2
Ideation Fern – Original Pattern Receipt for Symmetry 1. Locate a center point 2. Draw an even number of solid lines (4) that cut through the center point. 3. Find the mid angle between the two solid lines and draw a straight dotted line from that angle. (dotted line as a bisector) 4) With reference to the dotted line, draw two solid line at almost 90 degree. 5) Repeat step 4 with larger scale until the end of the dotted line. 607048 – Min Gee Suh Symmetry Balance Movement

Ideation-607048

Embed Size (px)

DESCRIPTION

Week 1 Assignment

Citation preview

Page 1: Ideation-607048

Ideation Fern – Original Pattern Receipt for Symmetry

1. Locate a center point

2. Draw an even number of solid lines (4) that cut through the center point.

3. Find the mid angle between the two solid lines and draw a straight dotted line from that angle.

(dotted line as a bisector)

4) With reference to the dotted line, draw two solid line at almost 90 degree.

5) Repeat step 4 with larger scale until the end of the dotted line.

607048 – Min Gee Suh

Symmetry Balance Movement

Page 2: Ideation-607048

Rail Sweeps & Union

Revolve

Pipe commands

Ideation

Mirroring

Ploar array

Week 1 lecture was an introduction to the course with its main focus on the different forms of virtual environment and the significance of representation. The lecturer also introduced the conecpt of symmetry (mirror along axis), balance (light, propotion, boundary of composition) and movement (repition of shape, frequency of line).

With this various aspect in mind, I was able to summarize the three stages of the analytical approach advanced by Kandisky as the following (Analytical Drawing/Polling):

The first stage is primarily a process of simplifying the still object . Any unnecessary parts are eliminated while the most concise illustration remains for a more in-depth observation.

The second stage or so called the ‘heart’ phase of the analytical approach is locating an existing tension or more explicitly, the relationship of the still object and its surroundings. During this stage, one should consider various aspects such as movement, symmetry and balance of the composition as opposed to the obviuos.

Any visible tension should then be represented in forms of solid line, thickness varying according to the significance of the tension. The ‘network’ or the non-visible, yet a crucial connection between the interacting objects are usually drawn in a dotted line. Colors are often used for clarification or to place an emphasize on the core tension.

After having identified the three primary steps, I have directly applied it to analyze the pattern I have chosen. Firstly to eliminate any unnecessary parts that could interrupt the analyzation, I used a tracing paper to create the most simplest illustration of the natural pattern. From that point on, I considered the overall balance, symmetry and any movement occuring in the schema. As a result, an abstract version of the natrual pattern was created as shown in slide 1.

Rhino Exercises Response to Lecture & Reading

607048 – Min Gee Suh