Introduction

Through my development, I have consistently struggled with my ar s c ability. Though able to visualize unique and varying concepts, I was

frustrated by my inability to communicate these ideas with others. This class has been an opportunity to extend beyond my “comfort zone”, in a posi ve, reinforced environment.

During this quarter, I have been forced to re-evaluate my spa al understanding of the world around me, and guided in my a empts to render my thoughts on paper, further cemen ng internal understanding of spa al rela onships with each endeavour into a new technique, and libera ng my ideas further with each new itera on.

Body Drawing

Above all else, this fi rst exercise provoked me to be crea ve, though in my a empts at perfec on, I too o en

breezed over the purpose of this exercise: scaling.

From the full sized drawing (1), essen ally traced onto an im-age projected on the paper, I did not embrace an opportunity to learn, but rather focused on results. Similarly, my fi rst at-tempt at scaling (2) was heavily assisted. It was not un l my second scaled itera on (3) that I embraced my abili es, and put trust in my measurements. Though rougher than the fi rst a empt, it was fulfi lling to create such a representa on unaid-ed.

(1) (2) (3)

Body Drawing

In my fi nal itera on (4), I was able to further expand my use of the box method through rela ve measurements(5). Though not a perfect reduc on, my image bears

a strong resemblance to the original. While most of the measured points are correct, I realized that curves will be an issue in the future, and are the largest discrepancies in this project.

(1) (4)

(5)

VisualizationVisualization

When this began with drawing a straight line from one edge of the paper to the other (1), I knew I was in trouble. I prefer precision above all else, though as we

progressed, I became more and more accustomed to trust my ability to judge, placing the right or le edge of a cube where it seemed to fi t, and exploring new concepts. I began on my own in earnest, with small drawings. Once I had mastered a cube (2), and a fl oa ng cube (3), I began more interes ng concepts, such as a brick façade (4), and eventually buildings (7).

Two Point Perspec ve-Two Point Perspec ve-First A emptsFirst A empts

(2) (3)

(4)

(6)

(5)

(7)

(1)

VisualizationVisualization

Two Point Perspec ve-Two Point Perspec ve-Closer to masteryCloser to mastery (8)

(9)As i con nued, I decided to begin increasing the scale and complexity of my

drawings. From a string of mul plied and divided cubes (8), I furthered my ability to portray depth. Finally, in a larger drawing (9), I explored the rela onship between discon nuous objects in a two point perspec ve, and the eff ects of spacing between objects (par cularly the ‘stepping stones’)

VisualizationVisualization

Orthographics, objects in multiple views

Enjoying the comfort of a straight edge once again, I found the modelling of orthographic projects somewhat natural. While I had issues rota ng an object

mentally at fi rst, as I began to understand the faces of a cube in rela on to one another (1), I began to further enjoy this mental exercise, and in par cular, cube rota ons (5-8), and moving between various methods of visualiza on (3-8).

mul

tiple

vie

ws

1Orthographics

(3)(4) (5) (6) (7) (8)

(1)

(2)

VisualizationVisualization

Orthographics, objects in multiple views

Further expanding my understanding of conceived three dimensional objects, and ability to rotate these objects, and visualize them through various means, I began

to play with more interes ng shapes (9-10, 11-13).

multiple views 2 multiple views

3

(9) (10)

(11) (12)

(13)

VisualizationVisualization

One Point

Rela ve to the other methods of visualiza on, one point came much more slowly. Preceding my fi rst decent voyage into the world of one point (1-3), I worked

through a number of very distorted drawings. As I con nued in this style, however, I began to enjoy the sense of volume that could be a ained (5), and the ease with which a daily situa on could be recorded, using simple sigh ng techniques (1-3).

(12)

(13)(1)

(2) (3)

(4)(5)

VisualizationVisualization

One Point

Building on my previous method of

exploring a method in smaller drawings, and expanding my knowledge in a larger image, I chose to create this slice of the world, roughly modelled a er Powell Sta on. As I began to draw, I further ques oned and re-evaluated my understanding of rela ve size (par cularly in interior areas), and ability to off set discon nuous surfaces (retaining wall and buildings on the right)

(6)

VisualizationVisualization

Office Method

Though this technique has been, by far, the most diffi cult of this class thus far, I enjoy the exactness it provides. In par cular, I enjoy this method’s formulated

control of perspec ve (1), ability to exactly draw objects that might have otherwise have been diffi cult to visualize in a two point (5-8) (par cularly the back cube), and ability to directly address issues in interes ng forms, such as planes parallel to the picture plane (4).

(4)

(1)

(2) (3)

Conclusion

For me, this class has been an opportunity to explore a world that may as well have been occult. Though I had some limited experience in

modelling the world around me on paper, I had never been able to do so in a way that wasn’t, frankly, embarrassing.

Through my use of one and two point perspec ves, eleva ons, orthographics and the offi ce method, however, I have been able to be er understand the world around me, and the way that I view at, and as such furthered my ability to convey that informa on through drawings.