Concept and Iteration

For Project 3, I had a very clear image of what I wanted to design right from the get-go: a human head with two voxelated whale teeth coming out of their eyes. I felt that it fit the surreal quality needed for this project and that I also liked the image in my head and how the teeth would look like horns sprouting from the head’s eyes.

I didn’t have a sketch of this, just a visualization in my head, but I would say that the thing that most clearly inspired me for this vision was this famous Lego sculpture by artist Nathan Sawaya, named “Yellow” When I was a kid, I was enamored everything and all Lego. I went to Lego stores and museums with Lego exhibits and saw pieces similar to the “Yellow.” I also remember seeing this piece years later and thoroughly enjoying the look and the visceral feeling it conveyed. This nostalgia and the current appreciation for the piece inspired me to make the “horns” of my model voxelated. I also felt it would contrast nicely with the organic shape of the head.

 

Nathan Sawaya, “Yellow” 2007

https://www.artsy.net/artwork/nathan-sawaya-yellow

 

I then needed to decide how to incorporate a model of a head. For this, I decided to go with a pre-existing model from Thingiverse by user, “figure.” I went through a couple of heads on Thingiverse, but settled on this one as it was more female in structure and had the emotion closest to what I was imagining. Before importing to Fusion, I imported it into Meshmixer to analyze it for any issues and also to reduce its large triangle count.

 

figure, “Head” 2015

https://www.thingiverse.com/thing:979818

 

I also wanted to have the head rest on some sort of base, similar to that of a chess piece. I felt that a square was too plain and eventually settled on a regular (in the sense of its interior angles) hexagon. A slight upward taper was also added to the hexagon, as I felt that it made it look more pedestal in appearance.

I liked the hexagon, but also felt it was missing something as another layer on top of it. I then tried adding a triangle that was centered in the hexagon, but quickly found out that it was not big enough to have the head rest on. Choosing a shape stumped me for a few minutes until I tried a circle. I centered it around the middle of the hexagon and extruded it slightly above the hexagon to form a second, thinner layer.

This hexagon-circle combination left me satisfied, but it wasn’t until after I finished my Project 4 when I realized why: I had made a benzene ring! A benzene ring is represented by a six carbon ring, with three of the carbons being double-bonded to each other. These double bonds of electrons are also capable of resonance, or delocalizing themselves to a different bond. This resonance in benzene can be represented as a circle inside of a hexagon, similar to the shape of my base. It seems my love for chemistry (or perhaps my  chemistry final next week) had subconsciously lead me to this design…

 

 

 

Final

Below is my completed, surreal model for Project 3.

3.3design_fabricationfile.obj

 

For the final model, I started with the multi-scan of my whale tooth with the digitizer. Then, importing it into Meshmixer, I smoothed out the surface of the tooth and also reduced its triangle count for its use in Fusion. I then found the head model on Thingiverse, imported it into Meshmixer to reduce its triangle count for a smooth transition into Fusion again. With my meshes ready, I imported them both into Fusion, converted them to bodies and combined them.

I then made base by sketching the circle and hexagon in Fusion, doing a simple extrusion and combining the two; a taper was applied to the hexagon for its extrusion and no taper was applied to the circle. Lastly, I combined the base and the head together to complete my fabrication-ready model. My model was then exported as an .obj file to be used for printing on the Makerbot 3D printer.

 

 

Bibliography

“Nathan Sawaya Yellow.” Artsy, www.artsy.net/artwork/nathan-sawaya-yellow.

“Head.” Thingiverse, 22 Aug. 2015, www.thingiverse.com/thing:979818. Accessed 7 Dec. 2021.

“Benzene resonance structures.” Wikipedia, 27 Apr. 2009, en.wikipedia.org/wiki/File:Benzene-resonance-structures.svg. Accessed 7 Dec. 2021.

Cromar, William. “planeToVolumeLookingGlass.” newMediaWiki, newmediawiki.pbworks.com/w/page/127738215/planeToVolumeLookingGlass. Accessed 7 Dec. 2021.

 

Concept and Iteration

For the basis of my Project 4 design, I needed to synthesize a few shapes to use for my mold. I was feeling relatively uninspired for a good portion of this and was eventually jutted out of it by my organic chemistry quiz I received earlier that day. From this quiz, I decided to use a regular hexagon (referencing the cyclohexene) and also a equilateral triangle (cyclopropane) and, lastly, a trapezoid (no particular reference, but I felt that shape complimented the rest of the model).

 

 

I then started my iteration by sketching each of the shapes in Fusion’s Sketch mode. The shapes were relatively simple, requiring just the correct interior angles for the regular hexagon and equilateral triangle and improvisation for the trapezoid.

 

 

The sketches were then all simply Extruded, with the hexagon, triangle and trapezoid with the slight upward taper. These extrusions were then collaged and combined into a single body. With this body finished, I also needed to add a fillet to each of the edges that were not adjacent to the base. This 1/8 inch ( fillet was applied to accommodate for the 1/4 inch drill bit on the CNC router, ensuring a nicer mold produced.

Next, to emulate the foam that the body will be routed out of, I created a square body with dimensions equaling to 8 in x 8 in x 2 in. In Fusion, it is produced as a rectangle with rounded edges, so I used the Crease function to resemble the foam block by straightening them to hard edges and corners.

The collage I created earlier was then centered with the mock foam block, then scaled accordingly. Although the depth of foam block is 2 inches, the drill bit only permits a maximum depth of 1 inch, so the body needed to be scaled down on the z-axis accordingly; I believe my body was around the depth of 0.8 in. Similarly, the body was too small in comparison to the mock foam, so I scaled it up on the x-axis and y-axis to encompass more of the foam when milled.

Lastly, with the body centered and scaled properly, it is subtracted into the mock foam. Since we model upside down for this, the final model came in upside down, so I flipped it right-side up so that you would not have to flip the model over to see the relief.

 

 

Final

Below is my final mold…

4.3design_fabricationfile.stl

 

…and the resultant positive output from it.

 

A lot of of what was learned in 4.1 References overlapped with the information in 4.2 Exercises and thus I was able to efficiently create this model.

In Reference 4.1.2, the LinkedIn Learning module, I learned how to use the sketch function in Fusion and how to do simple extrusions on the sketches. This would later come into play in 4.2.1 Exercise also, which would ultimately help me create my objects to make up my collage.

In Reference 4.1.3, I learned about collages and reliefs, how they implied motion through certain techniques, along with viewing some examples. These techniques would later be learned in Exercise 4.2.1 to be able to create more complex objects with the Extrude, Revolve, Sweep and Loft. Although I only used Extrude in the final product, the exercise helped me brain storm objects for the final product.

Continuing off of Reference 4.1.3 in Exercise 4.2.2, I learned and applied aspects of mold making to my collage. I learned how to spot undercuts, the application of draft angles and how to apply a bevel using the Fillet tool to ensure a working mold is made when the foam is milled by the CNC router.

 

 

Bibliography

Cromar, William. “VolumeToActionAltNevelson.” newMediaWiki, newmediawiki.pbworks.com/w/page/129806313/volumeToActionAltNevelson. Accessed 6 Dec. 2021.

Concept and Iteration

In order to start my Project 2 sketch, I needed to first determine the object to be the basis of my project. I was stuck at first on what to do, considering the parameters that needed to be met in order for an object to qualify as usable for Project 2 (asymmetrical, volume, no large openings, etc.), but then I remembered that mentioning of how people often used the shoe that they had on. This was mainly a result of people often forgetting to bring in an object to sketch, but for me it gave me a more specific focus. I would choose a sneaker, no, not just any sneaker, perhaps one of the most recognizable and famous silhouettes of any sneaker: the Air Jordan 1.

 

 

Above is an image of a side profile of the colorway of Jordan 1 that I own, dubbed “Yin Yang.” Whilst I did have other famous sneaker profiles at my disposal (an Adidas Ultraboost was my second choice), I always more fond of the silhouette of the Jordan 1 and is likely my favorite sneaker of all time, thus my choice for this project. It also fit the parameters for a suitable object for this project, with its asymmetry in its sole contour, its definitive and closed volume, and its size.

With my object selected, I needed to sketch it and import it into Fusion in order to model it. This sketch, however, is slightly different than my previous sketches for Project 1 in that the object in question is sketched orthographically.

Orthographic sketches are a means of visually depicting an object in three, distinct dimensions on a two-dimensional surface. These sketches also reflect the measurements of an object (length, width, height) and are immensely valuable to modelling.

In the context my shoe, I established datums in which the side and top projections of the shoe would be related and began to “trace” the outline of the shoe. I say “trace” in quotes as it is not as much as taking a pencil and running it along the bottom edge of the shoe, but taking measurements every half-inch with respect to its vertical nature as well. This was done using a ruler, running the ruler around the edge of shoe and marking where the ruler touches the graph paper with a dot. Without taking into the account the vertical aspect of the shoe, one would not be able to visualize, say, any overhang of the shoe (most commonly found where the shoe curves inward to accommodate for the arch of the foot).

Below is my orthographic sketch of my left Jordan 1 along with a horizontally-flipped version of the image in the beginning of the post for reference. The two most right projections are of the top and side profiles of the shoe, with the third projection on the left representing the front profile of the shoe.

 

 

 

 

Final

With the orthographic sketch in hand, I moved to Fusion to begin the modelling process.

I first assigned the top view to one plane, and the side view onto another so that they are along the same datum and representative of the shoe in both dimensions. I then made a square form around the sketch, formed an axis of symmetry along the length of the shoe and began sculpting the model. I harked back to my previous modelling experience from this course (the bike seat and the nine-square grid exercises) and slowly shaped the shoe, along with incorporating the use of a new-to-me tool, soft-modification. Soft-mod allowed me to shape certain faces of the shoe with respect to the faces/vertices/axes around it to make more organic slopes.

 

 

The model is done, but the process is not over. In order to be usable to the laser cutter, importing the model to slicer is necessary.

 

 

Slicer is a tool that you can attach to Fusion that takes models and interprets them as 2D layers, AKA “slices.” These slices can be from a certain angle or could even be in the style of an egg-crate, where the slices interlock with one another. For my shoe, I chose vertical slices perpendicular to the length of the shoe, as I felt that it paired well with the vertical nature of the high top look of the sneaker. Below are my fabrication files and their download links.

 

2.3design_fabricationfile1.pdf

 

2.3design_fabricationfile2.pdf

 

 

Bibliography

Cromar, William. “LineToPlaneTopologicalTransformations.” newMediaWiki, 2020, newmediawiki.pbworks.com/w/page/127314248/lineToPlaneTopologicalTransformations. Accessed 7 Nov. 2021.

“Jordan 1 Retro High Yin Yang White.” The Sole Supplier, thesolesupplier.co.uk/release-dates/nike/air-jordan-1/jordan-1-retro-high-yin-yang-white/.

 

Concept and Iteration

I started my Project 1 sketches with ideas surrounding ways of incorporating the “j” and “r” of my initials into a cohesive logo. At first it was mainly a “shotgun” type approach of just drawing anything that comes to mind and then reflecting on which ones I liked and, more importantly, what about them that I liked. I tried sketching using capital J’s and R’s, but found it to be more my style with them in lowercase.

 

 

With lowercase, of course, comes a different shape to both letters and thus different sketches. Noticing the similar vertical portions of both the r and the j, I begun my sketches meshing them together. This first idea is seen through the first couple sketches below (the first row), with my favorite of the batch being the one with the red star next to it. I experimented with the angles of the j and the size of the bottom curve, but found that I liked the verticality and simplicity of the third sketch.

 

 

Not feeling quite satisfied with just one favorite sketch, I brainstormed more ideas and arrived at the thought of, “What if I mirrored the tittle (the dot above j’s/i’s; yes, it’s really called that!) from the top of the j along the straight portion of it below?” I immediately drew it and found that it looked off, but then figured that it would look more complete if I continued the straight portion downward, extending off the beginning of the arch. Finding myself enjoying the look of this idea a lot, I started to tinker with it and try out different things: increasing the size of the arch of the r, making the arches of the j and r equal and adjusting the length of the straight portion of the logo. These sketches are represented in the second row.

 

 

I particularly enjoyed the third sketch and the fifth, both for different reasons. Firstly, for the third sketch, I enjoyed the asymmetry between the curve of the r and the curve of the j; it made them more distinguishable from each other. The bigger curve of the r made it seem more proportional to the length of the entire straight section of the logo. Compare the look of the r in the third sketch from the second row to second sketch from the same row, the length of the straight portion (second sketch) of the r looks too long for the size of the arch. I felt that visualization of both letters is clearer in the third sketch and can be seen when highlighting certain portions of the logo, see below.

 

 

I also mentioned how I liked the fifth sketch from the second row. This time, I liked the kind of playing card aspect it had to it resulting from its symmetry across the straight portion of the logo as the axis. It seemed interesting how you could flip the logo around and still read it the same.

The last two sketches were some of my final thoughts and are seen in the third row. The first sketch originated from the idea of having the tittle of the j act as a center point for the j and the r to almost seem like it would revolve around, but was not as pleased as it seemed to read “rj” instead of “jr” by nature of the r being on top. The second sketch was a final idea of abandoning the curves in favor of more angular strokes and, while looking interesting (perhaps only due to its uniqueness relative to the other sketches), more solidified my fondness for the third sketch from the second row.

 

 

For the basis of my Project 1 Logo, I choose the third and fifth sketch from the second row and would continue forward with iterations of this sketch. Oh, and as a final note, the angle that you see in the third logo sketch was purely accidental and was a result from the angle at which I drew it from my tablet, but I liked the look of it enough for it to be present in the coming iterations and would ultimately shape the final design.

 

 

Above are my iterations of the two sketches, with the top row resembling more of the fifth sketch and the second row taking more inspiration from the third sketch. The bulk of the iterations was mainly toying with different fonts to see the difference in appearances. I would create two j objects from the Text tool, rotate one 180 degrees and overlay them. As I did this, however, each iteration still ended up closer to sketch five and I really was aiming for sketch three.

It was a little tricky, as I had to essentially cut off the arch from the r from the font I decided upon and stitching it to the right-side of the j. I also had to transform the r further to make it a larger, more elongated curve to distinguish itself more from the arch of the j. This gave me more of the effect that I was looking for. I then tweaked the “r arch” to make the thickness of the line more similar to the rest of the logo. Lastly, my other last point of contention was the tittle and its shape. I bounced back and forth from a perfectly circular tittle to a more of an ellipse, but ended up settling on the ellipse; I felt that its elongated nature felt more in place with the conveyed motion of the logo from the angle it is at.

And as a final inclusion, I added a rectangle around my final iteration and included it as another aspect of the logo, both due to how I liked the look of it and also how it was as sort of callback to the playing card aspect of the earlier sketches.

 

 

Final

 

Above is my final logo design for Project 1 and within its design are applications of visual principles and elements learned from the references given.

The first and most outward is the presence of a figure-ground relationship from Gestalt theory. In this case, the “jr” is the figure and the ground is the white negative space defined by the area between the jr and the black rectangular outline. I achieved this by using the Unity option from the Pathfinder tool to combine my j and r into one object and by centering it within the rectangle. The centering of the logo was also done via techniques learned the Gestalt praxis exercise in how to group objects and center them relative to each other.

Another principle found within the logo is the symmetrical relationship in the context of Gestalt. In this instance, the tittles in the logo are not perceived as separate objects as they are symmetrical both in their vertical alignment and also their distance from the lettering. This relationship also established in the logo through the Gestalt praxis exercise, when I learned how to vertically align grouped objects.

Lastly, the perception of movement through the angle at which the logo is cast was learned through the properties of a line in the Visual Elements reference. The direction at which the logo is angled at allows the j to be perceived first and then the r. This angle was done by rotating the figure and was a learned skill from the Dynamic Compositions exercise.

Below is my fabrication ready file for my logo to be used at the vinyl cutter to fabricate my logo as a sticker.

 

1.3designfabricationfile.svg 

1.3designfabricationfile.pdf 

 

 

Bibliography

Cromar, William. “PointToLinePersonalLogo.” newMediaWiki, 2020, newmediawiki.pbworks.com/w/page/126788222/pointToLinePersonalLogo#Typesoftype. Accessed 3 Oct. 2021.

Cromar, William. “PointToLineGestaltTheory.” newMediaWiki, 2020, newmediawiki.pbworks.com/w/page/126784382/pointToLineGestaltTheory. Accessed 3 Oct. 2021.

Cromar, William. “PointToLineGestaltPraxis.” newMediaWiki, newmediawiki.pbworks.com/w/page/126787835/pointToLineGestaltPraxis. Accessed 3 Oct. 2021.

Cromar, William. “CHAPTER 4 — Visual Elements I: Point, Line, Plane.” newMediaWiki, 2020, newmediaabington.pbworks.com/w/page/67293527/CHAPTER%204%20%E2%80%94%20Visual%20Elements%20I%3A%20Point%2C%20Line%2C%20Plane. Accessed 3 Oct. 2021

Cromar, William. “PointToLineDynamic.” newMediaWiki, newmediawiki.pbworks.com/w/page/126787724/pointToLineDynamic. Accessed 3 Oct. 2021.