design, before receiving feedback, is shown below.

The Star Wars theme was integral in this iteration, as each aspect related in some way to my appreciation of it.  In this iteration, I expanded past the two helmets and Death Star imagery; I included a lightsaber hilt, along with the design from one of R2D2’s legs.  When looking at the whole construction, I noticed that the ‘m’ vaguely resembled the face mask of Darth Vader’s helmet, so I used it as a frame to contain the letters.

Later in the iteration phase, I conducted more research; I gathered a number of images to use as a reference to help me draw.  There were three main objects that I needed assistance drawing: a human skull, a human brain, and a church that resides on Lake Bled.  The reference images, along with their sources, are included in Reference Images.

Iterations:

As a result of the research phase, I knew that I wanted to take an introspective approach to demonstrating depth.  I stated earlier that the I liked the idea of conveying the parts of a soul within a person’s mind.  I did three five minute iterations to get rough ideas of how I wanted to show this.  The results of this exercise are shown below.

I was happy with this iteration exercise, as it provided me with many different routes to demonstrate the complexity of a person’s soul.  Of the three options, I chose to further explore the second, as I had more ideas to further communicate depth.  Rather than use a general silhouette of a person, I thought that it would be interesting to use my own silhouette, allowing me to show my personal experiences and qualities.  To more accurately depict a human skull and brain, I used reference images, which can be found in the research section.  The silhouette, skull, and brain progress is shown below.

In class at this time, we were told to create a rough concept statement that encompassed our portrayal of depth.  The concept that I wrote is as follows:

“The piece was created to demonstrate the complexity and intricacy of a person and show the depth past the physical into the psychological.  There were six ‘layers’ shown, past the representation of the person, or ‘self’; two physical, and four conceptual: the skull and brain (physical); and the soul, comprised of logos, eros, and thymos.  The last three concepts, making up the soul, are drawn from Plato’s theory of a soul, which break the soul down into three parts: eros, or desire; logos, or mind and reason; and thymos, or emotion and spirit.  Organic lines and shapes were used to depict the three physical aspects of myself: the human shape, skull, and brain.  From there, circular cuts were made to best demonstrate the depth of a brain into the three different parts.  The contrast between the layers are best emphasized by the different shades of gray cardstock.”

I began working on the innermost part of the brain, representing the intertwined and complimentary nature of the three parts to the Platonic soul: Logos, Thymos, and Eros.  I made a couple more iterations, but found that there wasn’t much to do besides making the paper spiral downward, as shown in the second trial of the five minute iteration exercise.  I had another idea that would work well with the main theme, while altering the concept a little.  Rather than depicting the three parts of a person’s soul, I could depict a scene that is vital to a person’s identity; something that is integral in who they are and how they see themselves.  Since I was already using a silhouette of myself, I could cater this to my own identity, showing a scene that I feel describes me.

A large identifying factor in my life is my heritage.  My family is originally from Slovenia; all four of my grandparents migrated to America during World War Two.  I had the opportunity to travel to Slovenia when I was in elementary school, and it was one of the most memorable experiences of my life.  There was one specific place that captivated me: a church on an island in the middle of Lake Bled.  I remember everything about this place: the peacefulness, the beauty, the sound of the waves gently washing up to the shore.  This memory is what pushed me to depict this as my identifying factor in my brain.  I used reference images to help me draw the church on Lake Bled, and layered the buildings and trees with respect to their distance from the camera.  Overall, I wanted to use 5 layers to depict the scene.  My iteration of the Bled scene is shown below.

With each layer of the piece completed, I combined the two drawings into one and began putting it into a vector format, so it could be laser cut.  I also added a few minor details to some layers, such as the teeth and eye cutouts for the skull.  After converting the image to vectors, I filled in the layers with color, each corresponding to the color of the paper I would get laser cut. I realized that there weren’t many indicators of the peaceful nature of Lake Bled, so I added in layers that would act as a filler for the water line.  Similarly, there weren’t layers after the tower, which stunted the feeling of depth.  I added in two layers, each with circles that would simulate the sun setting over the horizon.  The resulting file is shown below.

I adjusted the concept statement to capture my intention behind the piece.  The new concept statement read:

“The piece was created to demonstrate the complexity and intricacy of the definition of a person, and where a person’s ‘center of self’ remains.  The outer most layers, the silhouette and skull, are physical characteristics of a person, but as demonstrated by the piece, do not provide insight into who they are.  They are merely glimpses into the identity of the person.  A person’s true identity lies deep within their consciousness and is shaped by their values.  Personally, I found one spot within my life that I have been truly at peace and void of any suffering.  This is how I depicted my ‘self’: as the church overlooking Lake Bled, in Slovenia.  Organic lines and shapes were used to depict the three physical aspects of myself: the human shape, skull, and brain.  Circular movement was utilized to demonstrate the depth into the mind.  The contrast between the layers of the piece is best emphasized by the different shades of gray cardstock.”

Three days before the assignment deadline, I had another idea that I was more passionate about that I felt better conveyed the idea of deep space.

Rather than being introspective into a person’s identity, I wanted to demonstrate a person’s fears, along with anxiety and depression, and the feelings they induce.  Mental health is something that I take very seriously, and something that I have struggled with in the past.  As such, I feel like I am qualified to at least touch on the matter.

A common feeling associated with both anxiety and depression is hopelessness.  To depict this sense of hopelessness, I chose to show my own silhouette falling through circular layers.  Similarly, there are two figures on the side of the piece trying to hold to the surface.  At the bottom of the piece, I chose to put an eye, representative of the source of my anxiety.  My anxiety stems from the people and things I see; I used to get worried when I would see my friends talking without me, in fear that they were speaking ill of me.  The rough iteration I made to captivate these feelings is shown below.

I really liked this idea and how it conveyed space, but there were a few things that I wanted to adjust: I wanted to add a mouth above the eye, as my anxiety also stems from what people say about me.  I also wanted to remove the two other figures from the scene, as I feel it better demonstrates an individual struggle with mental illness.  To further emphasize the depth that the individual is falling, I wanted to round the top layers into more of a hole, rather than an eye lid.  My second iteration of this idea is as follows.

In order to present this idea, I needed to adjust the concept statement.  The new one shown in the Concept Statement section.

I began working to create a copy of this image in vector formatting, and, again, colored the layers the same as the paper I would use.  The resulting file is shown below.

 

 

Concept Statement:

This piece was created to demonstrate the complexity and intricacy of a person’s mental wellbeing, specifically in relation to their fears and anxieties.  The focal point of the piece is a silhouette of myself falling through space rapidly approaching harm.  At the bottom of the ‘pit’ lies an eye entrapped within a mouth, representative of the symbiotic and self-made associations between one’s innermost anxieties and the fear of other’s discovering those weaknesses.  Organic lines and shapes were used to depict my silhouette, and the physical characteristics of the teeth and eye.  Rough ­­scribble patterns were utilized to convey the sense of depth into the piece, making it more realistic.  The contrast between the layers of the piece is best emphasized by the different shades of gray cardstock, which emphasizes the direction in which the depth moves.

Production:

After I had the image in vector format, I could begin the laser cutting process.  I checked the color of the paper that I had available and found that I only had four shades of gray, one shade of white, and one of black.  I reorganized my layers according to where I wanted to colors to line up: I wanted the back of the eye to be white, the top layer of the teeth to be the brightest gray, and the layers of my silhouette to descend in value the further they are in the piece.  After assigning a layer to a color, I was prepared to use the laser cutter.  The only error I had was on the top layer of the eye with the veins- they were too close together and were getting burned off.  I adjusted it four times, cutting after each, until I was happy with the final outcome.

When constructing the design, I layered the pages on top of each other, spacing the out with pieces of chit board.  I used super glue to adhere the chit board to the pages, as it did not warp them at all. After attaching the main teeth layers, I worked to align the individual teeth for the top layer and attached them to the chit board, and then the lower layer.  This process is shown below.

About halfway into construction, I ran out of super glue, so I tested both tack glue and rubber cement as alternatives.  The rubber cement took too long to dry, and the tack glue warped the pages, no matter the amount I used.  I decided to use the tack glue, as I could limit the page warping if I strategically placed the chit board spacers.  After attaching the main layers, I had to connect the smaller details of the silhouette, and ensure that they were secure.

My final production of this project is shown below.

There are two images that show the detail to the layers.  Both are shown below.

 

Overall, I am happy with my ability to convey depth within this piece.  There are a few aspects, however, that I would do differently if I were to redo this assignment.  The first aspect that I would change is the glue. The bottom 6 layers are held together with super glue, which, to my surprise, did not warp the paper or chit board.  Halfway through construction, I realized that I did not have enough to continue with every layer, so I tested two other binding agents: rubber cement and tack glue.  Both materials worked well in adhering the layers together, but the tack glue noticeably warped the pages.  On the other hand, the rubber cement took too long to set, and would require me to wait an hour to dry before moving on to the next layer. I chose to use tack glue in moderation to avoid the warping, but in the end, it was inevitable.  If I were to redo the layers, I would make sure I had enough super glue for the whole piece.  Another improvement I would make would be to join the smaller pieces, such as the hand and leg cutouts, to the layer that they were part of.  This way, I would be able to more accurately place the details where they are supposed to go.  Additionally, I would pay closer attention to the layer ordering; some of the layers are similar, with only a rough circle cut out from the center, so it was easy to mistake their order.  When this occurred, I had to use a precision knife to separate the chit board in half.  this was the only way to remove layers without damaging the paper.  I would better organize my pages and ensure that I had the correct one next time.

After submitting the assignment, we were instructed to work with value and color, and convert the grayscale illustrator file to color, while keeping the black and white layers.  The color palette and corresponding color-value version of the piece are shown below.

Link to Portfolio Project:

View the Layers Project at Layers.

Research:

When beginning this assignment, I created a list of aspects from past sketchbooks that annoyed and frustrated me.  I came up with many solutions to these problems that I could use in my sketchbook and that would help its functionality.  The list I created is shown below:

What annoys/frustrates you about past sketchbooks?

• • • binding gets in the way when using the back sides of sheets
    • not additive
    • paper frays on edges
    • restrictive: paper can’t move/locked in
    • if it has a binding, the book won’t lay flat
    • front and back cover bend
    • all one material – paper is the same throughout
    • no lines to write on
    • no organization possibilities
      • pages all look the same
    • not easily removable
    • opens easily

Solutions/optimizations:

• • • using a ring binding to hold pages
      • additive
    • etching lines and blank spots into pages for easy organizing
    • metal binding to secure book
    • wooden cover for durability leather binding
    • use different media
      • bristol
      • drawing paper
      • tracing paper
      • index cards
      • copier paper
    • Utensil holder
      • pens and pencils
      • eraser
      • ruler
      • sharpie/micron
    • magnet to hold book shut

I had a general idea of the materials that I wanted to use for my sketchbook.  I felt that a combination of wood and leather would make for a durable cover and binding, so I conducted my research around those materials.  The first step being centered around making a wooden cover that felt smooth to the touch with a nice finish.

To achieve this type of finish for the cover, I turned to my brother, who has more carpentry experience than me.  He advised using 4 different grains of sandpaper, starting at 60 grit, and gradually increasing to 320 grit.  Following the sanding process, he said to wipe the wood off with a tack cloth, and apply the desired color stain to the wood in two coats.  Once dry, use the highest grit sandpaper available to smooth over the wood once more, then go over it again with a tack cloth.  This will ensure that all the sawdust from the sandpaper is removed from the board, leaving it clean.  Once the board is cleaned off, apply one more coat of stain, and allow it to dry.  The finished board will be smooth to the touch and have a stained, finished look.

The next step of research I conducted pertained to using leather as a form of binding.  Having no prior sewing or stitching experience, this material worried me, but I continued my research.  I needed to learn how to join two pieces of leather with a simple stitch that looked durable and paired well with the stained wood cover.  I looked online at different sewing tutorials, and found one that worked best.  I used the backstitch method from sewing.com to join two test pieces of cloth, and felt that this would work best.

Exercise 1: Mini Sketchbook

 

Iterations:

When initially mapping out the sketchbook, I needed to decide how large the pages would be, as the dimensions of the pages dictate the dimensions of the book itself.  I needed to make sure that the book was small enough to fit in my bag and not annoying to carry in my hands over longer walks.  There were three paper dimensions that I considered:

• • 5″ x 7″
  • 5.5″ x 8.5″
  • 8.5″ x 11″

In making each paper size, I noticed that the 8.5″ x 11″ page was a bit large and would be a hassle to carry when walking.  On the contrary, the 5″ x 7″ page was too small and offered little space for me to work in.  I felt that the 5.5″ x 8.5″ page size was the best medium, so I gathered the paper mediums that I wanted to include: index cards, Bristol, drawing, and copier paper.  In order to laser cut the paper, I had to figure out how many sketchbook pages I could cut out of the original material sheet.  The sheet to sketchbook pages ratios are shown below.

• • 1 sheet of Bristol paper (14″ x 17″) : 3 sketchbook pages
  • 1 sheet of drawing paper (9″ x 12″) : 2 sketchbook pages
  • 1 sheet of copier paper (8.5″ x 11″) : 2 sketchbook pages
  • 1 index card (3″ x 5″) : 1 sketchbook page

Because I wanted an unrestrictive sketchbook (one that I can add and take out pages) , I knew that it didn’t have to be too thick.  I estimated that around 60 pages of paper would be a good amount to include, so I started figuring out how much of each media to include.  The sheet to page ratio, along with a count of the total number pages is shown below.

• • 4 pages of Bristol paper : 12 sketchbook pages
  • 10 sheets of drawing paper : 20 sketchbook pages
  • 10 sheets of copier paper : 20 sketchbook pages
  • 10 note cards : 10 sketchbook pages
  • Total pages: 62

I inspected the paper after it was done laser cutting.  The only material that didn’t work nicely was the copier paper, perhaps because it was much thinner and the sketchbook page dimensions were tighter than the other papers.  I decided to omit the last four pages of copier paper, as they each had burn marks and weren’t cut to the right size.  This brought the total page count to 58, rather than the expected 62 pages.

The page sizing then allowed me to find the size cover I wanted.  I knew that there needed to be room on the top and bottom of the sketchbook so the paper was entirely protected by the cover.  I figured that half an inch extra for the cover was enough on the top and bottom to protect the paper, but the width measurements were a bit more difficult.  I had to take into account that the metal ring mechanism would take space and offset the paper to the side.  Using this, I had two measurements that I could test:

• • 9.5″ x 6.5″
  • 9.5″ x 7″

I cut wooden test boards according to these measurements.  The half inch difference in width between the two proved to be beneficial, as the 6.5″ board left little room for the rings.  I decided to use the 7″ width because, no matter the size of the rings, the pages would all fit within the boundaries set by the cover.  I used a circular saw to cut 8 9.5″ x 7″ boards from a larger piece of plywood that I bought at Home Depot.

When first reading the assignment, I knew that I wanted a more professional look, rather than a personal one.  I always admired to look of books that had little identifying factors of what they were, and that left their contents up to the imagination.  This reason is why I chose to use a more simple and geometric pattern for the cover design.  There were three different designs I had to choose from.  They are shown below.

I felt that the geometric pattern on the first possible design was best, as it implies diamond shapes where the differing rectangles meet.  The other two were simple and would work fine, but overall I thought the first would work better, especially if I expanded on it and improved the line work.  I realized that the leather binding needed to connect to the wooden cover if I wanted the cover to all feel like one piece, so I added 1 inch margins to the lateral dimensions of both covers where they meet.

My brainstorming session for this project led me to use a ring binder mechanism, similar to three ring binders used for school, as it is additive and adds stability to the cover sketchbook.  Moreover, if I wanted to include index cards, as outlined in my research, I would need a way to attach them to the rings.  The dimensions of the book allow for two index cards to be be placed where one full 5.5″ x 8.5″ , but, in order to do that, there would need to be 4 rings: 2 rings per index card.  The layout for the binding mechanism plans are below.

Once I had the sizing for it, I started to make different iterations of the metal ring mechanism.  I was initially going to use parts from old 3-ring binders and connect them, but the spacing between the rings did not fit the paper specifications.  The next idea I tried was cutting a 12 inch metal ruler down to 8.5″, cutting 8 ring holes, 2 per ring, and then bending the ruler to a 90 degree angle.  The ruler ended up being too thick, and cutting holes in it wasn’t possible.  Similarly, it wouldn’t bend, so I decided to look for new material to use.

I went to a local hardware store, and found a corner piece for joining two sheets of drywall.  It contained was a thin, pliable metal sheet, already bent at a 90 degree corner, with a paper covering.  I measured and a cut an 8.5″ piece, and marked spots for the rings.  Then, I used an electric drill with a fine drill-bit and cut out the 8 holes for the rings.  With the major modifications done, I spray painted the mechanism black in 3 coats, sanding after each to ensure a smooth texture.  The ends of the material I cut along were sharp and hazardous so I began to bend and mold the metal to smooth it out.  I made three different iterations, each building off the problems of the previous design.  The three iterations are shown below.

With the ring mechanism made, I could test how big the leather binding of the book needed to be by substituting the leather with paper.  I found that a piece of leather with a 4 inch width (taking into account 1 width per cover, and a two inch binding for the rings), and a 9.5″ height, would allow the book the right amount of exterior binding to close completely.  The inside binding would need the same dimensions as the exterior, only without the 2-1 inch margins.  My plans for the binding and cover are detailed below.

With the binding plans complete, I began practicing and refining my stitch-work and sewing technique.  I was extremely disappointed with my first attempt, as the sewn lines were not straight and had poor spacing.  I attempted it again, this time pre-marking the path I wanted to sew along, and going over the line with a safety pin, making sure the spacing was right.  This time, it was better, but the precut holes were difficult to find, resulting in another curved stitch line.  I decided to call leather workers and cobblers around Columbus to see if they could help me.  After being turned down and referred to other companies, I found a place that would help me.  The company’s name is Old Salts Leatherworks.  I visited him, and he gave me tools to use that would better precut the fabric, making it easier to see and stitch.  The tools I used are shown below.  This attempt proved to be the best, as I stitched a straight line that looked like it was done by a sewing machine.

Using these tools, I stitched the two pieces of leather together for the binding.  I added in a cross pattern in the middle of the binding, as it stops the leather folding over itself and helps it hold its form.  I stitched together the other two leather pieces that would act as the clasp to keep the book shut, adding in a magnet to ensure the book would stay closed when intended to.

One of the requirements of this project was to include a surprise element.  I decided to include a built-in supply holder, making room for a pencil, pen, sharpie, micron pen, and eraser.  I organized the supplies on a foam sheet, and cut out rough silhouettes of each.  I repeated this process on another sheet of foam, and glued the two sheets together, giving enough depth to hold and lock in the supplies.  I tested the security offered by the foam by putting the drawing utensils in their respective spaces, and shook the foam.  The utensils all stayed embedded and did not move from their original positions.  I spray painted the foam sheets black to make it look sleek, but found that the paint warped the foam.  Before it dried and was permanently warped, I wiped off the outer layer of spray paint, and hand painted it.  This worked better, as the foam held its original position.

Production:

The first step I took in the production process was to laser cut my cover design into a 1/4″ thick plywood board.  I did it in two layers, labelled major and minor cuts.  The major cuts, which would be cut deeper into the wood, entailed the rectangular grid pattern and descending lines, further spaced apart.  The minor cuts, on the other hand, included the ascending lines that were spaced closer together.

For the back cover, I chose to not laser cut a pattern.  Instead, I would just laser cut my name, class, and the school semester, while letting the grain of the wood show through. The raw laser cut boards are shown below.

After the design was laser cut, I noticed that it was not flush to the edges.  To fix this look, I sanded down the left and bottom sides to the line that was made by the laser.  When comparing the new sizes of the covers, I noticed that they were a perfect match.  I then used a Dremel with a 60 grit sandpaper attachment to indent the 1 inch margins into the board; two on the back cover, and one on the top.  Now that this step was complete, I could start working on the texture and color of the wood.  I started this process by sanding the entire board with 80 grit sandpaper, ensuring to smooth the hard corners and edges.  This step also helped remove the burn marks from the laser, best demonstrated on the back cover in the image above.

I sanded the board again, this time with 120 grit sandpaper.  I repeated this process two more times, once with 22o grit, and again with 32o grit sandpaper.  Then, I wiped off the board with a tack cloth and applied a coat of light red stain.  Once dry, I applied another coat of stain, this one mixed with polyurethane to create a smooth touch.  Once dry, I again sanded the board with 320 grit sandpaper, and applied a final coat of stain.  The final cover board is shown below:

Upon seeing the sewn leather binding and wooden boards next to each other, I noticed that I might need an extra measure of security to hold them together.  I decided to cut holes into the margin part of the boards and sew them to the leather with an ‘X’ pattern.  Each board would be attached using three of these patterns. The stitching is shown below.

I ran into a problem at this part of the production process.  The height of the ring mechanism was too tall for the binding of the book, so I had to think about ways to decrease it.  I thought of two solutions:

• • Use a smaller ring to hold the paper
    • Downside:  less paper storage; maximum of 40 pages
  • Use a Dremel attachment that can cut metal and cut 1 centimeter from the bottom of both sides, ensuring to round the edges
    • Downside: None

I figured that the best solution would be to cut 1 centimeter from the bottom of the metal piece, taking an even amount from each side.  Once I had the majority of it cut away, I worked on rounding the edges and smoothing the sharp parts.  I tested this design compared to the previous one, and the book could successfully close without the ring pushing at the cover.

Now that the majority of construction was complete, I used epoxy to seal the leather bindings to the boards.  The spine of the book was sealed to both the front and back cover, while the clasp was only attached to the back cover.  I held the desired position of the leather on the wood by using masking tape.  Once the epoxy was dry, I removed the tape.

I had a general idea of how the book would close, and how the covers were positioned on top of each other, so got started at positioning the magnet that would hold the clasp to the top cover.  I figured that I could embed the magnet into the back of the foam utensil holder, making it hidden.  The magnets I was using were too large to hide behind the foam, so I broke them into smaller pieces with a hammer.  Once I had a size that would work with the foam, I carved out a hole in the back of the foam, and glued the magnet into position.  Once dry, I used epoxy to seal the foam piece to the back of the front cover.

Now that the construction of the sketchbook was complete, I used weights to form and mold the leather to the position of the closed book.  The final sketchbook assignment is shown below.

 

 

Link to Portfolio Project:

View the Sketchbook Project at Sketchbook.

Research:

In order to begin this project, I was instructed to create two charts: one of nouns and adjectives, and the other of nouns and verbs.  Using this chart, I combined the nouns with the adjectives, then the other nouns with the verbs, to create new, mashed-up words.  A PDF of this chart can be viewed in Word Mashups.  From the list of new, mashed-up words, I went through and chose four that I wanted to work with and manipulate.  The four words I chose were: Spricy: Having the spicy, carbonated feeling of a McDonald’s Sprite; Insills: the chilly feeling you get while inside; Drall: to fall in a dream; and Trillusion: the psychedelic kind of illusions.

Exercise 1: Isometric Illustration

Using these four words, I wanted to create a list of actions and objects that best conveys each concept.  The research for these words is as follows

Spricy:

• • • Carbonation
    • Condenstion
    • Sprite Bottle/ Can
    • Straw and Glass
    • Ice
    • Green, Sprite Logo

Insills:

• • • Gloves, Mittens
    • Shakey, Jittery
    • Socks, Scarf
    • Snow

Drall:

• • • Falling
    • Dark Pit
    • Swirls, demonstrating depth

Trillusion:

• • • Mushrooms
    • Eyes
    • Dripping
    • Circular patterns
    • Variety of Color

I revisited this list of four words, and narrowed my options down even further.  The two words I chose to work with were: Spricy and Trillusion.

Iterations:

For both Spricy and Trillusion, I wanted to come up with a rough idea that I could work with and manipulate.  The first iterations of both words are as follows:

 

I felt that the illustrations and abstractions I could incorporate into the Trillusion poster worked better than those of the Spricy poster.  For this reason, along with me being more confident, I chose to use the word Trillusion as my final mash-up word.  I put the word into isometric format using the shortcuts on Adobe Illustrator, and was left with the following template to work with.

When originally working at creating an in-depth depiction of the word, I had two ideas: one that had the letters descending down a tree, and the other having the word start at the tree, and spiral itself to the center of the page into an eye.  A rough sketch of both iterations are as depicted below:

I decided that I enjoyed the second option more, where the letters descend the tree into the spiral.  However, there are things that I did not like about it, such as the small size of the text.  In order to better demonstrate the letters, I had to manipulate my placing of the letters, size and perspective of the tree trunk, and positioning of the eye.  Additionally, I had the idea to convert the leading ‘T’ in the word to a mushroom that appears to be growing off the trunk, and to include the definition of the word as a poster or engraving into the trunk.  This iteration is shown below.

With this basic layout of the poster complete, I decided to start sketching and detailing the individual pieces that needed to get put in, such as the lettering, mushrooms, eye, and tree trunk, along with some other ideas, like a general dripping effect.  This process also helped me decide which hues to utilize, as blue, yellow, and red best demonstrated the contrast and harmony of the pieces.  These individual sketches are shown below.

In addition to these drawings, I had to create a radial pattern that was similar to a mandala, but that emphasized depth and complexity.  I completed this using illustrator, and by combining two patterns, one seemingly more rough, and the other  softer and curvier.  The pattern is as shown below.

Finally, I combined all the different pieces together, according to my outline, and manipulated them according to their positioning and perspective.  After completing this stage, my poster looked as it does below.

The final step I needed to incorporate was to write out the definition, and dictionary entry for the word.  The entry I wrote was as follows:

“Trillusion: Noun

Trillusions

Def.: A specific category of optical illusion, in which the image deceives the audience into seeing psychedelic hallucinations; typically, circular movement, accompanied by dripping and melting

Illusion (Noun) + Trippy (Adj.)”

I, then, worked to sketch out the definition onto a scroll-like background, giving the illusion that the definition is written on paper, and nailed to the tree stump.  The font I used for the definition and dictionary entry was baskerville – bold italic.  My final iteration of the poster is as follows.

Production:

The final deliverables of this project are added below.

This project has helped me overcome a number of challenges.  I remember when this project was first introduced, there was mention of incorporating color into it.  My initial reaction was fear, as there has only been one other project that incorporated color, and it was the mandala project from Design Fundamentals.  I decided to look past it though, and focus on it when I was closer to my end goal.  I learned that it is better to worry about the things that I can fix and complete in that moment, than it is to worry about something in the future.  The experience from this project also helped me with my attention to perspective.  I went through many iterations of mushrooms, trying to get the perspective to line up with the view point of the piece.  Finally, I created two iterations that worked well, and that I was happy with.

Overall, I am happy with my final poster for this project.  I feel that the manipulated feeling of movement best demonstrates the meaning behind the word, and the dripping effect further supports this.  However, I do think that there are places for improvement.  One being the lack of objects and placement within the bottom right corner.  I also think that there could be more black and white foliage in front of the tree stump to further give it a forest feeling.

Link to Portfolio Project:

View the MashUp Project at MashUp.

Research:

There was a lot of research that went into this project, specifically with finding abstractions from artificial and natural forms.  Below are two charts, one with natural forms and structures, another with man-made.  The charts are broken down into five rows, the first being the picture itself, the second is proportion and scale, then direction and line, component, and value and color, respectively.  Each picture was then simplified, with abstractions being pulled out, as per the category names.

                                    

Image Sources:

Natural Images:

• • • • Eyes: https://www.everydayhealth.com/
      • Starfish: https://www.citrusreef.com/
      • Mountain: https://peakvisor.com/
      • Turtle:https://www.fisheries.noaa.gov/
      • Tornado: http://www.fansshare.com/
      • Fern:https://brainstudy.info/
      • Leaf:https://www.growerdirect.com/
      • Spiral: https://www.mariposagardening.com/
      • Spiderweb: https://djmag.com/
      • Plant: https://peterpappas.com/
  • •  Artificial Images:
      • Stairs: https://artplusmarketing.com/
      • Architectural: https://artplusmarketing.com/
      • Microphones: https://www.shure.com/
      • McLaren P1: https://www.youredm.com/
      • Xbox: https://www.xbox.com/
      • Keyhole: https://www.amazon.com/
      • Lightsaber: https://www.deviantart.com/
      • Eiffel Tower: https://www.britannica.com/
      • Middle Earth Map: https://wallpaperaccess.com/
      • Casette Tapes: https://www.npr.org/

Color Harmony Research:

For the second part of the mandala project, I wanted to conduct research to find many different color patterns that work well together.  This way, I would have a variety to choose from when incorporating them into the piece.  The different patterns and harmonies I explored are visible in Color Harmony.

Exercise 1: Harmony in Patterns

For Exercise 1, I chose to portray a harmonious pattern using the abstractions above.

 

Iterations:

When first constructing the mandala itself, I was instructed to create basic grid designs that could be used to implement the abstractions.  Below are three grid iterations I made, each with a similar makeup that followed the center in a circular pattern.

After many attempts of incorporating the abstractions into the rough iterations, I started to realize that I wasn’t happy with the mandala grids I made.

Late one evening, I was watching a movie, in which they discussed an ancient Innu Native American legend.  The legend talked about two celestial beings who were in love, but after one was tricked by an evil spirit, they were forced to spend eternity apart.  The spirit who was tricked, named Kuekuatshea, was forced to roam the earth as a wolf.  His love, named Moon, remained in the sky, always watching over him.  This legend inspired me to focus around the theme of a wolf howling at the night sky.  I incorporated a wolf as the focal point of the piece, looking at a moon, placed on the outermost part of the mandala.  I then created another iteration of a basic mandala, using these features, and wrapping it with the Aurora Borealis to help demonstrate movement and motion.  Below is the iteration I created.

After I had a mandala grid that I was happy with, I worked to incorporate my abstractions within it.  My original idea was to make two patterns with the abstractions, both would look similar to patterns found on Innu clothing and pottery.  Similarly, I wanted to create a border for the outside of the mandala that would act as somewhat of a frame.  I incorporated abstractions into this, as well, to further add to the complexity within the piece.  My initial draft of the completed mandala is shown below.

The feedback I received was extremely helpful.  My peers and teacher advised me to use simplified abstractions, rather than combine them into complex figures.  I decided to get rid of the pattern backing and border, and instead focus on the movement within the sky.  I felt that this focal point better complemented the wolf, moon, mountain, and Aurora Borealis, furthering the unity of the piece.  I went into further detail within the sky, and added in abstractions that demonstrated the movement of the wind.  I felt that the distance between the wolf and moon could be further emphasized, so I incorporated another abstraction of a brick-path pattern that starts at the wolf, and trails off into the sky.  My final iteration of the value mandala is shown below.

There were many abstractions that I incorporated into the mandala.  Below is a list of each abstraction I took from my abstraction chart (located in the research section).  The formatting for it is the letter of the chart it came from, A for artificial, N for natural, followed by the column, then row.

• • Moon: N1A
  • Stars: A9A
  • Northern Lights: N3D
  • Mountain: A9C
  • Walkway: N6B
  • Thorns: N10D
  • Sky: A9B
  • Pinwheel Effect: A4A
  • Darkening Dots: N2D
  • Constellations: N2A

When exploring the impact of color on the mandalas, we were assigned to pick two color harmonies to incorporate.  I chose to use the triad and square harmonies, as I felt the color combinations best demonstrated the movement and intricacy of the sky.  I chose to focus on two main colors for the sky, one darker, showing the night sky, and the other brighter.  For the dark, I chose to center around purple, and use the triad harmony, as the complementary colors fit well.  The triad color harmony is shown below.

The other color harmony I utilized was a square harmony, which was centered around creating a red sky.  The color harmony is shown below.

When incorporating the colors into the mandala, I looked at the different hues and how they interacted with the adjacent colors, and placed them using trial and error. Using this process, I created two variations of my mandala, both with drastically different moods.  Both iterations are shown below.

After evaluating both incorporations of color, I decided to try manipulating certain peices, that would better unify the components within the mandala.  I focused more of the value of the black and white copy, and translated those shades into the color harmony iterations.  I created color charts for both harmonies, as outlined in class, which is shown below.

Using these different shades, I could further detail my mandala by translating the color onto the mountain, which I had not previously done.  I also manipulated the colors of the sky, pattern, and stars.  All the changes and feedback helped me to create a more harmonious design, which further represents the story I want to tell.

Production:

The final design of the mandala is as follows:

The explanation behind my designs are as follows:

I chose to use the principle of directional movement to convey the story of the Innu Legend of Kuekuatshea. The legend tells of two spirits in the sky who were in love, Kuekuatshea and Moon. All the other spirits were jealous of the love between the two, so one day, when Moon and Kuekuatshea were apart, another spirit confronted Kuekuatshea. The trickster told him about a wild flower that grew in the human world, known to be the most beautiful sight. Upon hearing this, Kuekuatshea took the shape of a wolf, and went to find the flower. Upon his departure from the sky, he realized that he had no way of returning to his home and love. His every night in the human world ends the same way – him looking up at the one he loves, crying in despair.
My design uses the repeated circular pattern to demonstrate the eternal passage of time and the eight different stages of the moon. Similarly, each radial part of the mandala is wrapped together by the aurora borealis, linking the eight sections while also branching out to the edges. Behind the wolf, stars, northern lights, and moon, there are wave-like patterns that help demonstrate the complexity of the sky, and the variation within it.

This assignment has helped me explore the impact that color and value add to designs, specifically the mandala patterns.  It has also shown me that I have the ability to convey deeper meaning and emotions within my work.  During the course of this project, the best lesson I learned was how to take feedback and critiques of my work.  With each draft I showed my peers and teacher, I received feedback that initially I did not agree with, perhaps due to the amount of time I spent on the project.  I easily became dismissive of it, but after reevaluating my work and the comments, I realized that each comment had truth, and that it was from a fresh perspective, that I did not have.  Overall, this project helped me grow as a designer and pushed me to become confident in my work, while still being open to feedback and new perspectives.

Link to Portfolio Project:

View the Mandala Project at Patterning and Abstractions.

Research:

There were four ways outlined in class detailing how to conduct slow looking.  The four are:

• • Categories
  • Open inventory
  • Scale and Scope
  • Juxtaposition

In order to conduct a slow looking excursion along my path, I decided to try the open inventory method, focusing on one of my five senses and detailing my experience each time I traveled it.  I walked the path three times more (I did not feel it appropriate to use the taste of touch), detailing what I felt.

Once I was finished conducting an open inventory of my chosen journey, I needed to portray it using descriptive words that hold meaning and provoke feelings.  Due to my prior experience with mental illness, I decided to convey the path from Hayes to the Amphitheater using my own experiences on campus in 2019, but framing it as a fantasy story.

In order to create a fantasy map, similar to those of the Lord of the Rings and the Hobbit, I needed to conduct research into what basic features I needed to include.  I looked at maps from the Hobbit and the three Lord of the Rings books in order to know what icons I should use, how to draw them in the style of map, and what format I should use for lettering.  I started by making a list of icons I could use to portray certain landmarks on campus.  The list I gathered is as follows:

• • Mountains
  • Castles, Dark/Evil castles
  • Trees, Bushes, Grass
  • Bridges
  • Lakes, Rivers, Waterfalls, Rapids
  • Compass

Map Sources:

• • • Map of Middle Earth – The Lord of the Rings
    • Thror’s Map – The Hobbit

Exercise 1: Written and Non-Visual Directions

View Exercise 1 at Exercise 1 – Space and Time. My iteration of Exercise 1 included the details found from slow-looking and in depth observation.

Exercise 2: Visuals Along Path

Iterations:

The first step I took was to outline what I wanted each landmark to stand for and how I wanted to represent it.  View this list at Iteration Ideas.

I have many different icons that I wanted to include on my map, so I broke them down into two categories: castles and other formations.  With each category, I wanted to base the icons off of real locations around the oval, while also including some elements of fantasy.

I wanted to create three castles along the edges of the oval, evenly spaced, each from slightly different perspectives based on their position to the center of the map.  Shown below are the notes and drawing of each castle, and the building they are based off.

In a similar way, I needed to base the icons for the other forms off of real things.  Shown below are the other rough icon iterations I will use to portray landmarks on my fantasy map.

Once I had all the icons sorted out and knew how I was going to portray each different landscape, I needed to mark out where all the boundaries were, separating mountains from trees and rivers, etc.  The map indicating the different boundaries is shown below.

After I completed outlining the boundaries, I started sketching the final copy.

Production:

I started sketching the map on drawing paper, beginning with the natural features, then moving along to artificial structures, such as the castles and the compass.

From there, I draw in the rest of the main features and icons, and outlined the main lines in micron pen.  I added some texture by shading shadows in the bottom right side of structures and forms. Once I was happy with my initial texturing of the map, I sealed the graphite to the page by spraying the sheet of paper with hairspray.  Below is an image of the map right before it is detailed with micron pen.

Next, I added a grid-like pattern using pencil to give the map the illusion that it had been folded and weathered.  I furthered the aged illusion by smearing graphite along the aforementioned grid pattern, and along the edges of the sheet.  Once I was happy with the weathering look, I colored in my path from the beginning to the destination, adding texture to the path markers.  I once again sealed the map with hairspray to trap in any loose graphite.

After the assignment was graded, I chose to further texture the map by carefully burning the edges and outlined ‘fold’ marks.  The resulting map is shown below.

Link to Portfolio Project:

View the Space and Time Walk Project at Space and Time Walk.

Research:

The background research I needed to conduct was a refresher with trigonometric functions.  The three basic trigonometry functions used during this project were:

• • Sin(x)=opposite/hypotenuse
  • Cos(x)=adjacent/hypotenuse
  • Tan(x)=opposite/adjacent

Exercise 1a: The Perfect Cube

For exercise 1a, we were instructed to create a perfect cube, with each side measuring 3 inches.

Exercise 1b:

For exercise 1b, we were instructed to construct a 3D object using a given template.

Exercise 2:

For exercise 2, we were instructed to construct a scale orthographic drawing of the 3D form from exercise 1b.

Iterations:

The first step we were instructed to take in the iteration process was to translate the 2D shape from Shape Grammar into a simple 3D shape.  I took my shape and raised the plan view one inch, like the image shows below.

Next, we were instructed to make at least 3 variations of that 3D shape by playing with the sides and angles.  Below are five iterations I made.

Once I had multiple iterations, I narrowed the 3D shape to one option, which is the image that follows.

Production:

Once I had the basic look of my shape figured out, I had to open it up to reveal a rough template.  This initial template is shown below.

This initial template posed a great problem to me.  When I put it together, the back angles and segments do not line up.  I realized that this plan did not work, and that I had to rework it.  The next plan I came up with raised the plan view up 2 inches, and angled a similar, smaller shape to the plan view in 6o degrees, rather than just angle it in.  The initial plan and rough attempt at the top of the shape are shown below.

This new design for the top allowed me to plan for all the angles to be equivalent to each other.  Each angle measured to be 60 degrees.  The new template made is shown below.

Upon rebuilding the template, I realized that the back still did not line up correctly.  I realized that I had made an error with one of the rear pieces which stopped it from sealing shut.  I remeasured the angle and arrived at my final template, which I created in Adobe Illustrator.  The final template is as follows:

There are a number of instructions that aid the user with putting the shape together.  The instructions are below.

In order to accomplish the final deliverables, I draw this template twice, on two different sheets of Bristol paper.  One would become the final clean shape, and the other would become my design for the illusion option.  I chose to create the illusion of texture, specifically the metal talking end of a microphone, framed by implied lines.  I felt that, for the illusion, it would be most visually appealing if only half of the shape was covered, leaving the remaining sides a blank white.  This way, when looking at the shape, the contrast between the textured and un-textured parts is much more apparent.  The inspiration of this illusion and my initial process are shown below.

Source: Amazon.com

 

Once I completed drawing the illusion on the predetermined sides, I folded both templates to reveal the 3D geometric shape.  Below are the final 2 shapes, with three different angles of each shape.

 

Link to 2D to 3D Translation:

View the 2D to 3D Translation project at 2D to 3D Translation.