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Abstraction Texture Development

| kimball.103
I experimented with different textures to distinguish the parts of the gazebo. I determined that asphalt shingles would be a realistic material choice for the roof. I contrasted the rough pattern of the roof with wooden rails and support beams. I added the fence aesthetic around the perimeter as geometric combat to the circular shape of the base structure. The flooring was considered initially, but I decided I had enough textures and it was a small portion of the area. I created a shaded floor in the final creation in order to increase the sense of depth.
The gum ball machine was created with the intention of focusing on two textures- glass and plastic. I later decided to create metal support poles as an attempt to improve on shading metal from my interpreted journey. The glass was designed based on looking at fish bowls. To create the sense that it is hollow I added gumboils to my final design. Lastly, I made my plastic glossy in oder to have reflective highlights, adding to the form.
The tub was initially created out of the leaf components, so in reference to its roots I created some test patterns based on the leaf texture. I determined the texture to be too intense for the entirety of the form; as a result, the finalized drawing poses the celled texture on the tops ledges. In this sample sketch of the tub I lacked the sense of form and depth desired, so overall it was changed later on.

Possible Reconstructed Objects

| kimball.103
The reconstructed forms based off my three abstractions represent three possible objects: something a person can use, something that can support a person, or something that can contain at least two people. I attempted to create one of each abstraction into those categories to optimize my outcomes. The first column is derived from my bee abstraction. I decided to use the gum ball machine design as the sharp triangles generate a modern, mechanical appearance, interesting as a bee is alive and fuzzy. Creating an object that can support one person was the biggest challenge for me because it forced me to think about what is considered supporting. I examined how clothes, seats, and even an urn can support a person. I determined that my bath tub formed from the leafy plant best fit this theme. I believe the curves of the broken down leaves produce a serene, wave-like movement. My final abstraction became a gazebo. I made a gazebo out of both the leaves and the gourd; however, the gourd’s long, curved components made better for a layered roof.

 

Interpreted Journey Notes and Sketches

| kimball.103

To begin creating my journey reimagined in the context of a new planet, I returned to each location from my original excursion. I wanted to find obscure perspectives at each place, while conveying a sense of curiosity and uncertainty about a particular object or landscape. I noted the physical characteristics of each spot, fixating on ones that would seem unusual to an alien. I also maneuvered my point of view to understand the emotions my scenes would provoke. Lastly, to conclude the research aspect, I thought about the various combinations of the element/principles and compositional tools I could apply to each sketch. with every sketch, I attempted a new compositional tool such as canting, framing, or worms view.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Reflection

In my final work, my individual frames demonstrate a focus on compositional tools to project sentiments of curiosity, uncertainty, and observation. I use the tire as my object of intrigue as the concentric circles and unique texture make it an odd object. I used the close up view to give the wheel emphasis, while providing a sense of depth to my background. My second scene uses the frame within a frame composition. Texture also was a major influence in my work as the two wooden structures were very similar, yet possessed slight differences. In addition, the feeling on uncertainty is conveyed effectively by the narrow view of the street. Personally, I felt a little creepy and unsure myself as I peered through the small gap into the open space on John and Anne Glenn Avenue. My third situation had me focus on the extreme angle. The metal railing was an affective contrast between the other textures; however, the height was a little overdramatized. I added the hand after the critique because it helps direct the viewer to focus on the feeling and texture of the rail. Sensory input would be a major component to discovering a new planet. I continued adding myself in my next drawing, but this was to emphasize the aerial view of the cup. In this frame, the cup is an out of place object in the outside context, so I used light circular lines to focalize it. Furthermore, I attempted to use the natural direction of the step to create the golden triangle composition. My final destination was in the Architecture building, where the ceiling is composed of various lights. The clean symmetry of the spotlights fascinated me, as did there abstract angling.

Mood Swings

| kimball.103
Originally I chose this design as my representation of weakness and fragility; however, I decided to change the perspective of what was weak and fragile. I added the idea in my new design that it is the people side of deforestation that is weak. I show this through having the chaotic people in blurry motion, while the trees remain still and strong.

 

 

 

 

 

 

 

 

 

Spatial Assembly

| kimball.103
I chose a 13x16x13 spaced room because I wanted to have a fairly balanced space. Although the depth was required to be larger than the width, it helps provide more space to work with when creating a room.
This was my original attempt at a room. I included a desk with shelves because I always use my desk shelves, but also, the repetition of their shape and size is appealing. secondly, I placed a plant in the front on the desk and in the back corner as it helps unify my room. The similar qualities in texture aids this intention. The two general structure included are the fireplace and doorway. I involved the fireplace as it provides a structure coming off the wall. This helps fill the space, but also gives the viewer an idea of where the eye-level is positioned. The juxtaposition in the chair and couch demonstrates depth. Even though they are the same size, the viewer understands in context of a room it is a logical sizing. The balloons were an impulsive decision. I later removed them, demonstrating why planning is important. I wanted to add a fun element (making a perpetual office party). Their size and form were unsuccessful.
I continued to add a mirror and a lamp. I felt the space was too empty, not allowing for a comforting atmosphere.
To finalize my project I added more shading. I included a circular string switch to my lamp to complement the circular pattern in the mirror. Furthermore, I kept similar line and hatch shading in the couch, fireplace, and desk as they have the similar rectangular prism form. Although the shading is similar, the values help make the objects harmonious while keeping their individual qualities.

Quick Hand Sketches

| kimball.103

 

 

 

 

 

 

 

These practice exercises help induce quick sketches based on simple shapes. Initially, I had only 30 seconds which increased to a minutes, and finally 3 minutes. In the first sketch, one can see distinct use of circles, ovals, and lines to create a basic outline. In the second sketch, I lost sight of the accurate angles of my hand; therefore,  when looking at the third and longest practice sketch, it is evident that I marked the finger angles and locations in.

Practice Still Lives

| kimball.103
This was my first attempt at the still life practices. I chose my water bottle and toothpaste. I made way to sketchy of lines in this still life, and the top of the bottle’s angle is off.

 

A few quick sketches of what my final still life will be.
These are my other two practice still life. I applied the ideas from simple shapes exercise when making the pump of the hand sanitizer as I used circles to get an accurate curve.  

This is a more detail practice still life based on my. smaller sketches. I used triangulation to achieve accurate positioning and sizing. If I were to improve upon this exercise later on, I would add more details and more contrast with smoother shading.

For this still life drawing I flipped each item upside down in my head. This forced my brain to focus only on the shapes I could see, without the interference of my past ideas about a light bulb’s appearance.