Part I | Concept.  To start my concept, I chose a reference object to develop orthogonal reference planes.  The reference object, a sneaker, was to be asymmetrical, contain volume, be scalable, and capable of putting tape and Sharpie markings on the object for measurement.  For my concept, I decided to sketch one of my many pairs of sneakers.  I didn’t want to take the chance of putting Sharpie marks on a new pair, therefore I chose an old pair of Nike running shoes that I don’t care much about.  The specific Nike model to be used as my reference object was the Nike Air Max Typha Flywire Training Shoe in US 10.5.  The type of work I was planning to complete is similar to aircraft and boat lofting.  To begin the lofting technique, a drafting technique where curved lines are generated, I used blue masking tape to dissect a datum point on the sneaker from heel to toe, going around the entire sneaker.  Next I took a ruler and measured inch by inch from the tongue to the toe, marking the inches on the blue masking tape in Sharpie pen.  I did this going from the back of the collar of the sneaker down to the bottom of the heel and through the bottom of the outsole.

Part II | Iteration.  I first came up with a drawing plan on 11×17 four-square-inch graph & layout paper of the sneaker.  The tools I used were a pencil, an eraser, scissors, a Sharpie, a ruler, and blue masking tape.  I used a piece of cardboard to line up against the back of the sneaker to acquire my datum point for the back view.  I did the same with the piece of cardboard to the front of the sneaker and marked my datum point in pencil.  Following, I used a ruler and held it up from the back of the shoe’s datum point to the front datum point, diagonally straight across and marked off the inches in Sharpie on the blue masking tape, taped to the sneaker.  The datum points I used for the heel and front of the sneaker joined to form the center line of the sneaker.  Using the ruler, I plotted points in pencil around the sneaker matching up where the inches on the blue masking tape are positioned and connected them using pencil to create the outline of the shoe from a top view.   This completed my sketch of the sneaker from the top view.  Moving to the side view, I similarly used the ruler to project down to plot the points and connect the dots.

Part III | Final.   For my final, I scanned my sneaker sketches using the flatbed scanner in the MakerSpace and created two jpg files, one of a top view and one of a side view of the sneaker.  Next, I opened my sneaker orthographic views in Autodesk Fusion 360 to view them as reference planes.  I created a rectangular shape form around the reference plane images to get to work.  I clicked on symmetry, mirror internal, and selected two faces to create an axis of symmetry based on the two faces.  Next I selected faces in the front of the object to create my toe selection set.  I then positioned the toe faces using the modify function for a taper style look.  Next I used a soft modification to smooth out the edges of the object.  To profile the side of the orthographic object, I selected the toe faces and soft modification to taper the object down to size.  Next I selected rings on the scale to drag the object down to the base to eliminate the large space that happened when tapering the toe faces in the process before.  I tweaked the soft modifications more to create the sneaker object.  I created a Slicer image of two sheets of 11×19 corrugated cardboard.  In Autodesk Fusion 360, I selected Tools at the top of Fusion 360, Make, and Slicer for Fusion 360.  Once in Slicer for Fusion 360, I edited the slice direction to go from top to bottom and made three dowels on the object to have a .250 diameter for each.  Lastly I clicked Get Plans to create my sheets and saved them as a .pdf to my computer.  I still wasn’t done with my plans, so I used Adobe Illustrator to refine the layout some more for laser cutting.  The laser cutting went very well and I did not have any issues with the machine.  Finally I took my cardboard cutouts and glued them together to get my finished orthographic sneaker.

Cromar, W. (2020). Linetoplanetopologicaltransformations. Retrieved March 28, 2021, from http://newmediawiki.pbworks.com/w/page/127314248/lineToPlaneTopologicalTransformations

Part I | Concept.  The concept for my initial’s logo sketch was to create a user view of the sketch with my initials, MW, upside down and right side up where the initials logo doesn’t change shape or appearance.  For example, my initials are MW.  If the logo MW font is flipped upside down, the image will still appear as MW, because the M and W are the same letter upside down and right side up.  To get some ideas on paper, I used several different fonts to create my sketches in Adobe Illustrator.  The fonts I experimented with were Carnage Movie Poster, ZeF RAVE, Bleeding Cowboys, Vintage King, and Another Danger from DaFont.com.  The Carnage Movie Poster letters were looking good, however I was having a difficult time combining the W with the M to create one smooth image.  The next font, ZeF RAVE, worked flawlessly.  I was able to conform the W with the M and have the image look exactly how I wanted it to.  The logo in the ZeF RAVE font, flipped upside down, would still show the same way right side up, so this was what I envisioned.  The remaining fonts Bleeding Cowboys, Vintage King, and Another Danger weren’t ideal to use.  Moving on with the ZeF RAVE font I began experimenting with Gestalt’s Principles for Figure and Ground.

Concept Image

Part II | Iteration.  Using Adobe Illustrator, I created a background with 12 3×3 inch blocks with black and white backgrounds to put my logos on top of.  I used only one layer.  The first logo I used was the font, Carnage Movie Poster, in 130-point sized font.  I created the M in yellow and the W in blue.  I tried to overlap both the M and the W, but I wasn’t successful with creating a good-looking image.  Next I used the font, ZeF RAVE.  I magnified the font size to 130 point.  Here, I was successful with an image that my concept emphasized.  I kept going, experimenting with the additional fonts I chose to use.  I used 130-point size font for the rest of the fonts Bleeding Cowboys, Vintage King, and Another Danger.  These three fonts didn’t look as nice as the ZeF RAVE font did.  I created a new file, chose the typeface tool, and typed my first letter, M, in black.  I did the same for the second letter, W.  I chose the selection tool, clicked on the W letter, and moved it to overlap a part of the M.  I was on the right track of how I wanted my concept to look.

Part III | Final.  To finalize my logo, I planned to print my logo on the Roland CAMM-1 Pro Vinyl Cutter Machine.  I moved the ZeF RAVE initials logo from the 12 3×3 inch block background to its own file to get it set for output as a composite file.  On the composite file I made one large, four medium, and 10 smaller sized logos.  In order to print my design on the Pro Vinyl Cutter Machine, I was required to change the new document’s properties units to inches, width 27 inches, and height 63 inches.  I switched the file type from an .ai file to an .svg for the document to synchronize with the Vinyl Cutter Machine.  I also created multiple file types from the .ai file such as .pdf, .svg, .jpg, .png, and .gif for save and share purposes.  My logo came out better than I imagined it would.  I was able to transfer the logo to backing paper for it to be placed on whatever item I own and choose to stick on.  I chose a school binder to put the logo on for starters.  From the point-to-line personal logo project I learned how to create cool logo designs using different font styles in Adobe Illustrator.  I also became familiar with the Pathfinder tool and the outline stroke path under the Object drop down menu.   Using the outline stroke path tool I created the white space between the M and the W.

Matthew’s Digital Archive

Cromar, W. (2020). PointToLinePersonalLogo. Retrieved March 23, 2021, from http://newmediawiki.pbworks.com/w/page/126788222/pointToLinePersonalLogo

Download fonts. (n.d.). Retrieved March 23, 2021, from https://www.dafont.com/

Chapter 8 – Visual Principles. The takeaway from Chapter 8, Visual Principles, is how objects are identified and seen on a background using principles. There are eight common principles that are divided into two groups. The contrast principle differentiates objects on a canvas such as small vs large, straight vs curved, dark tones vs light tones, round vs square forms, etc. Balance is the use of symmetry with placements and sizes of objects on the background.

Global, external
Unity – Wholeness
Contrast – Complexity
Hierarchy – Emphasis, Focus
Economy – Essence, less-is-more.

Local, internal
Balance – Equilibrium, Symmetry
Pattern – Repetition, Rhythm, Progression
Direction – Force, Movement
Scale – Proportion, Ratio, Format

Chapter 14 – Metaphors to Sculpture. Addition, subtraction, assembly/construction, and substitution are four concepts of the industrial and digital revolution for making sculptures. Ceramic artwork, made from clay, is one of the oldest forms of art. A modeler can use software to change volumes and appearance the same way an artist using clay would distort the shapes with their hands. This type of art is categorized as additive modeling work where the artist creates the material through modeling. The subtraction concept embodies taking away material from a sculpture, such as chiseling and carving. Assembling/constructing is based around how sculptures and objects are put together by glue, welding, stacking, etc. Substitution emphasizes how an original sculpture or object is made using different materials and used to mold the original object.

Plane to Volume – Alternate Realities. Realism, surrealism, photorealism, hyperrealism, virtual reality, augmented reality, computer generated imagery, digital fabrication all influence design in important ways. The purpose of the Alternate Realities chapter is to bring to light an artist’s approach to regenerate realistic images from the natural world into their own art.

Cromar, W. (2020). CHAPTER 14 – metaphors to sculpture. Retrieved March 08, 2021, from http://newmediaabington.pbworks.com/w/page/67304579/CHAPTER%2014%20%E2%80%94%20Metaphors%20to%20Sculpture

Cromar, W. (2020). CHAPTER 8 – Visual Principles. Retrieved March 08, 2021, from http://newmediaabington.pbworks.com/w/page/67298657/CHAPTER%208%20%E2%80%94%20Visual%20Principles

Cromar, W. (2020). Planetovolumealternaterealities. Retrieved March 08, 2021, from http://newmediawiki.pbworks.com/w/page/127737426/planeToVolumeAlternateRealities