LAURA GIBSON
Architecture & Design
PATTERN VS. SURFACE
PAINTING SAMPLE
Fra Filippo Lippi , Annunciation with Two Knealing Donors, 1440 ca.
Rome, Galleria Nazionale D’Arte Antica
TERRAIN
The terrain shows a particularly high point which spans across the centre. The curved shape of the terrain serves a problem because the design of the fabric in the painting is quite layered, and therefore some parts of the panels can be built up quite tall, therefore making it difficult to unroll. However, the fabric and the terrain do not share the same high points, therefore allowing for exploration of the combined high points. The fabric and the terrain share some low points, meaning that these areas can be emphasised and both pattern and surface can work together to create the composition. The two low points on either side of the terrain can be seen as valleys.
ARTEFACTS
1
1
Artifact 1 reflects the light and dark sections of the sample. Light and dark sections for this artefact were made by offsetting the points, where the light sections were lower and therefore had less shadow while the dark sections are further from the terrain and therefore show darker shadows. Also, custom geometry helped to create specific panels which were lighter and darker and then a variation between light and dark in order to depict the shadows of the sample in an effective way. The upper fold of the fabric served as a problem because it bends in a diagonal direction over the vertical folds of fabric, but this was overcome through using custom geometry which helped to create directionality to the piece, suggesting the folds of the fabric in more than just terms of shadow and light areas.
2
Artifact 2 utilises shuffle grid for both the top and bottom grid, allowing to emphaise the overall layers of the fabric. The layers towards the bottom left of the fabric are fairly verticle, and therefore I have left them so that they show the way they remain unchanged by the top layer of fabric. The top layer of fabric is also shows through the curve of the shapes, where they are all drawn in by the one central point on the right hand side of the sample. The height of the panels is also a factor which gives the artifact dimension, and can be seen better from an oblique view.
3
Artefact 3 stretches the boundaries of the terrain in order to mould into a true depiction of the sample fabric. The left hand side curves dramatically in order to show how the last fold of fabric is darker and therefore a more extreme curve. This was done by using the rotate3D command in Rhino. The upper fold of the fabric is much higher than the lower folds, therefore providing depth and tuning in to the true form of the fabric. In the composite drawing of the artefact, I have emphasised the dark blue tones in the left side the the fabric in order to show how the form curves around deeply.
COMPOSITE DRAWING
In the composite image, the drapery has changed so that it flows across the span of the image. For example, artefact 3 shows the folds of the fabric in more depth, which can be seen particularly at the bottom of the image, where the outline of the drawing curves where the drapery folds. The left side of the fabric drops off quite dramatically, which is indicated by the dark colour of the fabric, and this is shown in the composite image by the triangles pointing outwards, therefore suggesting that they follow the same curve as the fabric. The composite image shows the high points of the fabric and the overall form of the fabric, where the panels become more dense in areas that have intricate drapes and many parts of the fabric are being pulled, such as the section where the fabric falls on the step to the right of the image.
PRIMARY SKETCHES
Initially, I began the design process by sketching out the light and dark areas for artefact 1. Through determining these aspects of the fabric it was easier to decide how I would use the different panelling tools in Rhino to create the designs.
Similarly, for artefact 2 I also sketched out the way that the fabric was moving and the certain anchor points that it has. This helped to choose how I wanted to offset the bottom grid to create a sense of form and movement in the final design for artefact 2.