Visualising Environments Booklet Semester 1 2017 PDF

Preview

Summary

Download Visualising Environments Booklet Semester 1 2017 PDF

Description

ABPL 10003 VISUALISING ENVIRONMENTS ABPL 20048 VISUAL COMMUNICATIONS Semester 1 2017

Co-Ordinator: Lindy Joubert [email protected] Senior Tutor: Helen McNab [email protected]

Table of Contents Subject Structure: What Do We Expect of You?

page 3

Overview: Lectures and Studios and Computer Sessions

page 4

Week 1: Introducon and Freehand Perspecve Drawing

pages 5 - 7

Week 2: Represenng Three-Dimensional Form Using Orthogonal Drawings and Projecons pages 8 - 14 Week 3: Model Making and Photography

pages 15 - 19

Week 4 and 5: AutoCAD

pages 20 - 21

Week 6 and 7: Rhino

pages 22 - 23

Week 8: Pictorial Drawing Using Perspecve

pages 24 - 26

Week 9: Analycal Diagrams

pages 27 - 30

Week 10: Photoshop

page 31

Week 11: InDesign

page 32

Week 12: Freehand Drawing Describing Your Environment

pages 33 - 37

Studio Folio Submission Details

page 38

Using Sources and Avoiding Plagiarism

page 39

SUBJECT STRUCTURE: What Do We Expect of You? MONDAY LECTURES (Aendance is compulsory and is recorded) Monday - 9 - 10am Harold Woodruff Theatre, Microbiology Building 184, Room 127 Lecture is scheduled for 1 hour for 7 sessions during Weeks 1 to 12. (7 hours total of Lectures)

STUDIO SESSIONS (Studio Folio is worth 70% of Final Assessment and Aendance is compulsory and is recorded. Absences can affect your final mark.) Monday – 6.15 - 9.15pm or Tuesday 9am - 12noon or 12 - 3pm or 6.15 - 9.15pm in MSD Studio Sessions are scheduled as 6 x 3 hour sessions during Weeks 1 to 12. Students are required to enrol into one Studio me. (3 hour sessions x 6 weeks = 18 hours total) Students will submit the previous week’s work at the start of each Studio Session. Each weeky submission is worth approx. 5% of the Final Folio Mark. Students should spend a minimum of 3 hours per week on Home Tasks. Although this subject does not involve wrien submissions, plagiarism and collusion will not be tolerated and all work must be your own original submission (see last page in this Study Guide). Unless otherwise idenfied in this Guide images are of student work completed during this subject.

COMPUTER LAB SESSIONS Computer Lab Sessions are scheduled as

Total Contact Hours = 42 hours FINAL FOLIO SUBMISSION DATE: Monday June 5th via the Assignment Room Chute, Room G05 ground floor Baldwin Spencer by 5pm. Aach the Coversheet that you have printed from LMS to your Folio. EQUIPMENT LIST: Refer to start of Weekly Assignments for specific equipment required for that Session. Most of the required equipment/materials should be available from Arthur Daley’s Clearance House (in Swanston Street near Flinders Lane), or Deans Art (in City or Fitzroy), or Eckersley’s (corner Swanston and Franklin Streets). Bring other items in if you think they will be suitable. Equipment required for studios each week • A3 drawing cartridge paper • A5 Sketchbook – no spiral bindings • Detail paper (translucent paper such as Greaseproof Paper) for Week 2 • Graphite pencils or clutch leads – grades 2H to 6B • Black marker pens of various point thicknesses (permanent ink) • Masking tape • Drawing eraser for pencil • Erasing shield • Scale ruler • Cra knife and pencil sharpener • Digital Camera or Mobile Phone • Drawing folio of size suitable for containing A3 drawings (No plasc pocket books will be accepted)

6 x 3 hour sessions during Weeks 1 to 12. Rhino, AutoCAD, Photoshop and InDesign will run in Computer Labs in MSD (Aendance is compulsory and is recorded. 3 hour sessions x 6 weeks = 18 hours total)

ASSESSMENT Assessment will be done progressively upon the submission of each exercise. The submission date for each exercise will be at the following Tutorial unless otherwise noted. The Tutor will assess the submissions and then provide general feedback with specific comments as required. The progressive submissions also regulate workload so students do not find themselves with an excessive workload at the end of the Semester. The final result in this subject will be on the basis of this folio review in combinaon with progressive submissions. By receiving weekly feedback, work can be modified and effort acknowledged before submission of the Final Folio.

3

OVERVIEW: LECTURE, STUDIO & COMPUTER PROGRAM Week 1 - February 27th - Introducon and Freehand Perspecve Drawing Lindy Joubert - Lecture and Studio Session Improve freehand drawing skills based on observaon, understanding of perspecve and natural laws and to encourage drawing in the design process. Various forms, methods, techniques and materials will be introduced. Sketchbook started.

Week 2 - March 6th - Represenng 3 Dimensional Form Using Orthogonal Drawings and Projecons – Amanda Roberts - Lecture and Studio Session This week looks at the pracce of orthogonal drawing to provide the basic and essenal tools to precisely represent three dimensional architectural form. This descripve geometry is used by architects, builders, engineers etc and provides the understanding for 2D and 3D projecons to be presented in the computer programs in the coming weeks of this course.

Week 3 - March 13th - Model Making/Photography – Thomas Stanistreet Lecture and Studio Session Basic introducon to hand made model making using simple geometric forms. This knowledge is integral to an architectural understanding of a house or a building and is a necessary part of good design. Digital models cannot replace the physical model – the two have different qualies and it takes both to properly understand and communicate a project. How to take quality architectural photos will be explained.

Week 4 - March 20th - AutoCAD - Adrian Chu - Lecture and Computer Lab Session Use of computer labs/personal computers, students to be well briefed in on-line material and during session. AutoCAD workshops will develop foundaon skills to assist other subjects.

Week 5 - March 27th - AutoCAD - No Lecture - Computer Lab Session

No Classes Week of April 17th - Easter Non-Teaching Period No Classes Tuesday April 25th - ANZAC Day - Sketchbook and Homework Task only Week 8 - April 24th - Pictorial Drawing Using Perspecve - Lindy Joubert Lecture Perspecve is the most interesng form of drawing as it accurately describes an object in the third dimension. Students will learn how to draw objects of different sizes, with different relaonships to each other and their accurate depicon in space. Students will learn how to draw natural and man-made forms and objects and to visually arculate structures. Builds on skills introduced in Week 1.

Week 9 - May 1st - Analycal Diagrams - Amanda Roberts - Lecture and Studio Session Provide the graphic and technical skills to design, communicate and reason the processes with geospaal data presented in Designing Environments, supported by data collecon and a variety of tools for structuring and organising space.

Week 10 - May 8th - Photoshop - No Lecture - Computer Lab Session Week 11 - May 15th - InDesign - No Lecture - Computer Lab Session Week 12 - May 22nd - Freehand Drawing Describing Your Environment Lindy Joubert - Lecture and Studio Session This week will develop perspecve knowledge to master visual sensivity to what one sees and develop students’ capacity to arculate and convey informaon relang to the natural and built environment. The final assignment will focus on textures, composion, mood, light, shapes, shade, shadow and tonal values.

FINAL FOLIO SUBMISSION DATE: Monday June 5th via the Assignment Room Chute, Baldwin Spencer by 5pm. Aach the Coversheet that you have printed from LMS to your Folio.

Week 6 - April 3rd - Rhino – No Lecture - Computer Lab Session Use of computer labs/personal computers, students to be well briefed in on-line material and during session. Rhino workshops will develop foundaon skills to assist other subjects.

Week 7 - April 10th - Rhino - No Lecture - Computer Lab Session

4

WEEK 1: INTRODUCTION AND FREEHAND PERSPECTIVE DRAWING Equipment Required: • • • • • • • • •

A5 Sketchbook – no spiral bindings A3 drawing cartridge paper Graphite pencils or clutch leads – grades 2H to 6B Black marker pens of various point thicknesses (permanent ink) Masking tape Drawing eraser for pencil Erasing shield Cra knife and pencil sharpener Drawing folio of size suitable for containing A3 drawings (No plasc pocket books will be accepted)

Graphic Communicaon Graphic Communicaon uses pictorial sketches, maps, diagrams and symbols to convey informaon to record situaons and events and to give clear instrucons and explanaons. This first week places the subject in context and explains the why, how and what of Visual Communicaon. Exercises There are 2 Exercises to be commenced in the studio with your Tutor’s help. These are to be completed at home to be handed in to your Tutor at the start of Week 2.

WEEK 1: EXERCISE 1 Drawing each other (30 mins) Divide into pairs and alternate drawing each other without looking at the paper. Use so graphite pencils to give bold line or felt pens on A3 sketch pads. Fill the page with a series of sketches. Be quick and confident. Make sure not to look at the paper; draw with free-running line and perfecon is not the purpose of this exercise. You will be surprised at the interesng results. The aim is to capture the individual character of the subject.

5

WEEK 1: INTRODUCTION AND FREEHAND PERSPECTIVE DRAWING This is the most immediate form of visual communicaon and students will be taught a variety of techniques and the correct materials to help produce sophiscated results. Many examples are demonstrated and their relevance to all the areas of learning involved in this course. You will discover that whether you are drawing in a sketchbook or compleng an A3 pencil or pen and ink drawing the principles remain basically the same. The perspecve rules, shade and shadow, how we approach a drawing, all have the same impact on that drawing.

WEEK 1: EXERCISE 2 SKETCHBOOK DRAWING IN YOUR A5 SKETCHBOOK Why do architects need to maintain a sketchbook during their creave careers? Architects, painters and sculptors have always needed to record images such as buildings, places, objects or people in sketch book format because it is a logical bridge between later more detailed larger drawings, painngs or design. • • • •

It frees up the hand and mind; Sharpens observaon, percepon and drawing skills; It is portable and convenient when me and place do not allow a larger work to be completed; It is enjoyable!

It should not be a task or chore and can be considered as part of your life’s biography or diary. When we look at many of the old masters’ work we find that all of them kept comprehensive sketch diaries and these have become a chronological visual record of their arsc journeys. Through the centuries Leonardo Da Vinci, Michelangelo, William Turner, Albrecht Durer, Lloyd Rees, John Wolsey, Joseph Zbukvic, Le Corbusier and Frank Lloyd Wright to name a few have kept sketchbooks.

How Do We Record Our Images In Sketchbook Format? We are really only visually taking notes on what we see, which oen requires a certain amount of speed and concentraon, given the somemes changing nature of our subject maer. For example, non-stac people or changing light condions present challenges.

6

WEEK 1: INTRODUCTION AND FREEHAND PERSPECTIVE DRAWING There are many ways to sketch, but as Lloyd Rees has said we are not merely copying a subject where the drawing has no independent life of its own, but that to produce a good drawing, we create work which retains a unique vital inner life of its own. (We call it magic.) It is quite remarkable that we all have the capability to create such a drawing!

To Start Work • •

• If we look at the sketches of a child or those of the ancient cave painters of Lascaux, we see that these images are created with the applicaon of single line contour drawing. This captures the essence of a subject in a direct and speedy way similar to a map. This is the easiest way to précis a subject, and although there are many ways to represent objects, for our purpose this is how we would like you to approach your sketchbook drawing. It is a great foong to start to take good visual records which you will constantly refer back to over your lifeme.

Praccalies of Starng your Sketchbook • • • • • • • •

Make sure you are comfortable, having all equipment at hand. Eye ball the subject, determine whether it is a landscape of portrait format. Use a cardboard viewing frame or your fingers to crop as through a camera lens to get the best composion and design. Observe the main shapes, posive (the ones you draw) and negave (the background shapes). Use a finger or pencil to approximate a few proporons or angles. Forget what you are drawing, but instead ask, “What shape is it?” Round, rectangular, diamond, cylinder, etc. Liken the shapes to objects you are familiar with, such as a leaf or football, etc. Mentally or actually establish the horizon line or your drawing will never work. Are the lines angular, curved, horizontal, or vercal?

Why No Spiral-bound Sketchbooks? Pages will fall out of a spiral-bound sketchbook and get lost with frequent use so we recommend you use a bound book. Over the years as you complete one sketchbook you can replace it with a similar one and gradually build up a library of your sketches.

• • • • • •

Hold your pencil or pen halfway up its length quite loosely and place it anywhere on your page, preferably not in the middle unl you have gained your confidence. Follow the contours of the objects both externally and internally, focusing your aenon in a meditave manner, having no concerns for outside factors whatsoever. (It is just you, your materials and your subject!) Use just one connuous line, no scratchy lines. Work slowly, especially on the straight lines, and lile faster on the curved lines Try not to take your pen or pencil off the page. Imagine your pen or pencil is actually on the object. Keep your eye and your hand at the same pace, not allowing the eye to race ahead of the slower hand. Join up the shapes. Don’t draw everything. Leave lost and found edges, as what you leave out is important also. Take lines out of the page or frame in at least 2 places

Adding Tonal Work Tones are the difference between the lightest and darkest areas of the subject. These are established by squinng the eyes. The lights will jump forward and the darks will recede. This can be used to your advantage to lead the observer’s eye around your work.

Shading • • •

Tones can be applied by shading with a pencil of either graphite or coloured variety. Cross hatching with pencil or pen. Solid tone, with either felt pen or watercolour washes.

A5 Sketchbook Requirements For End Of Semester Submission You are required to do several pages of drawings in your Sketchbooks every week and this A5 Sketchbook will be submied inside your A3 Studio Folio at the end of Semester.

7

WEEK 2: REPRESENTING 3-DIMENSIONAL FORM USING ORTHOGONAL DRAWINGS AND PROJECTIONS Equipment Required: • • • • • • • • •

A3 drawing cartridge paper Detail paper (translucent paper such as Greaseproof Paper) Graphite pencils or clutch leads – grades 2H to 6B Masking tape Drawing eraser for pencil Erasing shield Ruler Cra knife and pencil sharpener Drawing folio of size suitable for containing A3 drawings (No plasc pocket books will be accepted)

They include plans, secons and elevaons and are of vital importance to designers including architects and builders because they can fully describe three dimensional objects in space on a two dimensional format so that the three dimensional objects can be actually constructed. There are three main types of projecons used for communicang architectural or spaal ideas. They are: • • •

Orthographic projecons (2 dimensional): plans, elevaons and secons Central projecons (3 dimensional): perspecves (includes 1, 2 and 3-point perspecves) Parallel projecons (3 dimensional): includes axonometric, isometric and oblique projecons

Introducon Human vision occurs in such a way that we see what is in front of us in perspecve. Our eyes can focus on the central part of this area; what is outside this is gradually more blurred and distorted. What is close to us also appears larger than what is further back. Standing in a room we can clearly see the front wall, but the side walls, floor and ceiling are only partly visible. We must turn our head as well as our eyes to gauge their shape and we must turn fully around to see the back wall. Only then can we recognise the space fully in three dimensions. It took thousands of years of civilizaon for man to be able to convincingly represent what is seen in perspecve on a flat surface (e.g. on paper or on a screen) yet primive man was able to draw the silhouee of animals insncvely in two dimensions. Aboriginal painngs oen show animals in this way but with their internal organs included (called ‘x-ray painngs’) or the landscape represented as a map with rivers and mountain ranges shown in plan. These types of images are orthographic projecons: views taken at right angles (orthogonally) to the object concerned with the parts related to each other shown at the same relave size.

8

WEEK 2: REPRESENTING 3-DIMENSIONAL FORM USING ORTHOGONAL DRAWINGS AND PROJECTIONS Drawing convenons for orthogonal projecons Orthogonal projecons must comply with certain convenons. They are used together and are drawn at the same scale. There is no foreshortening (i.e. parts closest are read and drawn at the same size as those further back) and thus they are distorons of what is seen.

Plans These are views from directly above (e.g. site plans, roof plans and floor plans) or below (e.g. reflected ceiling plans). Floor plans are the most useful for building construcon and they are horizontal secons cut through the main openings (doors and windows) taken at a height of between 1200 and 1500 above floor level. Where walls and other solid objects are cut the outlines are drawn more boldly than what is seen below. Somemes the walls are hatched (to give them greater emphasis or to reveal the construcon materials) and somemes they are le blank (to emphasise the interior contents and/or exterior landscape).

Elevaons These are horizontal views of the faces of the object (most commonly the vercal sides of a building). The ground line is best extended beyond the building and drawn more boldly as it is cut in secon. Elevaons of buildings are usually related to the cardinal direcons (e.g. north elevaon showing the north facing side of a building).

Secons These are vercal slices taken at locaons that best describe the important features (e.g. through door or window openings, through parts where changes in level occur). The floor, walls and ceiling outline are drawn boldly where they are cut. The locaon of the cut and direcon of view can be indicated on the plan using bold lines with arrows. Image source: Tom Porter & Sue Goodman, Manual of Graphic Techniques 4

9

WEEK 2: REPRESENTING 3-DIMENSIONAL FORM USING ORTHOGONAL DRAWINGS AND PROJECTIONS Sketch design and construcon drawings Orthogonal drawings are relavely easy to produce as dimensions of the object (e.g. building, landscaped area) can be set out on a flat surface using a scale ruler. The scale (e.g. 1: 1 00, 1:20, 1:5, full size) can be selected to suit the circumstances (size of paper, size of building and the extent of det...